Unexpected Offerings On A Return To Bali

Last month, I spent a week on the Indonesian island of Bali as a guest of the Ubud Writers & Readers Festival. This was my first visit to that blessed place since I’d fallen in love with it 34 years ago.

Like me, the island had lost some of its innocence in the intervening years. Unlike my earlier trip, when the Balinese I met had simply welcomed me with wide eyes and hearts, this time most immediately asked me if I’d been there before. When I answered, “Yes, 34 years ago,” their eyes opened wide for a different reason and they smiled and shook their heads. “Oh, Bali has changed much since then!” they’d laugh, though many of them couldn’t say exactly how because they hadn’t even been born 34 years before.

Of course, to my eyes too, Bali had changed. The streets were much busier, clogged with trucks and motor scooters, than I remembered, and the towns were more built up; the road from Denpasar to Ubud was lined with many more buildings and fewer rice paddies than I recalled.

But in a deeper sense, the spirit of the place seemed hardly changed at all. During a few free days of wandering, I passed a number of festival processions flowing through the streets. Every day I was enchanted as I had been three decades before by the sweet, simple canangsari offerings – hand-sized compositions of colorful flowers on green coconut leaves, some graced with a cracker – that were meticulously placed outside my door and on bustling sidewalks, off-the-beaten-path foot trails, temple thresholds and business entrances alike. And while I realize I know nothing about the difficulties of being Balinese – the need to scrupulously follow rigorous traditions, for example, or the unpredictabilities of relying on a tourism economy – the people I met exuded a gentleness, tranquility, contentment and sense of sanctity in the everyday that was as exemplary, expanding and restorative for me as it was 34 years before.

But it wasn’t until my last day in Ubud that Bali’s soul-binding offerings really came to life for me.

%Gallery-171375%I began the day with a mini-pilgrimage to a paradisiacal place I had visited earlier in my stay. I had been introduced to it by a local expat named Liza who had taken my all-day writing workshop. During the workshop lunch break, she had described a beatific organic restaurant perched among the rice paddies, a short walk from central Ubud. She kindly offered to take me there, and the following day we met at Tjamphuhan bridge, walked a few minutes uphill along Jalan Raya Campuhan, then turned left up a wide paved driveway. At the top of this driveway was a sign neatly hand-lettered: TO RICE FIELDS SARI ORGANIK.

After a few minutes following this narrow path, and frequently having to step aside for a seemingly endless succession of motor scooters, we entered what seemed an enchanted land of rice paddies, palm trees and, here and there, one-story “villas” with red tile roofs. As we threaded through the paddies on this narrow path, we passed a spa, an art gallery, a couple of “house for rent” signs-of-the-times and a fledgling neighborhood of new homes called Dragonfly Villas. After about 20 minutes, we came to a sign and a stone pathway that led to Sari Organik.

An open-to-the-breezes restaurant of some two-dozen tables blossoming in the middle of verdant rice paddies, Sari Organik has one of the most exquisite settings of any restaurant I’ve ever visited. We sat in this tranquil place sipping juice from fresh-cut coconuts, and as sunset slowly gilded the paddies, the centuries seemed to slip away.

I went back on my last day to pay homage to Sari Organik and to see if it could possibly be as magical in the harsh light of midday. Happily, it was equally lush and glorious and vibrant at noon, pulsing with the peaceful energy of the land around it. I savored an omelet of organic mushrooms, tomatoes and onions, fresh-squeezed orange juice and delicious strong coffee, and struck up a conversation with a smiling, energetic woman who turned out to be the restaurant’s extraordinary founder and owner, Nila, who told me that her goal is to help the local farmers grow a diversity of crops organically, so that they can preserve the environment and become economically self-sustaining. (You can read more about her amazing story here.)

After that serendipitous encounter, I walked back through the rice fields, feeling singularly content. I had gotten to do just about everything I had been hoping to do on Bali, I was thinking. There was just one exception – I hadn’t heard a gamelan orchestra. I’d caught snatches of gamelan music at a couple of different performances during the festival, but I hadn’t had that soul-transporting immersion in the music that I remembered vividly from my first trip to Indonesia.

Just as I was having these thoughts, approaching the end/beginning of the path, the sounds of a gamelan orchestra drifted on the air! I could hardly believe it – it was as if my thoughts had conjured those notes.

