Gambit's Noah Bonaparte Pais has your weekend doom-sounding schedule: in music, there's Canadian punk band KEN Mode at One Eyed Jacks and Baton Rouge's Twin Killers at Gasa Gasa; in film, there's proto-punk documentary A Band Called Death at Zeitgeist; the 9th Ward Opera Company takes Marigny Opera House; stand-up comic W. Kamau Bell headlines The Howlin' Wolf; and Rashaad Newsome's King of Arms is at the New Orleans Museum of Art.
And WWL-TV's Derek Kevra has your weekend forecast:
The menu at Galatoire’s Restaurant is famous — and celebrated — for hardly ever changing. But the periodic wine dinners held at the landmark restaurant over the years have traditionally given its chefs the chance to stretch out a bit with more contemporary dishes.
Another series of these dinners begins next week, on Wednesday, July 31, featuring the wines from New Orleans neuroscientist and winemaker Nicolas Bazan. These wines, which he makes with Oregon’s Wahle Vineyard, will be paired with a menu created for the evening by chef Michael Sichel, alongside some of Galatoire’s classic dishes.
Vitascope Hall, a bar inside the Hyatt Regency hotel, will celebrate the 117th anniversary of its namesake — the world's first for-profit movie theater, which opened in New Orleans on Canal Street in 1896 — with a special event on Friday, July 26. With help from the Hollywood on the Bayou, New Orleans Film Commission, and the Prytania Theatre, Vitascope Hall will present a program of silent movies as originally seen in the early days of the historic theater on its 42 flat-screen TVs. Food and drink items priced at $1.17 will be available starting at 4 p.m. and throughout the evening, along with the regular menu. More info here and here.
The 2013 Voodoo Experience already includes headliners Pearl Jam and Nine Inch Nails, among others, but this morning — as the event begins in 100 days — Voodoo announced more artists to the schedule, including Matt & Kim, New Found Glory, Anamanaguchi, C.C. Adcock, and several local artists, among others.
The new additions also include Preservation Hall Jazz Band, Dirty South, Beats Antique, Savoy, Delta Rae, Moon Taxi, Allen Stone, Youngblood Hawke, GTA, ZZ Ward, Rudimental, The Revivalists, Shovels & Rope, The Olms, Keys N Krates, L.P., G-Eazy, He's My Brother, She's My Sister, Hockey, A Silent Film, The Virginmarys, The Apache Relay, Those Darlins, Reignwolf, Ruby Amanfu, Flow Tribe, Royal Teeth, Quintron & Miss Pussycat, Roll The Tanks, Dan Dyer, The Purrs, Andrew Duhon, The Breton Sound, Poof! The Pop Show with Carmine P. Filthy & A Boy Named Ruth, The Scorseses, Big History and Coyotes.
The festival is Nov. 1-3 at City Park. Find the full lineup and ticket information on its website.
Things are looking up for dining along the New Orleans lakefront these days, though in the evenings patrons are mostly looking west toward the sunset over Lake Pontchartrain.
This week, the second of a pair of new seafood restaurants opened right on the water by the West End marinas. The Blue Crab Restaurant & Oyster Bar is elevated high on pilings with a deck jutting over the dock below. It’s right next door to Landry’s Seafood, a Houston-based regional chain, and just down the road from Brisbi's Lakefront Restaurant & Bar, another independent restaurant that made its debut about a month ago.
The state board that oversees flood protection for southeast Louisiana will file a massive, historic lawsuit on Wednesday against several hundred oil and gas companies, seeking to make them pay the costs of restoring coastal wetlands that have been lost as a result of energy exploration and development in southeast Louisiana.
Gambit was given an advance copy of the suit, which alleges that a vast network of oil and gas canals carved out of southeast Louisiana’s marshes exposed all of southeast Louisiana to additional flood risks — and much higher costs of flood protection — because the canals, along with related oil and gas activities, caused or accelerated coastal land loss.
The suit will be brought in Civil District Court by the Southeast Louisiana Flood Protection Authority-East (SLFPA-E). It will name more than 100 oil and gas companies as defendants and bring scores of lawyers to the table in an epic legal battle that could go on for years. Among the first anticipated moves by Big Oil will be a motion to “remove” the suit to federal court, where judges and juries are believed by many in the legal community to be more conservative and thus friendlier to Big Oil’s anticipated defenses and procedural moves to quash the suit.
If the suit is even moderately successful in the early procedural stages, the list of plaintiffs — currently there is only one, the local flood protection authority — could grow substantially.
Lead plaintiff’s counsel Glad Jones, who has successfully brought environmental lawsuits against Big Oil and others in the past, told Gambit that the suit has the potential to be bigger than the ongoing BP litigation. The lawsuit focuses on oil and gas exploration and development east of the Mississippi River below Orleans Parish, but if the list of plaintiffs grows, the scope of the lawsuit could also grow.
