This coming Saturday, May 15, as part of World Cocktail Week, Cure in New Orleans (one of my favorite bars anywhere) is holding an event called “Bartending by the Book” which will benefit the Museum of the American Cocktail and the New Orleans Culinary and Cultural Preservation Society. This’ll be an interesting event, because the Cure bartenders are holding themselves to follow classic recipes from one of the city’s most venerable imbibing tomes, Stanley Clisby Arthur’s Famous New Orleans Drinks and How to Mix ‘Em, as difficult as that may be given the differences in ingredients between then and now.

Doubly interesting, as the creative bartenders at Cure tend to use the old recipes as jumping-off points rather than hew faithfully to them. At this event you’ll be in a bit of a cocktail time machine, sipping history as closely as we can get it.

The four drinks they’ve chosen for this event include the familiar — the Daiquiri, the Stinger and the Vieux Carré — and one that might not be so familiar, although it’s local. That one’s the St. Charles Punch, named not for the grand streetcar- and oak-lined avenue stretching from Canal Street to the Riverbend, but for the grand hotel which once existed there. Or one of them, at least.

The St. Charles Hotel actually had three incarnations. The first one was designed by the architect James Gallier, whose name was given to Gallier Hall on St. Charles Avenue, New Orleans’ city hall from 1853 to 1958. It was the first truly grand hotel in the city, which was up until then not known for luxurious accommodations (nor for well-built ones, like the Planters Hotel, which collapsed into the soft soil in 1835, burying sixty people and killing a third of them)¹.

According to Mary Cable’s book Lost New Orleans, it was quite a sight:

The St. Charles was certainly no common structure. It was taller than any building in New Orleans — six stories, surmounted by a gleaming white dome that could be seen for miles up and down the river. According to Norman’s 1845 guidebook, “The effect of the dome upon the sight of the visitor, as he approaches the city, is similar to that of St. Paul’s in London.” Mr. Norman, beside himself with admiration, went on to speak of the “indescribable effect of the sublime and matchless proportions of this building upon all spectators — even the stoical Indian and the cold and strange backwoodsman, when they first view it, are struck with wonder and delight.”²

The St. Charles Hotel, 1836-1851, from Lost New Orleans, by Mary Cable

It wasn’t around long; “[t]his spendid pile lasted a bare fifteen years. In the spring of 1851 a fire that started in the kitchen spread through defective chimney flues and within three hours the entire hotel was in ashes.” Miraculously, no one was killed. Perhaps it was for the best; “according to a contemporary architect (not Gallier) the foundations had settled at least 28 inches, the external walls were cracked and the floors were ‘very undulating.'”³

A second hotel went up in the same spot, designed by Isaiah Rogers and George Purvis, very much like Gallier’s Greek revival original but without the great dome. It opened a mere two years later and was itself burned to the ground in 1894.

The 2nd St. Charles Hotel, 1853-1894

Third time’s a charm … the third St. Charles Hotel went up on the same site two years later in 1896 and was quite a nice hotel, albeit without the grandeur of its predecessors.

The 3rd St. Charles Hotel, 1896-1974

For about sixty years it was a New Orleans favorite for Mardi Gras balls, coming-out parties, high-level political meetings and as a rendezvous for the elite, to whom it was the equivalent of New York’s old Ritz-Carlton. For no imperative reason, the third St. Charles was demolished in 1974. The ghosts of three memorable buildings now hover above a parking lot.⁴

According to Arthur this punch was a specialty of the bar at the St. Charles Hotel (presumably the third) and was in great demand among its patrons. I’m not sure it’s technically a punch, as the proportions are nowhere near the classic “1 of sour, 2 of sweet, 3 of strong and 4 of weak, plus spice.” There’s not much weak in here, no spice and it’s a very tart punch.

That said, it’s a delightful punch and goes down … dangerously quickly.

THE ST. CHARLES PUNCH
(adapted from Stanley Clisby Arthur’s
Famous New Orleans Drinks and How to Mix ‘Em)

1 teaspoon rich simple syrup (2:1)
1/3 teaspoon orange curaçao (1 dash)
1-1/2 ounces fresh lemon juice
1-1/2 ounces ruby port
1 ounce Cognac

Arthur’s original instructions: “Dissolve the sugar with a little water in a mixing glass. Add the lemon juice, the port wine, the Cognac, and last the curaçao. Fill the glass with fine ice and jiggle with the barspoon. Pour into a long thin glass, garnish with fruit, and serve with a straw. […] Don’t omit the straw; this drink demands long and deliberate sipping for consummate enjoyment.”

I loved Anita‘s comment from the photo’s Flickr page: “Any drink that looks that good can demand pretty much anything it likes.”