I reached the sign for Sari Organik. To my right was the wide, paved driveway that led to the main street, but then I noticed to my left a narrow, hard-packed dirt path that paralleled a rock wall twice my height. The sounds of the gamelan were coming from somewhere beyond that wall. The wall disappeared into a densely vegetated interior, with a couple of red-tiled roofs visible in the distance. I figured that if I followed the path, eventually it would lead to a break in the wall where I could enter and discover the source of the gamelan music. I wanted to see the orchestra with my own eyes.

So I set off down this winding path, following the sinuous curve of the wall and the music’s tantalizing rise and fall.

I startled two workers who were on their way to restore a magnificent old house set among the paddies on the other side of a stream that paralleled the trail. They laughed and welcomed me to the forest. A few minutes later, a lone and lanky Western woman with a backpack passed me and pressed on into the green. After 15 minutes of ambling, I came to a lush setting where palm trees, twining vines, giant ferns and slick bushes with propeller-like leaves tangled the air. Still there was no break in the wall, and the gamelan music was sounding fainter and fainter.

I stood in the shade of that jungly patch, puzzling over what to do, wondering if I would ever find the break in the wall, when suddenly it hit me: I had already found the break in the wall; it was in my mind. Listen! I didn’t need to see the orchestra – my wish had been to hear the gamelan. And there it was, all around me. What more did I want?

I walked back down the path and the sounds of the music swelled in the shadowed air. When I reached a point where it seemed loudest of all, I stopped and closed my eyes. Gongs, flutes and drums gonged and trilled and boomed in layered patterns, lapidary high notes skipped like diamonds across a pond, bong-gong-gong-booming low notes reverberated in my ribs, rising and falling and rising, staccato and slow, each note like a drop of water from heaven, submerging me in a pool of otherworldly harmony. Time stopped.

After a while – ten minutes? twenty? – the music ceased, and the forest echoed with its silence.

Then the harmonies flowed anew, and suddenly I felt released. It was time to move on; I had a taxi to catch, a plane to board.

I realized that all day I had been regretting my imminent departure, despairing at having to lose this blessed place. Now Ubud had answered that need, bestowing one last canangsari-lesson that would allow me to leave: I didn’t need to see the gamelan to hear its music, and I didn’t need to be in Bali to have Bali in me. It was already there, gonging and trilling and booming, rice paddy blooming, and it always would be.

[Photo Credits: Don George]

Cleveland New Mexico: Where Cars Go To Die

A shabby peach convertible hogged the front yard. It stretched out like a sunbathing teenage girl would – at a long diagonal, facing the street, just begging to get picked up.

I walked right up to her, crouching down at the battered grill, where both headlights were missing, like gems pried out of a ring’s bed. I’d forgotten how much headlights, when you’re squarely in front of an old car, look like eyes. In this case: doe-eyes, blank and coquettish.

I had just a moment to photograph; the dogs would soon bark. Whose dogs? Anyone’s dogs. Everyone’s dogs. In Cleveland, a one-street town deep in New Mexico’s Sangre de Cristo mountains, I could count on two things: rusty cars, crowding front and backyards, and dogs, roaming said yards, ready to bark at me.

I’d first chanced upon Cleveland on a road trip from Taos – a long, meandering ride through fields and hillsides where the chipping hoods of old sedans kept peeking out of the sagebrush. New Mexico, I’d decided, was where cars go to die.

But nothing prepared me for the Mora Valley. Here was a place with more dead cars than living people. They filled pastures and slumped down ravines, their tires folded over in rolls, windshields cracked like lightning bolts. Two hours southeast and many mountain passes from Taos, I found myself in the true rust belt of America, wondering what joker named it Cleveland.

%Gallery-171373%In fact, this town was originally called San Antonio, founded in 1835 along a skinny river, 7,000 high in the sierras, in the northern reaches of what was then Mexico. Only in 1892 did San Antonio rechristen itself Cleveland (after Grover, the American President), for the purpose of getting a US post office. Still, Cleveland belonged to the Wild West, a town of mills and saloons, murders and feuds, hidden in the mountains and guarding a culture all its own.

I tried to find out more about Cleveland by asking around Taos. All people seemed to know, though, was a story about a bear. They told it like a tall tale. Once, not so long ago, an old lady was cooking in her kitchen. A black bear let itself in and attacked the cook. One Taos man had this to add to Cleveland’s lore: “It’s the Appalachia of New Mexico.” Back in high school, he was afraid of Cleveland guys. Something about shotguns.