The case ultimately could seek environmental recovery for all oil and gas activity along Louisiana’s coast. If that happens, this case will be to Big Oil what the Tobacco Litigation was to that industry: a game-changer.
Jones has assembled a team of more than a dozen top-drawer lawyers to bring the case, and Louisiana Attorney General Buddy Caldwell has authorized SLFPA-E to proceed against Big Oil.
The flood protection authority was created by the state Legislature after Hurricane Katrina as part of levee board consolidation in southeast Louisiana. SLFPA-E comprises the Orleans Levee District, the Lake Borgne Basin Levee District (in St. Bernard Parish) and the East Jefferson Levee District.
“If they believe the expert scientific testimony given by our witnesses, then we win the lawsuit,” Jones told writer Bob Marshall of The Lens. “That’s what this will all come down to — the science.” (Note: Marshall has an excellent story on the lawsuit HERE.)
DJ Soul Sister is among the organizers and a performer for a concert benefitting Gambit second line correspondent Deborah "Big Red" Cotton taking place at Gasa Gasa next Friday, July 26.
Cotton, who was one of the 19 people injured at the mass shooting that occurred at a second line in the Seventh Ward on Mother's Day, is out of the hospital but still faces a long rehabilitation. There is a $10 cover and 100% of the proceeds from the event will go to help Cotton with her medical expenses.
Those who cannot attend the benefit but still wish to help can donate to Deb's medical fund here.
Le Petit Theatre du Vieux Carre reopened July 19 with a staged reading of Nora and Delia Ephron’s Love, Loss, and What I Wore, an adaptation of Ilene Beckerman’s book of the same name. The cast included Mary Louise Wilson, Clare Moncrief, Lara Grice, Tracey E. Collins and Janet Shea, who notes in her cast-bio entry that she first appeared on Le Petit’s stage in a 1955 production of The Birds. Carl Walker directed the veteran cast, and a different set of actors was scheduled for the second week of the run.
Love, Loss is a memory play, or actually a nostalgia play. It’s a feel-good, crowdsourced mix of anecdotes and remarks on fashion and various rights of passage, including first times wearing perfume, a bra and a wedding dress. Much of the story revolves around a timeline and narrative from Gingy (Shea), who starts with her first Brownie uniform and progresses through a lifetime of functional and fashionable clothes. For the first third the of the show, the women tell stories in which they fight their mothers as they try to wear the clothes of older women, and there is a litany of interrogations about sexuality and changing social mores. “Your bra strap is showing. … What do you mean it’s supposed to be showing?”
They can be vague and ghostlike but we all occasionally see them. Afterimages are the hazy auras of things that are no longer there and can be caused by bright lights fluctuating at night. For photographer AnnieLaurie Erickson began to see them all the time after a traffic accident. Maddening at first, they became more intriguing to Erickson as her symptoms eventually waned. She even invented a camera with a special sensor specifically to capture afterimages, and upon moving to Louisiana she discovered petrochemical refineries as perfect subjects for her new pursuit. Glowing like diabolical Christmas lights on an industrial scale, they became objects of fascination that she stalked and recorded — a practice that resulted in occasional scrapes with the law. In the post-9/11 world, no photos of such facilities are allowed, which heightened her impression of them as “strange forbidden cities.” The result is this Slow Light series of large color photographs that bend both the laws of optics and the Homeland Security statutes.
The images themselves are grainy and ominous yet sometimes almost jazzy. For instance, a Port Allen, La., refinery (pictured) suggests a vintage science fiction illustration, or even a visual version of a rhapsodic saxophone riff from the bebop era. But the gaseous aura is less than reassuring, and in another Port Allen image a single smokestack pumping mystery vapors into a granular night sky is downright chilling, a postcard from an unnamed abyss. A view of glowing scaffoldlike refinery structures in Norco looks infernal yet celebratory, as if the denizens of Hades built chemical bonfires to welcome the lord of the underworld. But Erickson’s view is more philosophical: “For me, these images evoke both a presence and an absence. They are points along a continuum between strict representation and subjective abstraction, or between our immediate visual reality and the decaying, remembered imagery that subconsciously shapes our perception.” It is a perspective she earned the hard way.
Through Aug. 4
Slow Light: Artificial retina photography by AnnieLaurie Erickson
Antenna Gallery, 3718 St. Claude Ave., (504) 250-7975
There's a free shopping app that allows users to find local shops, check out the goods and make purchases through the app. The Nearby launched in January 2013 and debuted in New Orleans in March 2013. Sixteen New Orleans boutiques have joined, and so have nearly 200 stores in more than 30 cities ranging from Atlanta to Washington, D.C.
So what makes this app different from interfacing with a shop via its Facebook page?
"The major difference is communication," says Amanda Weisiger, the app's editor. "Shops post images all day, and users can communicate with the salespeople at the stores. You can say, 'Can you put that on hold for me?' or 'Here's my credit card number; ship it to me.'"
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