The New New Orleans: Memories Still Locked Behind Closed Doors

by Micheline Maynard on

New Orleans is a city of festivities – conventions, Mardi Gras balls, graduation ceremonies, entertainment. And for decades, the place where New Orleanians of all races gathered for those events was the Municipal Auditorium, the centerpiece of Louis Armstrong Park.

An afternoon spent at the New Orleans Public Library brings to life a sense of what the auditorium, dedicated in May 1930, meant to this city. Page after page of records and photographs depict ice shows, diving exhibitions, boxing matches, performances by the Ballet Russes de Monte Carlo.

One of the two meeting halls was hung with bunting for a 1937 gathering of the National Rural Letter Carriers Association, the pictures show. The auditorium hosted gatherings of morticians, shown looking over the latest double lined caskets and gleaming stainless steel morgue examining tables.

A list of events for 1953 lists Carnival balls every single night in January except New Year’s Day, often two a night. And the auditorium did not limit itself only a white audience. Joe Louis appeared that year in August with singer Ruth Brown (at an event labeled “All Colored.”) Later on, the auditorium was used as a temporary casino, and housed the New Orleans Jazz basketball team as well as hockey.

This auditorium where so many of New Orleans’ festive events took place still stands across from the French Quarter, in use as recently as 2005, when it was a center for the distribution of MREs (Meals Ready To Eat).

But since the aftermath of the storm, the Municipal Auditorium has stood quiet, a looming reminder of the memories locked behind its closed doors, despite years of trying to figure out what can be done with it. It is arguably the single most important civic building in New Orleans that remains shut since Katrina, although there has been plenty of discussion about its future.

%Gallery-170748%In November, the auditorium appeared in the HBO series “Treme,” in a scene set in 2008, in which developers suggest it can become a National Jazz Center. In fact, New Orleans’ former mayor, Ray Nagin, backed a plan to turn it into a state-of-the-art production facility, but that idea fell apart amid criticism from city council members and the city’s inspector general.

There is an inkling of hope, however, that the auditorium may someday be put back into use. In May, the city announced that it planned to use $16.67 million in FEMA grants to begin a restoration, out of a total of $27.5 million that’s been allocated for repairs.

“The city has been very aggressive in working with FEMA to get our fair share of recovery dollars,” Ryan Berni, a spokesman for Mayor Mitch Landrieu, said in an email. “While these new funds are an encouraging step forward, there is a still a ways to go.”

For one thing, the repairs will have to take place in phases – first, the removal of asbestos and lead from the interior, the replacement of the roof, the stabilization of the roof, and removal of mold which is said to cover much of the walls inside.

But there are no schematics of what the restored auditorium will look like, no architects’ renderings, no visions of how the building could be brought back to life. That’s because more money for the project will be needed, and it simply isn’t there yet, says the mayor’s spokesman.

Its only use, for now, is as the backdrop to events that take place in Armstrong Park, like the Treme Gumbo Festival held in November, and the summer concert series sponsored by People United for Armstrong Park, which had its inaugural season in 2012.

Even though the park has been cleaned up, and is starting to attract a regular stream of visitors, that wasn’t the original goal for Emanuel Lain, one of PUFAP’s founders.

He was actually more interested in the restoration of the auditorium than in fixing up the park when he started canvassing homes in Treme, the neighborhood that backs up to the park. He wanted to know whether neighbors thought it was important to bring the building back to life, and what they might like to see it be used for.

“I saw amazing acts. This was like the center of the universe,” Lain said. “Wrestling matches. Carnival balls. Amazing things happened here.”

It’s surely important to Lain, who attended his high school graduation in the auditorium, which has the indestructible aura of those solidly built 1920s buildings that dot the American landscape. All visitors can see now is its exterior, remarkably unscathed given the damage that Emanuel says has taken place inside.