Still, Cleveland called me. Those cars. All that rust. I’m no automobile expert; it’s antiques – the kind not at all in mint condition – that get me. I love the earth-tone palette, history’s whisper, the wear and tear of a couple lifetimes. But it was the way these old cars mingled and merged with the desert that so pleased my eye. The once-shiny work of the factory, reclaimed by the tan earth.

So I went back to Cleveland with a simple plan: I’d walk into the yards most dense with junkers and start photographing. I counted on four things happening. One, I’d get to admire the rusty beauties up close. Two, someone would come outside and ask what on earth I was doing. Three, I’d smile, give a wave, and dial up the charm before anyone could pull a gun. Four, they’d tell what was up with Cleveland.

There’s no pretty sign welcoming you in cursive letters to Little Cleveland. Instead, a mangled white Ford sits atop a hill like a giant lawn ornament. I’d taken no more than three steps towards it, hardly lifted my camera, when the barking began.

I didn’t look at the dogs, well able to imagine their teeth. Instead, I watched a silhouette fill the doorway of the trailer just behind the car. A man. Shirtless. I waved at his fluid silhouette and hoped he’d take my side.

Rick wore just jeans, plus a great mane of black hair that would make many women jealous. His body was lean but sinewy. I was pretty sure he could lift that dead Ford with two hands.

Why so many junk cars in Cleveland? I asked.

Rick widened his eyes at me. “Because people don’t want to get rid of ’em!” he cried, like my question was all wrong. Like maybe I should be asking why anyone throws anything away in this world, certainly here, deep in the mountains, where even a humble man has plenty of room.

Rick told me about a nephew, in Colorado, who’s real handy with cars. One day, Rick hoped, the nephew would turn these pieces back into a car. We stared at the hunks of Rick’s dismembered Ford, most of them stuffed in the open trunk. A side door bent outward like a giant metal wing. The sunroof was wide open, ready to collect rain. Yes, it was raining. A little, then a lot.

Rick pointed up his steep, dirt driveway. “That’s about to be a river.”

Rain soaked the valley of dead cars while I took cover in my living car. It was a borrowed sedan with Texas plates, which could be a liability in this town. The first settlers here built their homes in a tight line to protect against attacks. The Comanches were a threat, but so were nearby Texans, who led a raid here in 1843.

To this day – and even through sheets of summer rain – you can see traces of Hispanic influence all down the main drag. The busiest restaurant in town makes a single promise outside – TAMALES – and down at the gas station, you can’t miss the assurance that red and green chilies are in stock. Sure enough, I found the local pepper for sale in little pouches, easier to reach than a Slim Jim.

The woman working the counter is the daughter of a serious junk car collector. “He’s got a ’29, a ’48, a ’49 …,” she rattled off the make of her dad’s prized vehicles, pausing to remember some year in the 1970s – the youngest of her dad’s other kids.

But why so many? I knew that New Mexico had a long past, that people here hung onto its relics, and that rust was more of an aesthetic than an eyesore. But why so much of it in Cleveland?

“They’re waiting for an offer,” the man in line behind me said.

That’s just how it looked across the street, where the peach convertible showed off her curves, top down. I’d just risen to my feet to peek in the convertible’s open (and garbage-stuffed) cabin, when the dogs began again. Yipping this time, sounding safely puny. It was just enough noise, though, to tip someone off.

“Hi there,” a next-door neighbor appeared. He was built like a cop, bulky up top, but rather than kick me off the property, he lead me right into his neighbor’s backyard, where the real beauts were – the junk cars nobody was angling to sell.

I followed my guide through weeds, over woodpiles, past an ochre van with a bedroom’s worth of clothes creeping up its intact windows; past a long black hearse of a car with a tree branch resting across its windshield like a third wiper; past a white sedan, so mottled with dust it looked scaly.

I nearly missed the car tucked behind the house, reachable from someone’s bedroom window. A tree had risen through it, wedging between car body and bumper, climbing straight towards the clearing sky.

You can look at a car and more or less tell from its curves or angles what era it’s from. There are certain giveaways: rocket-like taillights, airplane hood ornaments, grills like gangster teeth. But behold a car that a tree has grown through and you get a sense of how very long it’s been junked.

Back on Route 518, I set out to crown a junk car king. The guy with the old Wagoneers, preppy misfits in their green and navy stripes? The school bus junkie, his property overtaken by giant metallic bees?

