Day 6 / The Daze Between ... Tuesday, May 2

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It was another beautiful day in New Orleans. Not a cloud in the sky, light to no breeze, low humidity that unfortunately was rising as the day went on -- not a good sign for tomorrow, but that's another story. Officially, the high was 84, with humidity in the upper 30-percent range in the afternoon but approaching 60 percent this evening. The breeze was 6 to 11 miles per hour off the Gulf.

Because we didn’t have any plans at all for the day, we got ourselves down to the Staybridge breakfast buffet, then spent a couple of hours catching up with the outside world. One thing that was somewhat challenging on this trip was that the location of our room, while spectacular from a visual standpoint, was pretty much out of range of the wi-fi hub on our floor. That meant we'd need to go down to the first floor to connect with any bandwidth at all. As you know, we post daily updates and videos when we are at Jazz Fest, so that was a necessity. Sometimes we'd do this very late at night. Today we did it in the morning. It was really just a minor problem; there was ample and comfortable living space and always good, fresh coffee on the first floor.

When it was time to go out, we decided that we would take the streetcar up Canal Street and then Carrolton Avenue to the end of the line at City Park and do some exploring there. We downloaded and figured out how to use the RTA's GoMobile app and then purchased 1-Day Jazzy Passes for each of us. We walked over to Canal Street and boarded with ease. New Orleans streetcars are wonderful transportation, and they are staffed by very friendly and patient drivers.

On the way up Canal, we passed some familiar sights, the same ones we see from the shuttle bus on our way to Jazz Fest. But, we did continue on Canal beyond Broad Street into previously uncharted territory. Among the sights were the RTA's Randolph Operations Facility. But most of the street in this part of town consisted of houses, small apartment buildings, stores (my favorite: Floors de Lis), one- or two-story professional buildings, banks, churches, and some restaurants.

At the intersection of Canal Street and Jefferson Davis Parkway, a few people were conducting a protest of the planned removal of the monument to Jefferson Davis there, which was planned for some time in the next couple of weeks. It looked like the news media outnumbered the protesters.

When the streetcar turned onto Carrolton Avenue, it was in a very large commercial area, lined with strip malls and shopping centers, much of it post-2005 new construction. Eventually the avenue became lined with some very nice houses. This Mid-City area was very hard hit in the Federal flood, with 4 to 8 feet of water.

The route ends at the entrance to City Park at Esplanade Avenue, right in front of another controversial monument, this one with Confederate General Pierre Gustave Toutant Beauregard. There was some activity here as well, but we didn't hang around to find out what it was. This statue was removed on May 17. In the picture, the driver is getting ready to move the power wire to the opposite end of the streetcar so that it can head back down Carrolton Avenue to Canal Street and downtown.

City Park was established in 1854, making it one of the nation's oldest urban parks. Each year, millions stroll under the same historic oak trees and picturesque moss canopies that have been the backdrop for dances, concerts, and even gentlemanly "affaires d'honneur" (duels, that is) for generations.

The story of City Park has been shaped by two major events: the Great Depression and Hurricane Katrina. During the Depression, the administration of Franklin Roosevelt invested $12 million in developing the park as part of Works Progress Administration (WPA) programs, which employed 20,000 men and women to build roadways, fountains, and even a stadium in the park.

The WPA put millions of people across the country to work building parks and roads, and employed scores of artists in public art projects. Most of the existing bridges, brick cottage-style buildings, and Art Deco sculptures in City Park date to this time, and the landscape of the park is dotted with original artwork from the WPA era. Sculptural elements range from bas-reliefs on bridges and the stadium to sculptures in the Botanical Garden. Many of these sculptures were created by Enrique Alférez (1901-1999), a Mexican-born sculptor who lived in New Orleans and whose work can be seen on landmarks and buildings around the city, including Charity Hospital and Lakefront Airport.


In City Park, many of Alférez's unique sculptures are set along the landscaped paths of the Botanical Garden ("Rain Goddess" is pictured above left). Beyond the garden, his work can be seen in bridge ornamentation and various sculptures, most notably in the relief sculptures surrounding Tad Gormley Stadium and Popp Fountain. His subtle handiwork, depicting animals and insects in relief, is also found on cement benches throughout the park.