I did without the original teaspoon of granulated sugar and splash of water, and substituted a rich simple syrup for ease of use. I also upped the curaçao to a teaspoon so it wouldn’t get lost — I am a fan of dashes of ingredients in cocktails, but I wanted the orange flavor to be a bit more there, and a tad more sweetness to counter the lemon. I also used cubed ice in the photo because I’m a lazy bastard. Don’t be like me — crush your ice!

1. Mary Cable, Lost New Orleans (New York; American Legacy Press, 1980), pp. 108-109.

2. Ibid., p. 109.

3. Ibid., p. 111.

4. Ibid., p. 114.

“Hey, you seen ‘Treme?'”

When I was back home in New Orleans, HBO’s new locally-based series was the talk of the town. With practically everyone I talked to, the feelings are overwhelmingly positive. Although there are some “Treme”-haters (and one is certainly welcome to dislike the show for one’s own reasons), they seem to be in the minority, as New Orleanians for the most part embrace the show and have been organizing “Treme” watching parties, in private homes and organized in public places, like the Charbonnet-Labat Funeral Home on St. Philip Street in the show’s namesake neighborhood.

Given that I’ve been out of town I’ve been remiss in writing about the show myself, but here are my feelings in a nutshell. I love it.

Some people quibble about little inaccuracies in the geography or culture, mostly anachronisms (“That wasn’t open for two more months after this is set!”), but all that can be easily brushed away. The producers and writers are going well out of their way to be true to the culture and spirit of the city, and the story they’re putting together serves a greater truth. We also must remember that this isn’t a documentary, it’s fiction — they’re telling a story, and fictional and fictionalized elements of reality enter into it. It all boils down to the story they’re telling rings true to so many New Orleanians, reflective of their feelings and experiences after the storm and the Federal flood.

The characters, many of them based on real people, ring true as well. We’ve known people like this. The most astonishing character of all is Clarke Peters’ Big Chief Albert Lambreaux — not only the standout character on the show, but one of the standout characters in any show I’ve ever seen. His dignity, determination, pride and complexity are a rare thing in episodic television, and to think … he’s portraying the black Mardi Gras Indian community and doing it well! The respect and honor shown to the Indian culture by this show blows me away, and as far as I know it’s the first and only portrayal of that rich subculture of New Orleans outside of a documentary.

Here are a couple of my own photos of Indians parading in the Tremé on Mardi Gras Day 2006, the first one post-Katrina.

Because I’m behind, this is going to be sorta five posts in one — let’s get going.

Dave Walker, longtime television writer for the New Orleans Times-Picayune, is one of many New Orleanians who’ve been writing about the show. Da Papuh has an entire sub-site about “Treme,” and one feature Dave’s been writing each week is called “‘Treme’ Explained,” which is a guide to all the unexplained references to New Orleans in each episode. These are li’l tidibits that most New Orleanians are probably going to catch, but lots of people from elsewhere probably won’t. It helps make the show that much richer on your second, third and subsequent viewings.

Here are links to the columns so far, with a few excerpts and other tidbits. There are a few spoilers, so if you haven’t seen the first five episodes yet, you might want to refrain from reading further until you have.

Episode 1: “Do You Know What It Means?”

My first reaction after seeing the pilot episode: “I could not have dreamed that it would be this good.” Quibbles notwithstanding.

For starters, view a comprehensive archive of the Times-Picayune’s Katrina coverage, including an animated map of the levee failures.

It’s pronounced treh-MAY. Or TREH-may. Or … oh, just watch the video.

A second line is a neighborhood street parade. Typically, participants include a sponsoring social aid and pleasure club and brass band (the main line) and whoever else wants to participate (the second line). Second line photos and videos.

Social aid and pleasure clubs date to the late 19th century. One of their early functions was to provide funeral insurance for members. David Kunian – WWOZ-FM show host and ace New Orleans music documentarian – has the written the definitive piece.

The second line that opens the premiere of “Treme” is meant to re-create a second line staged on Oct. 9, 2005 in honor of Austin Leslie (a photo of Leslie can be glimpsed, very briefly, on an attendee’s fan).

TV-history bonus: Austin Leslie was a master of Creole soul food who served as one of the inspirations for the great CBS TV comedy “Frank’s Place,”  He died in Atlanta at age 71 a few weeks after Hurricane Katrina.

The bridge causing Davina Lambreaux so much anxiety is the Crescent City Connection, which spans the Mississippi River and links the east and west banks of New Orleans. After Hurricane Katrina, people attempting to evacuate the flooded east bank across the bridge to the dry west bank were turned back by law enforcement. Stories here and here.

The opening theme is “Treme Song,” by John Boutte. It’s playing on a loop in my head and also here.

The WWOZ-FM 90.7 live stream is here.

The song that plays under the closing credits is “My Darlin’ New Orleans” by Little Queenie. Hear it on her MySpace page here.