The words “ART,” “DRAMA,” “ATHLETICS” and “POETRY” are carved in the facade above one entrance, echoing photographs that show the names of famous writers such as “SHAKESPEARE,” “VIRGIL,” “MILLET” and “DANTE” carved on the cornice above the two auditoriums inside. Other words have now joined them. “DO NOT OPEN,” reads a door on the building’s east side.

For now, those photographs, tucked away in the city archives on the library’s third floor, are the only inkling that visitors have to what lies inside. But if Lain gets his way, perhaps those memories can become realities once more. “We did something special,” Lain says of the work that’s taken place to restore the surrounding park. “Now, we want to build on that.”

For more on the New New Orleans, click here.

[Photo credits: Micheline Maynard]

The New New Orleans: Finally, Louis Armstrong Plays Again

by Micheline Maynard on

North Rampart Street forms the western border of New Orleans‘ French Quarter. On one side, streets named St. Louis, St. Peter and Dumaine lead to picturesque homes, elegant restaurants and rowdy bars. On the other side of Rampart sits a park that’s been both feared and beloved by residents and visitors, avoided by some, a lifeline for others.

Louis Armstrong Park has been through a series of trials in the years since Hurricane Katrina. Named for one of the city’s most famous musical sons, the park that was supposed to be a tribute instead became something to avoid.

Although it houses a historic landmark, Congo Square, where slaves came to socialize and share African rhythms, many tourists never saw it, or were told not to set foot inside. Fences kept many out, including residents of the Treme neighborhood nearby.

The worst insult came in summer 2010, when a botched facelift went awry and a contractor cracked the toe of the Louis Armstrong statue. Mayor Mitch Landrieu ordered work to stop and the park was closed. The city discovered newly poured sidewalks were cracked, curbs and manholes damaged, and a sprinkler system was improperly installed. Even one of the park’s soaring palm trees was knocked down.

A new contractor was found, work began anew, and finally, last year, Louis Armstrong Park came back to life, a symbol of the New New Orleans that’s evolved since the storm.

%Gallery-170746%Although the 32-acre space is rarely crowded on weekdays, it’s become a stop for visiting tour groups, like a bunch of French teenagers who posed for pictures and generally ignored a guide trying to explain the site’s historic importance.

McKenzie Coco, a new resident of the French Quarter, came to the park with her husband recently to walk their three dogs. “I always felt sad that it wasn’t being utilized,” Coco said. Now, “it’s well-lit, and safe, and it’s a real positive place for the neighborhood.”

Nobody was happier to see the park return than Ben Harwood and Emanuel Lain, the co-founders of People United For Armstrong Park.

Over the past few years, Harwood and Lain have spearheaded community efforts to bring the park back up to life. With almost no corporate backing, and using volunteers, the pair put together a summer concert series that drew 50,000 people to Armstrong Park. They just held a benefit for the concert series, and plan to expand it by more than double for 2013.

Harwood, a native of Detroit who lives in Treme, and Lain, who grew up in New Orlean’s ninth ward but who attended church near the park, met when Lain knocked on Harwood’s door to ask what should be done with the Municipal Auditorium, which sits within the park.

Quickly, the conversation turned to the closed park, and what might be done to help it. Although they were bent on seeing it come back to life, they say their efforts to rehabilitate the park were not always greeted with warmth by its neighbors.

Although they surveyed several thousand residents, and held two public meetings, “some people told us to stop doing it. This was their park,” Harwood recalls. “We had to be bullheaded, and do what had to be done.”

Disaster funds, which are less restrictive than federal block grants, were available, but it seemed like other projects in New Orleans had a much higher priority, and the park was not listed on city officials’ priority list. “Basically, it seemed like the city was just going to keep the park locked, and that was it.”

The organizers gathered 2,000 signatures demanding that the park be reopened, put together a second line parade that stretched from Congo Square to City Hall, and essentially drove home their point that the park was important to the people who lived in New Orleans. “We did a lot of knife-twisting, using the media, to get the city to admit that this park existed,” he said.