The failure of the Federal levee system following Hurricane Katrina in 2005 left almost all of City Park sitting in three to six feet of flood water for weeks, inflicting $43 million in damage to the park alone. The weeks-long power outage also disabled things like the Botanic Garden's automatic watering systems, which devastated its collection of containerized plants. However, an outpouring of support for the park from the public in response to that disaster has funded not only repairs, but also significant improvements to the park. 

In the picture below, showing the flooded park, the art museum is the large structure right of center near the top. The entrance to the park runs at an angle toward the upper center. This area, part of Esplanade Ridge, is one of the few areas in Mid-City New Orleans that did not flood, due to its elevation. Behind and to the left of the long building at the top of the photo (an apartment building) is the flooded Fair Grounds. You can see the heavily damaged Grandstand reflecting in the flood waters. 

Today's City Park offers something for everyone. Visitors can visit the botanical garden, enjoy art in the open-air sculpture garden, stroll through the sprawling green space, or get active on the park's lagoons and biking, jogging, and walking paths. There are 26 tennis courts, two 18-hole golf courses and a 36-station driving range, mini-golf, and soccer and ball fields.

Wheel Fun Rentals provides both boats and bikes for rent from the Boat House on Big Lake. Visitors can spend a lazy afternoon floating with the ducks, swans, and geese on the park's historic bayous and lagoons. On land, the park's bike paths take riders from Bayou St. John to Lake Pontchartrain. Plus there are walking trails around Big Lake and the Festival GroundsThe scenic Zemurray Trail at Big Lake is one of the most beautiful places in New Orleans.

The park also offers a host of family-friendly activities, including the antique wooden carousel in the Carousel Gardens Amusement Park. Since 1906, kids have enjoyed the "flying horses" of the carousel, one of only about 100 remaining in the country. Painstakingly restored after the flood, it is now listed on the National Register of Historic Places.

Elsewhere in the amusement park are rides such as the Rockin' Tug, bumper cars, the Red Baron mini-planes, a Scrambler and Tilt-a-Whirl, a 40-foot fun slide, a Ferris wheel, and the Live Oak Lady Bug roller coaster (ride it here). A miniature train tours City Park along narrow-gauge tracks, featuring open-air passenger cars and an engine with an authentic, old-time steam whistle. Take the train ride here!

Next to Carousel Gardens, Storyland has 25 vintage sculptures of children's favorite story-book characters. Kids can climb aboard Captain Hook's pirate ship, follow Pinocchio into the mouth of a whale, scamper up Jack and Jill's Hill, or visit the old lady who lives in a shoe.

This link is a map of the entire City Park, and this link shows the southern part that we toured today. You can certainly see see how big and diverse this park is. Here are some of the things we saw and did as we roamed around the park.

Built by the WPA, the New Orleans Botanical Garden was New Orleans' first public garden, and it is one of the few remaining examples of public garden design from the WPA. It contains more than 2,000 varieties of plants from around the world, including aquatics, roses, orchids, native plants, ornamental trees, shrubs, perennials, and more inside various theme gardens.

The New Orleans Museum of Art is the city's oldest fine arts institution. It contains a permanent collection with more than 40,000 objects and is noted for its extraordinary strengths in French and American art, as well as photography, glass, and Japanese works.

Outside the museum, the five-acre Sydney and Walda Besthoff Sculpture Garden holds more than 60 sculptures collectively valued at $25 million. These incredible works of art are nestled along meandering footpaths, reflecting lagoons, and 200-year-old live oaks inside the garden. You can see lots of pictures of the sculpture on this year's Day 6 photos page.

City Park's pride and joy are its 30,000 trees. Although the park lost around 2,000 trees after Hurricane Katrina, they have already planted more than 8,000 trees in the past several years, in keeping with the master plan to not only repair damage but to build a better park.

The crown jewel of the park is the world's largest stand of mature live oaks, which includes one that dates back nearly 800 years. These unique trees are known for their distinctive sculptural shape and long limbs. Spanish moss and resurrection fern are often found growing on the oaks.

The live oak's native range is from Virginia to Florida and along the Gulf Coast into Mexico. It is a coastal plain tree that does not normally occur in the uplands. Several traits make the live oak unique. It is evergreen, or almost so, because the old leaves drop about the same time as the new leaves appear in the spring. Thus, the name "live" oak. It has a distinctive low spread and form. It is common to see mature trees with lateral limbs that reach the ground and a branch spread twice the height of the tree. In City Park, Mother Nature and forefathers with foresight worked together to create a live oak forest like none other in the world.