But I knew the junk car kingdom when I saw it; anyone would. Picture an automobile show, with one classic car from the past ten decades, left to rot in a field. Both sides of the main drag were edged with old sedans and vans and one truck whose crooked grill looked punched in, like a hockey player’s teeth. And behind it all, like an afterthought, a big barn of a house.

I smelled grass – freshly-cut – as soon as I cracked the car door. Strange, I thought. In the rare places where grass grows in New Mexico, people aren’t much into mowing. Just across the two-lane road, I spotted a couple men in work gloves doing something even stranger than cutting grass. Something I didn’t think happened in Cleveland. They were throwing things away.

Luis seemed relieved to take a break from clearing junk. Dressed from head to toe in black, he wore glasses with a glare so strong I couldn’t look him straight in the eye. The whole time we talked, Luis never quit rubbing his sore, gloved hand. “You wouldn’t believe how much we’ve cleared!”

But I did. To our left was a heap of garbage the size of your standard cabin. It wouldn’t disappear until many trucks took many trips.

Luis told me how many whiskey bottles he’d chucked today, how many rattlesnakes he’d scattered today, and how the owner of this house would bristle if he knew about today’s junk clearing. Raymond was in a rehabilitation hospital, after a bad fall. If he recovered and came back, he’d find only his house here, decades of garbage taken out.

“Have you heard about the bear attack?” Luis asked.

I nodded. In fact, I’d been meaning to ask someone whether it was true.

“That happened here,” he said.

By “here,” I thought Luis meant Cleveland. He meant the big barn of a house at our backs. The bear broke into Raymond’s kitchen, attacking and killing his mother.

The scrape marks across the front door were, in no uncertain terms, the work of a large claw. The door’s glass pane, which the bear pushed through, still hadn’t been replaced. Like so many of Cleveland’s scars and bruises, these were left raw and legible – indefinitely so.

The story Luis told me got more and more bleak. The bear attack was gory, and Raymond was the first on the scene. He didn’t take care of himself, drank too much, hardly washed his clothes. I felt like I was hearing the tale of the town’s fallen man. Until, that is, we got back on the topic of junk cars.

Raymond did one thing right. He invested in old cars, rare cars, cars other people scrapped without thinking twice. He parked them on both sides of the road, behind the woodpile, between crab apple trees, and just waited it out. Recently, a couple from Oklahoma was driving through Cleveland. They made an offer on one of his junkers. From the sky fell $6,000.

“Pretty smart, right?” Luis asked, eyebrows lifting, finally catching my eye. I couldn’t disagree. And I got the sense that this story – more than the bear story – hovered over this town, fueling the hopes of car collectors. You could call the men of Cleveland hoarders; you could also call them dreamers. Keeping a junk car in view, right out your window, I realized, feeds a vital fantasy: that one day, you might just have more.

I was about ready to drive off, but wanted a moment alone with the old cars of Cleveland. Spotting an isolated lot, I gunned it down a gravel road towards a cluster of tanks, cranes and the most beautiful old cars I’d seen all day: a pair of pastel ’51 Pontiacs.

What nature had done with these two Pontiacs was about to make my click finger sore. Purple blossoms sprayed out from the open engine. Tan brambles claimed the steering wheel. A riot of weeds hid the seat cushions. And on the round, red-speckled hips of both cars, the silver insignia with a Native American profile, shone like a day-old coin.

Any minute now, the sun would find an opening in the lavender clouds cottoning over the valley. It was the perfect finale, save the sound of car wheels on a gravel road.

“Can I help you?” asked a man riding shotgun in a modern SUV. His son was driving. I sensed more people in the backseat. Jacobo, owner of this tank yard, had brought the entire family to find out what I was doing here.

“I’m just photographing old cars,” I said, ready to put two hands up. I had, though, one thing going for me: I loved Jacobo’s Pontiacs, and so did Jacobo. Fiercely. That’s probably why I hadn’t gotten shot in Cleveland today. The old cars were the town pride, and I was framing them. So I was cool, I was let in, and before I knew it, I was following Jacobo down muddy roads, past dead tractor trailers, so he could show me the army green truck just like on “M*A*S*H.”

Propped on wooden planks like a washed-up boat, the “M*A*S*H” truck was hidden behind a barn. You could still make out the Red Cross insignia, but not for much longer. Side mirrors hung on by bent twigs of metal. Just like on “M*A*S*H,” but phenomenally beat up.