Once work got underway, the PULAP group got an unexpected surge of support when contractors cracked the Armstrong statue. “People were really pissed,” Harwood recalls. There was lingering frustration over the fact that a portion of the park remained fenced in, despite all the renovation work that’s taken place.

Although the park now gleams under streetlights in the evening, Lain says there is more to be done to bring the park back to the way it was when he was young. “Those lagoons used to be clean enough to swim in,” he says, gesturing to the ponds on the north side of the park. He and Harwood have numerous ideas, beyond the concert series, to attract more visitors, whether locals or tourists.

Wireless Internet, like the service available in New York’s Bryant Park, could guarantee users all day long, and help people in the neighborhood who don’t have Web access. Food trucks and coffee stands might attract city workers who have few affordable choices. The organizers would like to see the park used by school bands and other young musicians, who could earn their performance stripes by playing traditional New Orleans jazz.

But, for now, says Lain, the improvements will come one step at a time. “This park needed a champion and our organization is just that,” Lain said.

For more on the New New Orleans, click here.

[Photo credits: Micheline Maynard]

The New New Orleans: Life Takes A New Direction After Katrina

by Micheline Maynard on

Until Hurricane Sandy slammed into New York and New Jersey in October, New Orleans was perhaps the biggest urban natural disaster story the country had ever seen. Seven years after Hurricane Katrina, the city has gotten back on its feet, regrouping after the storm of a lifetime.

Now, New Orleans isn’t just rebuilding what it was before. It’s beginning to move forward. Across, the city, new people, places and points of view are adding flavors to an already rich gumbo. People who weren’t in New Orleans before Katrina are helping to craft the city’s future. And places that have been derelict since the storm, and even before it, are coming back to life.

This New New Orleans has many of the elements of other successful cities. It’s attracting entrepreneurs, through the same kind of incubators you find in Silicon Valley. Young professionals, like the Emerging Philanthropists of New Orleans, a grassroots giving circle, are contributing money and time. Big name companies, like General Electric, are making investments and creating jobs.

But the most visible evidence of the New New Orleans is in the city’s food industry, which has doubled in size since before Katrina, and which has broken away from some of the traditions of the past. If New Orleans once rested on its food laurels, as critic Alan Richman proclaimed a year after the storm, it’s not doing so any longer.

“The best thing that happened with that experience, with Katrina, was that it forced people who were on their knees to come back and compete,” says restaurant owner and entrepreneur Joel Dondis (above).

“Whoever came back was going to get better. The beauty is what you see today.”

%Gallery-170745%Before Katrina, it might have been hard to conceive that New Orleans would have a new burger joint visited by star chefs in a neighborhood previously deemed unsafe. Or, in a city where supermarkets were the only place to buy meat, that MBAs from Tulane University would open a butcher shop.

No one could have imagine gumbo and music festivals and a concert series in a downtown park that nobody used. But all that’s happened in just the past weeks and months.

The New New Orleans is not without its obstacles. The French Quarter and much of the Central Business District are a construction zone, with the city scurrying to build a street car spur and make other improvements before the 2013 Super Bowl.

Crime remains high, and unwary tourists can get robbed at ATMs or rolled by unsavory characters late at night if they don’t have their wits about them (as can happen anywhere). Almost every neighborhood is still rebuilding in some fashion, and streets can be shut and rerouted on a daily basis with little explanation.

But the new New Orleaneans are pushing forward, anyway, and many of them are building on the city’s past as they create new opportunities.

Joel Dondis has been a part of the New Orleans culinary scene for a generation, but since the storm, he has pressed forward with new ventures in desserts, fine dining and casual meals.
One of his post-Katrina restaurants, Grand Isle, named for the island at Louisiana’s tip, sits squarely in a tourist zone, flanked by the convention center on one side, Harrah’s Casino on another, and faces a courtyard where visitors in name tags stroll in the noonday sun.