The majority of the park's oldest and largest live oaks are located along the lagoon which was created from Bayou Metairie, the remnant of an ancient distributary of the Mississippi River. This group of trees is found at the southernmost part of the park, between the lagoon and City Park Avenue.

It was along Bayou Metairie, many hundreds of years ago, that the oldest of the live oak forest began to grow. The native tribes that traveled Bayou Metairie camped under these young trees. The trees there today are among the remnants of this ancient forest, which established itself long before Iberville and Bienville first scouted the area for a site to build the city and port that became New Orleans.

In the first century of European occupation in this area (1720-1820), there was not a lot of activity beneath the shade of the already old live oak forest. But the area was far enough removed from the city that gentlemen selected it to duel beneath the giant oaks. The trees were also the site of an occasional suicide. Hence, you'll find trees named Dueling Oak and Suicide Oak. During this period the live oak forest regenerated itself as it had done throughout the centuries. Other trees, progeny of the oldest, began their lives to become many of the larger live oaks present in the park today.

In the mid 1800's, the people of the city began to use the old bayou bank and live oak forest as a park. The 100-acre tract was known as the Allard Plantation and was donated to the city by local philanthropist John McDonogh.

The year 1891 marked the beginning of the development of today's City Park. The guiding force behind this development, the City Park Improvement Association (a group of business and political leaders), was organized by florist Victor Anseman. The present-day lagoon system was begun by incorporating Bayou Metairie. Landscaping included the planting of live oaks, another generation (manmade) was added to the forest.

During the 1930's, the work of the WPA added new dimensions to the park. Extensive tree planting was done during this time, greatly expanding the live oak population and adding yet another generation. These trees are now reaching 10 feet in circumference. Since then, the park has continued to add to this dynamic live oak forest.

Being along City Park Avenue was a fortunate place for the live oak trees to be during August 2005. The flood devastated nearly the entire park -- with the exception of the strip of land called the Old Grove. Bayou Metairie had spent so many years rising and falling, leaving behind silt, that this part of the city is on considerably higher ground. Fortunately the oldest trees did not sit in water for any length of time.

As we arrived at the park we walked through part of this spectacular grove of trees on our way to get something to eat at the Morning Call Coffee Stand

When they opened this café in City Park, it marked a new chapter for an institution with long roots and deep nostalgic ties in New Orleans.

The Morning Call first opened in 1870 in the French Market, where for more than 100 years it served coffee and beignets and competed with Café du Monde for the business of market shoppers and vendors. They relocated to Metairie in 1974.

In 2012, the Morning Call and City Park announced plans to open a new Morning Call inside the park. Morning Call would replace an unremarkable concession stand and operate 24 hours a day, seven days a week.

However, the new Morning Call hardly feels new at all. With tile floors, marble counters, big steel coffee urns and an arch of bare light bulbs, it conjures images from historic photos of the original Morning Call and it fits naturally in the old bones of the City Park's Casino Building. Café tables continue out on a veranda where columns frame views of the playground, a lagoon, a bandstand, and the Peristyle.

In addition to beignets and café au lait (plus iced and frozen versions), the City Park Morning Call serves a short menu with gumbo, jambalaya, red beans and rice and such and beer and Irish coffee. The waiters are old school, and the place accepts cash only, adding to the nostalgic feel. I had a plate with three mini-muffulettas, while Laurie had a cheesy jalapeño bread (OK, full disclosure, it was supposed to be crawfish bread, but the crawfish were virtually nonexistent). Bottom line, funky, funky, funky. But not bad once you get used to the funky.

The Morning Call is located in the old Casino Building. The Casino, an example of Spanish Mission Revival architecture, was built in 1912 and served as a refreshment stand and administrative center for City Park. Although technically a "cantina" (a place where refreshments are served), as the story goes, the strong local accent transformed the word into "ca-sin-a" and eventually "casino." It was never used for gambling. In 2000, after a renovation, the building was renamed the Timken Center.

As we walked further into the park after lunch, beyond the Carousel Gardens (closed today), we came upon wildflower fields and then Tad Gormley Stadium. Originally known as City Park Stadium, the park's major athletic venue was built in 1935-36 by the WPA. The stadium was renamed in 1965 in honor of Francis Thomas "Tad" Gormley, athletic director of City Park in 1938. 