Jacobo’s entire family waited in the running truck while I crept around the dead one. What else, I wondered, was hidden off route 518? A first edition limousine? Train cars? Some Rolls Royce entwined by cacti? How much potential were the people of this town sitting on?

The climb out of Cleveland was steep; my view was aerial within minutes. I looked down over the pristine expanse of green, unlittered from this height. The Mora Valley could pass for a Promised Land up here. It dawned on me, foot pressed hard against the gas, that no one had given me the most practical reason to let sleeping cars lie in Cleveland. Your grandfather’s old Chevy probably wouldn’t make it over these peaks, and any truck that dragged it would have to work mighty hard.

And yet I found an old school bus trying its best, pulled over at a scenic overlook where I, too, paused for rest. A scruffy man in oil-stained jeans sat on the bottom step of the bus he’d just bought at auction. A chiropractor, he rides through Cleveland every now and again, ready to buy. A lot of guys, he confessed, turn him down.

“They say no?” I was as amazed as amused. All those guys talking potential, quoting me numbers: I loved the image of them shaking their heads when the moment of sale came to pass.

“It’s complicated,” he told me, gazing into the clean panorama of pines. “You have to understand the psyche of New Mexico.”

I ran through all the answers I’d collected in Cleveland, reasons for the abundance of junk cars. “The laziness,” said the gas station cashier, the only woman I’d spoken to all day. Another person said sentimental value: “might be the first car their dad drove.” A shy man watching me photograph by his barn brought up scrap metal; he would one day scrap his broken bus, but first, wanted to build a shed for it (yes, a shed to protect what he planned to scrap).

As for Jacobo, whose Pontiacs are allegedly worth $35,000 a piece, he chalked it up to liberty. Old cars keep a man free, he said, unlike the computerized cars of today, which authorities can track. He preferred a car no one could follow, and that any good mechanic – a friend, preferably – could fix.

I’d given up hope that any two Clevelanders would answer alike. People seemed to use the junk car question to just tell me about their town, their ways. I wondered whether we could all do this – define ourselves, quite well, by the things we won’t give up. What other people part with – easily, ritually – and we cannot.

Talking junkers, Clevelanders painted themselves sentimental and hopeful and suspicious and proud. They like to sit on potential, uncommonly patient. They’ll wait for decades, ready for someone to make an offer, ready to cash in, or ready to say no, and keep what’s always been theirs.

[Photos by Colleen Kinder]

A Sneak Peek At The Soon-To-Reopen National Museum Of Iraq


The National Museum of Iraq is as battered and defiant as the country it represents. Battered because it has suffered looting and neglect, defiant because its staff fought to protect it. Now they’re rebuilding and the museum will soon reopen.

I got a sneak peak while visiting Iraq and was overawed. I knew I would be. Here is the treasure house of the dawn of civilization. Giant statues of Assyrian guardian demons stand next to cases filled with wide-eyed Sumerian statues pleading with their gods. Detailed bas-reliefs from excavated palaces show scenes of war and hunting. Cases full of cylinder seals show scenes of Babylonian life in miniature.

My favorite was the writing. The first scribes developed a simple system around 3300 B.C. or even earlier. Clay tokens represented objects such as sheep or jugs of beer. These were often sealed in clay envelopes with an impression of the tokens on the outside, thus creating the first contracts. Soon tablets were used with a system of writing that was mostly pictorial – a bull’s head represented a bull, etc. As the needs of the developing civilization grew more complex, so did the system of writing. The pictures morphed into almost unrecognizable collections of lines, and words for abstract ideas appeared. The writing was done with a stylus on soft clay to make a series of wedge-shaped impressions called cuneiform.

Looking at these ancient texts was hypnotic. The same process we’re engaged in right now, with me writing and you reading, was going on 5,000 years ago in a vastly different culture. We don’t have to know each other or even be in the same country to communicate. It was an incredible innovation that opened up countless possibilities for the human race.

As I studied the galleries I was amazed that anything survived the chaotic days after the fall of Baghdad in 2003. The Coalition troops hadn’t been given any instructions to protect the museum, so looters broke in and ransacked the place. Museum staff came back in force and drove them off, a brave act considering the looters were armed. Eventually the museum workers convinced the U.S. Army to post some guards.

It was too late. Thousands of priceless artifacts had been stolen. Some were later recovered but most have disappeared into the private homes of “collectors.” Luckily, the museum staff had hidden some of the best artifacts in secret locations. They told no one, not even the Coalition, about their existence until the situation had stabilized.