Inside, Grand Isle is the epitome of the expansive seafood restaurants you find on any shore, with tile floors, wood trim, big windows, and waiters bustling with platters of shellfish and pints of beer.

But Grand Isle didn’t exist before Katrina, Dondis explains, gesturing around the room. “This was a parking garage.” He built the place from scratch, drawing on the Gulf Coast tradition for ocean fishing and shellfish gathering, and it’s now part of a restaurant organization with five businesses and 400 employees.

The walls, made from cyprus wood, are decorated with stunning black and white photographs by legendary local artist Fonville Winans. Others show vintage scenes of VIPs at big game fishing clubs, beaming at their catches of giant ocean fish.

The New Orleans-dominated menu seems familiar, but the dishes have twists – the shrimp camanida po’boy has a citrus butter and Asian slaw, the blue crab claws are marinated instead of fried as they might be elsewhere on the Gulf Coast, and the gumbo has house-made andouille sausage. The chef, Mark Falgoust, also makes his own boudin, the meat and rice mixture served warm in Louisiana gas stations.

They’re making boudin, too, at Cleaver and Company, a just-opened butcher shop a few miles away in Uptown. It’s joining a growing trend across the country for high-end meat markets, supplied by local farmers, where cutting and curing takes place on the premises. All of Cleaver’s meat comes from within 200 miles of the tiny shop.

Cleaver, which opened at the end of October, had a line of customers waiting outside the door on its second Saturday in business. Simone Reggie, one of the Tulane-educated business partners, guided customers to three sheets of butcher paper taped to the wall that listed the cuts of beef and pork as well as the poultry available that day.

A delivery man brought boxes of ducks through the front door as a man at the counter gave specific instructions for how he wanted his ribs prepared: “I want a St. Louis cut, with the fly removed,” meaning the top flap of meat. Seth Hamstead, Reggie’s business partner, said he didn’t mind the instructions, because Cleaver can’t prosper without educated customers.

“People are making more of an effort to preserve the culture of New Orleans,” he said. Hampstead, who got his undergraduate degree at Tulane, worked in Chicago but chose to return to Tulane for his MBA. There, he met Reggie, who had worked for Chef John Besh as well as Cintas Corporation, and the pair concocted the idea for the butcher shop.

“You’ve had a change in the workforce. People aren’t staying in jobs 50 years any more,” Hamstead said. “They’re going off to do their own thing.”

Of course, New Orleanians love nothing more than a good party, and one sign of how far the city has come took place in November. Emeril Legasse, known as much for exclaiming “bam!” on his Food Network program as for his restaurant empire, held his second annual Boudin and Beer fundraiser on a temperate November Friday evening.

A year ago, the original Boudin and Beer attracted 1,500 people and 25 chefs from New Orleans and Mississippi, who prepared their version of boudin and served samples from individual booths. This year, the number of chefs swelled to 59, from all over the country, with beer and cocktails flowing and live music and dancing that went on into the night.

The varieties of boudin were as varied as the chefs, with grilled boudin, boudin kiev, seafood boudin, even nutria boudin prepared by New Orleans chef Susan Spicer. People crowded around Mario Batali as he cavorted with belly dancers, and laughed at the hot moves of the 610 Stompers, the area’s most popular men’s dance troupe.

The event was held in New Orleans’ warehouse district, not far from the convention center, which played such a tragic role in Katrina. But the area has rebounded to become a center for artists and museums, and restaurants like Cochon, the center of the universe for chefs who cure their own meats.

Many of those chefs ended up the next day on Freret Street, a seven-block district in the Uptown neighborhood that is filling up with bars and restaurants, creating a trendy new entertainment area miles from the Quarter, in both attitude and atmosphere. Others wound up nursing their hangovers at La Petite Grocery, another Dondis restaurant, and spooning up gelato at Sucre, his patisserie helmed by chef Tariq Hanna, which opened only months before Katrina.