Fall weekends see fans of local high school football teams in the stands, but Tad Gormley Stadium has hosted major events from the Catholic Church's Eighth National Eucharistic Congress in 1938 to a concert by the Beatles in 1964 to the 1992 U.S. Olympic Track and Field Trials.

We were now at the railroad tracks and Interstate 610, the dividing line between the two sections of City Park, so we decided to turn back, heading down Roosevelt Mall back toward the Museum of Art.

Rather than go to the museum itself, we decided to walk around the art its sculpture garden. We found it to be as much a natural park as an outdoor sculpture museum. More than 60 works are set around the garden's five acres with footpaths, pedestrian bridges, and ancient live oaks draped in Spanish moss. 

The collection includes work by master sculptors of the 20th century, including Antoine Bourdelle, Henry Moore, Jacques Lipchitz, and Louise Bourgeois, as well as contemporary artists like Kenneth Snelson, Allison Saar, Joel Shapiro, and Jean-Michel Othoniel. Fortunately there were also plenty of places to sit, and not just for the statues.

Our final activity was mini-golf at the awesome City Putt. I mean, how can you go wrong with a mini-golf course that serves beer! City Putt is a 36-hole mini golf complex with two courses: the Louisiana Course highlights cultural themes and cities from around the state; the New Orleans Course showcases streets and iconic themes from around the city, with signs detailing the city's historic sites at each hole. The courses have misters, too, which was really appreciated in the afternoon sun. We opted for the New Orleans course, and I don't seem to have the scorecard, which might mean that Laurie could have had the lower score. Not that there's anything wrong with that.

As we headed back toward the Esplanade Avenue entrace to the park we crossed the Goldring/Woldenberg Great Lawn. One of the newest additions to City Park (2010), this three-acre swath of green sweeps from the Peristyle on Dreyfous Avenue to the Storyland entrance on Victory Avenue. Promenades bordering the lawn on the east and west are flanked by 52 Medjool date palms. Each corner of the lawn has a square, open-sided pavilion with brick columns. Four "swing arbors" dot the lawn's walkways; each contains three swings similar to those found on front porches across the South. Six additional, double-sided swings bearing the park's initials sit in the large arbor along Victory Avenue, directly opposite the Peristyle. The arbor features a gorgeous water display, designed to run off of the roof in thin streams that flow into a fountain.

The 1907 Peristyle was built as a platform for dancing. It was designed by architect Paul Andry and cost $15,330 back in the day. It was renovated in the 1930's in conjunction with other WPA projects, and again in 1989 and 2012.

Back at Esplanade Avenue, we didn't have to wait too long for a streetcar. As we headed back down Carrolton Avenue and Canal Street, it filled right up with rush hour passengers, but we were back downtown before we knew it.

Looking for some refreshment, we immediately headed into the French Quarter, where we  visited La Divina Gelateria on St. Peter Street. One of the cool things about this place is that they have a "poem of the day" on a board behind the counter and offer a free gelato to anyone who can identify the poet. Laurie identified today's poet as William Carlos Williams and thus her hazelnut gelato was complementary. I paid for my scoop of latte and my scoop of hazelnut. We sat outside at their tables in Cabildo Alley and rested our weary legs.

We headed back to the Staybridge by way of Jackson Square and some more street music, took an hour or so to regroup, then headed back out for some dinner. 

On our way to the restaurant we had picked, our route passed by Lafayette Square. There, the Young Leadership Council of New Orleans was sponsoring a special Tuesday edition of their Wednesday at the Square concert series. We became aware of this event on our very first evening in New Orleans, back in 2012, when our Airport Shuttle passed by Lafayette Square just as that evening's concert was ending. The driver filled us in on what was happening and said it should be on our radar every Wednesday we are there. The concerts run for 12 weeks in both the spring and fall. They have a large stage at the St. Charles Avenue end of the square, and there are quite a few food and beverage vendors there as well.

Through volunteer-created community projects, the Young Leadership Council (YLC) recruits and retains young professionals to New Orleans to create a positive impact on the quality of life in the region. It's the oldest independent young professionals organization in the country, and it has raised more than $25 million to develop leadership through community projects in and around New Orleans since 1986.

On the stage this evening was the phenomenal musician, composer, and bandleader Christian Scott, aka Christian Scott aTunde Adjuah, known for his genre-bending approach to jazz. Scott and his twin brother, Kiel, were born in March 1983, in New Orleans. His grandfather was the great Mardi Gras Indian chief Donald Harrison Sr. 