%Gallery-170304%Now workers are busy finishing up the displays. Twenty-two galleries have been completed and there are five more to go. Some rooms survived the war relatively intact and will look familiar to those who were lucky enough to visit before the war. Others have been completely remodeled. The museum officials didn’t allow me to photograph those. It seemed an odd restriction. Wouldn’t they want people to see their hard work? When traveling in Iraq, you get used to random rules. You just have to shrug your shoulders and move on.

In one room I found a member of the staff restoring an Abbasid sarcophagus made of teak. As I studied the intricately carved designs he explained in perfect English that he was filling in the cracks and chips with a paste made from powdered teak and “micro balloons,” tiny polymer spheres that act as a chemically inert adhesive. I asked if I could take a picture of his work and he said no.

“That’s the museum’s rule, not mine,” he said apologetically.

He and his coworkers have done a good job. The difference between the traditional galleries and the remodeled ones is astounding. The new galleries have better lighting and signage and show off the museum’s artifacts to much better advantage. All the galleries, both new and old, have signage in both Arabic and English.

The National Museum of Iraq is due to have a grand reopening in two months. As with everything in this struggling nation, the date is subject to change due to security issues and funds not getting to the right place at the right time. The work is almost done, though, so one of the greatest museums in the Middle East will almost certainly reopen in 2013 to teach a new generation of visitors about the wonders of Iraq’s past.

Don’t miss the rest of my series, “Destination: Iraq,” chronicling my 17-day journey across this strife-ridden country in search of adventure, archaeology and AK-47s.

Coming up next: “Ghosts Of A Dictatorship: Visiting Saddam’s Palaces!”

All photos by Sean McLachlan

The New New Orleans: On The Horizon, Even More Change

Ask anyone in New Orleans what they’d like to see happen in their city, and you’ll get a long list of suggestions. Some think crime is the top priority. Others want grocery stores. Some want top quality public schools, and others seek private schools that won’t cost an arm and a leg.

The New New Orleans has far more room to grow and evolve, and developers are already talking about opportunities beyond Freret Street and the Municipal Auditorium.

Two areas come up most often. One is O.C. Haley Boulevard, which sits in a traditionally black and Jewish neighborhood called Central City. The boulevard, named for civil rights activist Oretha Castle Haley, who founded the New Orleans chapter of the Congress of Racial Equality, is being called The Next Freret. It has attracted a boxing gym that used to be part of Freret, and it will be the home of the new Southern Food and Beverage Museum.

The avenue boasts grand buildings, many still empty, with plenty of space for developers to launch major projects. It is attracting some of the same supporters and investors who helped Freret come back to life.

Another area that is garnering attention is St. Claude Avenue, which runs through the Bywater, a neighborhood that sits not far from the French Quarter and adjacent to the Marigny. It’s known for an art scene, dive bars and the makings of gentrification, although it remains undeniably funky.Beyond neighborhoods, however, what will guarantee the success of the New New Orleans is the people who commit to it. One of them is Alon Shaya, fast becoming recognized as one of the city’s rising star chefs.

Shaya runs Domenica, a rustic Italian restaurant launched by veteran chef John Besh’s restaurant group. It opened in 2009, steps from Canal Street in the Roosevelt Hotel, the former Fairmont Hotel that itself underwent a post-Katrina renovation. (This month, it was named New Orleans’ restaurant of the year by Eater NOLA.)

Shaya is about as non-native as a New Orleanian can get. He’s Israeli, and has worked everywhere from Philadelphia to Las Vegas to St. Louis. He wound up in New Orleans to work in a restaurant that Besh opened in Harrah’s Casino. Before Domenica opened, Shaya spent a year in Italy on his own dime, cooking and learning various Italian cuisines, before returning to set up his own kitchen.

The city has clearly worked its way into his heart. “When I came to New Orleans, I didn’t realize it was going to be my last stop,” Shaya says. “Katrina sealed the deal for me. I really felt like I could make a difference.”

With restaurants devastated by the storm, chefs set out across the city to cook for recovery workers. Shaya was part of a team cooking for the workers who were rebuilding Willie Mae’s Scotch House, the legendary restaurant in the city’s seventh ward known for its fried chicken.

The construction, which cost $200,000 and was paid for with private funds, was spearheaded by the Southern Foodways Association, which sent volunteers from across the country, led by chef John Currence of City Grocery in Oxford, Miss.