After surviving four hurricanes – Ivan, Katrina, Gustav and most recently, Isaac – Dondis says he’s come up with a formula for how to get his places down to minimal loss. Sucre never lost power during Isaac, and became a kind of general store for New Orleanians, who came in as much to charge their phones and use wifi as they did for sundaes.

“Power and data connectivity,” Dondis says, have turned out to be the criteria for coming back from a storm. Throw in food, and they’re an analogy for the New New Orleans, too.

NEXT: A Stroll Down Freret Street

For more on the New New Orleans, click here.

[Photo credits: Micheline Maynard]

Giant Pumpkin Cruise Ship Not A Scary Thing

by Chris Owen on

Carnival Cruise Lines is sponsoring Boo at the Zoo, a “spooktacular” event at the Audubon Zoo in New Orleans which attracts thousands of families who will enjoy trick-or-treat houses, a Ghost Train, haunted houses, fun games with prizes and entertainment, children’s decoration stations, and more. One of the main attractions is a massive 70-foot-long giant pumpkin cruise ship display made up of more than 500 carved jack-o-lanterns.

Many of the pumpkins included within the Boo at the Zoo display feature designs showcasing various elements of Carnival’s new look at cruise vacatons, Fun Ship 2.0, with depictions of the RedFrog Rum Bar, the EA SPORTS Bar, and Guy’s Burger Joint developed in tandem with Food Network personality Guy Fieri, as well as the iconic winged funnel that adorns all Carnival ships.
Carnival’s history with New Orleans goes back to hurricane Katrina, when the line positioned ships off the coast of the state to house emergency rescue workers. Sponsorship of this event reconfirms the line’s commitment to the New Orleans community and the company’s role as the city’s number one cruise operator. Carnival carries 340,000 passengers annually on its two ships based year-round in New Orleans.

Interested in carving your own pumpkins? Click here for some stencils that make it easy.





[Photo Credit: Carnival Cruise Lines]

Airports Add Free Power For Electronics, Vehicles

by Chris Owen on

Using free power to charge electronic devices before boarding a flight is a popular activity. Airlines and airports know that and are adding more charging stations all the time. The same goes for electric vehicle travelers who might drive to the airport. As more environmentally friendly cars hit the streets, airports are adding charging stations for them too, also a complimentary service.

“Delta’s addition of power stations at airport gates has been cited by PCWorld magazine as an important aspect of travel and improving the customer experience,” said Wayne Aaron, Vice President, Marketing Programs and Distribution Strategy at Delta Airlines in a Travel Daily News article this week.

Delta is adding at least two power stations per gate power in 12 additional U.S. cities before the end of the year including Anchorage, Alaska; Austin, Texas; Denver; Dallas/Ft. Worth; Houston Intercontinental; Kansas City, Missouri; Milwaukee, Wisconsin; New Orleans; Ontario, California; Philadelphia; Phoenix; and Syracuse, New York.

“Customers today are savvy travelers who bring their smartphones, computers and tablets with them,” says Aaron. “Providing a power source they can use before they get on a long flight helps them do what they need to do in the air, whether for work or pleasure.”Electrical Vehicle Charging Stations are becoming more plentiful too. Savannah/Hilton Head International Airport is typical of airports with charging stations where spaces are reserved for electric vehicles only. Each station is capable of charging two vehicles simultaneously with 240V connectors. There is no fee to use the stations, but regular parking rates apply.

ChargePoint is the largest online charging network in the world, connecting drivers to charging stations in more than 14 countries. ChargePoint service plans are compatible with charging stations from any manufacturer and yes, they have an app to find stations close by, make, view and cancel reservations. As they pass through security, at the gate or in the air with their Wi-Fi connected devices, users can view charging stats while their car charges and get notification when fully charged.




[Flickr photo by gillyberlin]