Scott grew up surrounded by music, the nephew of tenor saxophonist Big Chief Donald Harrison Jr. He started playing the trumpet when he was 11 years old. It was no surprise that he soon became very proficient on the trumpet -- so good, in fact, that Harrison began having him play at his gigs. Scott attended the New Orleans Center for Creative Artts (NOCCA), where he studied jazz under the guidance of program directors Clyde Kerr Jr. and Kent Jordan, all while he was touring the world with Harrison, living the life of a much older jazz professional.

Scott says, "I actually wanted to play the saxophone, but my uncle played the saxophone, and I realized that if I played an instrument that was related to his instrument, it would probably be easier for me to apprentice with him and go on the road. If I played the same instrument, it would be redundant to take me on the road. So I picked the instrument because of its relationship to my Uncle Donald. But I hate the sound. Part of the reason why I create my own line of trumpets and all these different types of B-flat instruments is because I hate the sound of the trumpet. It's terrible!" Scott designs and his brother crafts the instruments he plays, which he calls B-flat instruments, not trumpets.

"In New Orleans," he says, "You can pitch a rock and hit a great trumpeter. But it's also one of the few ways that a lot of people from the inner city, historically, can build resources. If you come up in New Orleans, the captain of the football team is not popular; it's the bandleader or the drum major or the section leader. They know that these kids have access to resources when they grow up, whereas if you play football, what are the chances of that?"

"The first band I played in was my uncle's band. He has a concept of music called "Nouveau Swing," which, at the time in the 1990's, was a completely new approach to rhythms. A lot of what we're doing now is derived from that, and that's how I learned to play. It was an incredibly popular band, so my introduction to the road was with him. We'd go to Japan, Portugal, Brazil, Colombia, Australia -- all over.

"I was always the youngest person. Now I'm starting to be the old guy. It's cool; I like it. But I was the youngest person for like the first 15 years of my career. I was in an environment of 40-year-olds.

"Some of the things that I learned on the road were helpful and some of them were terrible things that I would never, ever teach that to younger people. The road's a rough place for kids, but I did learn a lot. I became everyone's favorite pet thing, because it would make it easier for the other players to get girls if I was there. They knew that. I didn't know that. I was just trying to get information about music."

Once he graduated from NOCCA, Scott received a scholarship to attend Berklee College of Music in Boston. While attending Berklee, he was a member of the Berklee Monterey Quartet and studied under the direction of Charles Lewis, Dave Santoro, and Gary Burton. He graduated with a major in professional music with a concentration in film scoring.

Since then, Scott has been tirelessly working to develop a sound that connects and identifies with younger audiences across a variety of cultures, releasing albums at a steady pace for more than a decade. Though he had already appeared on record with his uncle, he made his major-label solo debut in 2006 at age 22 with "Rewind That." The record combined rock and R&B motifs with modern jazz, featured Harrison as a guest performer, and was nominated for a Grammy later that year. The recording is striking in its blend of the organic and the electronic, the edgy and the ageless, with Scott's broad, brooding lines spread across the rough-hewn beats of trap music, the dynamic rhythms of 21st-century jazz drumming and the percussive traditions of West Africa. 

Scott returned in 2007 with "Anthem," a passionate response to the suffering of his fellow New Orleanians post-Hurricane Katrina. He has a profound understanding of New Orleans' African-descended cultural history, and "de-Westernized" his name in time for his 2012 release, "Christian aTunde Adjuah." His musical ambition manifested itself expansively in this double-disc recording, which plays as if Tortoise and Radiohead began listening to hip-hop and spent their musically formative years surrounded by Louisiana's rich jazz and Mardi Gras Indian cultures.

He describes what the Mardi Gras Indians led by his grandfather and uncle mean to the community in the current generation: "They create an environment and a space of welcome for the community. In the older system, sometimes you settled accounts for the neighborhood and that type of stuff. But my family has a non-profit for culture retention where we have programs that teach children everything from West-African rhythmic retention to fiscal literacy. We have a literacy program, and last year we gave away 40,000 books to kids in the Ninth Ward. It really becomes about being immersed in the community and being a presence -- letting the people in the neighborhood know that there is someone there that will do whatever they need done, essentially. Whether it's sitting in a city council meeting and starting fires in that way, or rubbing elbows and shoulders with people that are elected officials in the municipality."