“I felt like I was needed for the first time,” Shaya says, “by somebody who didn’t know who I was.”

The restaurant business in New Orleans became part of the healing process for many residents left without power and waiting for their homes to be fixed. “What else is there to do? Absolutely nothing, except go to a restaurant,” Shaya says.

He saw a much smaller version play out this summer, when Hurricane Isaac tore through the city. On the Thursday after the storm, 850 customers poured into Domenica, which was one of the few places that had power and an ample supply of ingredients.

But as he has become part of New Orleans, Shaya is also bringing his own background to the food he serves its residents and visitors. Gradually, he’s revising some of his menu to include Middle Eastern touches, and he thinks customers are ready for the changes.

“Young chefs are going out and cooking what means something to them,” Shaya says. “People aren’t resting on their laurels any more. What would have been ambitious five years ago is now expected.”

In a sense, that describes the New New Orleans, too.

For more on the New New Orleans, click here.

[Photo credits: Micheline Maynard]

Kentucky’s Bourbon Trail: A Pilgrimage To The Maker’s Mark Distillery

I’m not much of a bourbon connoisseur. In fact, before a recent road trip to Kentucky where 95% of the world’s bourbon is made, I had no idea what distinguished bourbon from regular old whiskey. But when in Rome, do as the Romans do, so I decided to visit the Maker’s Mark Distillery, reputedly one of the best stops on Kentucky’s Bourbon Trail.

The distillery is a 25-minute drive, along a windy country road that dips and turns along a pastoral landscape from Bardstown, a distinctive small town named the “most beautiful small town in America” by USA Today this year. Along the way we passed some pitch-black Maker’s Mark warehouses that resembled a disused prison complex and one of them reassured us that we were just three miles away from some sweet Kentucky bourbon.
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The distillery is set across a large complex that makes for a nice walk on a sunny day. There are a host of buildings, each painted dark brown and adorned with shutters the same shade of red as Maker’s Marks distinctive red wax bottle seals, which are hand dipped on the premises. (You can buy and dip your own bottle in the gift shop.)


The tour used to be free, but it now costs $7, which is still a bargain considering the fact they offer guests a chance to sample three bourbons and learn about a product that’s a deeply entrenched part of Kentucky’s culture.

The Samuels family, which founded Maker’s Mark, and scores of other Scotch-Irish distillers, fled to Kentucky from Pennsylvania after George Washington imposed a whiskey tax in 1791, sparking the Whiskey Rebellion. The whiskey tax went uncollected in Kentucky, then a frontier state, as no one had the will to enforce the law or prosecute those who ignored it.

Our tour guide, Jacqueline, told us that a nearby lake served as the base for the product.




“Why are there so many successful bourbon distilleries in the state of Kentucky?” she asked. “Here in a six county radius, we happen to sit on top of a very rich limestone shelf, that limestone filters our water making it iron free and calcium rich. Perfect for distilling whiskey with.”

And what makes bourbon different from regular whiskey?
To call it a bourbon whiskey it must have at least 51% corn, in the recipe – Maker’s Mark uses 70%. It must also consist of only grain, yeast and water, with no artificial flavors or colors; it has to be aged for at least two years in new, charred, oak barrels; and it has to be distilled at no more than 160 proof, barreled at no more than 125 proof and bottled at at least 80 proof.

Many of the technical details went over our heads, but we enjoyed having the opportunity to dip our hands in the vats in the fermentation room and were stoked to have a chance to sample three of their products: the 90 proof Maker’s White, which is only available at the distillery (thank God), regular Marker’s Mark and Maker’s 46, which Jacqueline described as “bourbon on steroids.”


We were instructed to taste the Maker’s White first and for good reason – the stuff is nasty.

“I like to look at all your faces as you’re tasting the Maker’s White,” Jacqueline said. “I can tell if you’ve had moonshine before, you know the Maker’s White isn’t that bad.”


But the Maker’s Mark and the Maker’s 46 were complex, with long, sweet, smooth finishes that lingered on the front of the tongue for a long time. I felt like I was still tasting them well after my insides were already warmed and my mouth felt a little numb, as though I’d just gotten some Novocain at the dentist. But on the way out, rather than getting a toothbrush and some floss, we were given a nice piece of chocolate – a sweet ending to our introduction to the world of Kentucky bourbon.



[Photos by Dave Seminara]