In 2015, Scott returned with "Stretch Music," an even more experimental, genre-bending album with heavy electronic influences. "Yeah, it's jazz," Scott says of the recording. "But it's also indie rock. It's also hip-hop."

Then, earlier this year he released "Ruler Rebel," a politically charged set that he announced was the first in a series he dubbed The Centennial Trilogy. The second and third volumes in the trilogy, "Diaspora" and "The Emancipation Procrastination," have since followed. The series was intended to honor the 100th birthday of recorded jazz, while contemplating the political and social ills that still tear at the fabric of America.

Scott says, "Stretch music grew out of me trying to address something that I saw in my everyday life in my neighborhood -- trying to develop that and refine that and excavate exactly what that was in a way that, when I communicated it, it was palpable and easily read. That started really early. Why it started was from something that I was really angry about.

"I grew up in the Ninth Ward, and across the street from my house is William Frantz Elementary School. William Frantz was the first desegregated school in the Deep South; it was desegregated by a little girl named Ruby Bridges. There's this beautiful Norman Rockwell painting of her walking, and someone wrote 'nigger' on the wall and people are throwing tomatoes at her.

"As a kid, this was very fracturing and confusing to me. I would see black families that were food insecure and white families that were food insecure; black families raising children that were being undereducated so they could be in the labor class, and white families going through the same. They were having the same experiences and living in the same spaces, but because of these old-world notions, it was an adversarial thing. As a young person, this bothered me a lot because I could feel there was no merit for it.

"When I was a kid, I was looking at this and trying to figure out a way to musically address this fracturing. I was seeing my friends that have profound love for each other, once they were 13 years old, not really spend time with each other because they look different. Part of what I wanted to do as a young person, and what we're doing now, is to try to eradicate this limited notion of how people are interacting with each other through hyper-racialized ideas."

OK, so that was a lot of background considering we didn't spend a lot of time at the concert because we were in need of dinner. But Christian Scott is such a fascinating artist and the music is unbelievably good. Here's the short video that I took at Lafayette Square tonight. For some more, which you can listen to while you read all of the above, here's an NPR Tiny Desk Concert with Scott and his band, here is a full hour from 2015 in Boston, and here is an even longer concert from this year at the Festival Jazz à Vienne in France.

So ... moving on to dinner. At the opposite corner of Lafayette Square from the Jazz in the Park stage, next to the John Minor Wisdom U.S. Court of Appeals (Fifth Circuit) building, is a narrow, one-block long street. On that street is a bistro named after the street, Capdeville. It's the only address on the street. 

Who or what is a Capdeville? Well, Paul Capdevielle (1842-1922) was elected Mayor of New Orleans at the turn of the 20th century and served from 1900 to 1904. Despite his success in the industrialization of the city (most importantly installation of the modern sewage and drainage system), today he is recognized only by the one-block street that is his namesake (or almost is ... I wonder what happened to the second e?). 

Capdeville the bistro takes a British ale house and throws an American spin on it. It was like no other place we had been at so far in New Orleans. It's probably more a bar than a restaurant, but there is certainly nothing wrong with that. It was a real find. The clientele is friendly and there appear to be a lot of regulars there. No crowd, nice decor (record album covers, how can you go wrong?), relatively quiet, and  a friendly staff. For those who drink the strong stuff, Capdeville has a huge selection of American whiskeys. The antique jukebox with 100 albums from classic and emerging artists complements the friendly atmosphere. It even has a few tables outside for those who choose to dine "al fresco."

Since it opened in 2009, Capdeville's menu has emphasized gourmet interpretations of classic comfort foods. So you have hamburgers (with unique variations) accompanied by their best friends, fresh-cut fries, but also some very creative dishes. 

So for dinner I had duck and pear wontons to start, followed by a hearty steak salad with an iceberg wedge, tomatoes, and bleu cheese. Laurie had a roasted pear salad with baby spinach, goat cheese, and candied walnuts. Beers were Envie Pale Ale from the Parish Brewing Company in Broussard, Louisiana, just south of Lafayette.


Today's daze finished us off. We returned to the Staybridge before 10 and called it a day. But it was a good day, one in which we went to a new place, ate at two new places, and finally got to see a Wednesdays at the Square concert, even though it was Tuesday. How good is that? 

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© Jeff Mangold 2012