I’m generally not one to toot my own horn, but “My Darlin’ New Orleans” is back in print and available for the closing credits because I put it on the “Doctors, Professors, Kings and Queens: The Big Ol’ Box of New Orleans” box set six years ago. I’m proud to have made my li’l contribution there.

😉

 
Continue reading …

The legendary Pat O’Brien’s Bar in the French Quarter, New Orleans. Opened its doors on December 3, 1933, two days before the end of Prohibition (well, ya had to have a coupla days to get ready).

As the story goes, back in the 1940s the bar’s partners Benson “Pat” O’Brien and Charlie Cantrell were forced by liquor wholesalers to order as many as 50 cases of rum along with whatever other spirits they wanted, or else no deal. There was a glut of rum post-Prohibition and the dealers wanted to move it. Problem was, Pat and Charlie couldn’t care less about it. What the hell are we going to do with all this rum?! Their solution — create a drink to use up all this rum. After some tinkering they wound up with a powerful mixture of rum, passion fruit syrup and fresh lemon juice and created a taste sensation.

Pat O’Brien’s is quite possibly the most popular bar in the French Quarter, certainly among tourists — (a Times-Picayune article on the history of the place from a couple of years ago said that 95% of all first-time New Orleans tourists go there. You’ll even sometimes see some locals in there, although probably not so much as in older days. The Main Bar and Piano Bar in the front were once popular haunts for locals, and the Courtyard Bar, with its flaming fountain, is one of the most beautiful bar spaces in the city, and you should really go see it if you haven’t … as long as you don’t mind sharing the space with loud tourists and Texas frat boys.

There’s just one little problem — the drinks are pretty terrible.

Oh, you can get some okay mixed drinks there, but … well, Pat O’Brien’s put me off Mint Juleps for years because I made the mistake of ordering my first one there. I got a bright green concoction made with mint syrup and not a speck of fresh mint other than a wilted garnish that looked and tasted like Scope, and the bartender actually mocked me when he served it to me.

Regarding the Hurricane as currently served at Pat O’Brien’s, I have one word for you: sweet sweet sweet Sweet SWEET! (Okay, one word five times.) Rum? Oh yes, and lots of it, four whole ounces per drink. They go through a lot of it; it’s said that Pat O’s is the single largest purveyor of rum in the world. Passion fruit? Um … not so much. I’d say that flavor is undetectable in the drink. Lemon juice? Zilch. There is no balance of tart in this drink. Did I mention that it’s SWEET? Teeth-shatteringly sweet.

“A stealthy drink” is how my friend Chris Clarke once described it, and that it is. It’s like an alcoholic kool-aid in which you cannot taste the alcohol. And you can forget about any fresh ingredients — the recipe at the bar is rum (I don’t know which one they use in their well) plus “Hurricane mix,” which at the bar is a premade, artificially colored, artificially flavored bottled red stuff, which is also available in envelopes in powder form.

If you’re serious about cocktails, this isn’t anything you really want to be drinking.

In fact, in a post from Tales of the Cocktail’s weblog a while back, the Hurricane was listed as one of the worst drinks on Bourbon Street (then again, can you get a good drink on Bourbon Street anywhere past Galatoire’s?). Research for this post resulted in a highly amusing photo of a bunch of cocktail bloggers sucking down their Hurricanes like mother’s milk.

Shamelessly purloined from Trader Tiki

They look thrilled, don't they?

I don’t know when Hurricanes stopped using passion fruit syrup and citrus and when they started being red, but if you look at the list of ingredients — rum, passion fruit syrup and lemon juice — you don’t see anything red in there. Perhaps someone dumped grenadine in it once, and that evolved into the syrup … I really don’t know. If you do, let me know.

When I was in college, having just moved to Los Angeles from New Orleans, I was really homesick and didn’t know a damn thing about proper drinking. My homesickness caused me to bring back many envelopes of that awful powder and throw “Hurricane Parties,” the object of which was to socialize and get stinking drunk. (To be honest, we did have a great time, even though after the first round or two I stopped using “the good rum,” i.e. Bacardi, ahem, and started mixing them with plain wrap rum that was probably a step above tiki torch fuel.) If I didn’t have the powder, I used a a “faux-Hurricane” recipe that I found in an old local cookbook called La Belle Créole calling for a mix made with 46 ounces of Fruit Juicy Red Hawaiian Punch (back in the olden days, that was “one large can”), one 12-oz. can of frozen orange juice concentrate, and one 6-oz. can of frozen lime daiquiri mix. Though it didn’t taste all that much like the Hurricanes served at Pat O’s it was fruity, red, and we were too drunk to be able to tell the difference anyway.

A long time ago I found a recipe somewhere — I think it may have been in the Times-Picayune — to make a Hurricane out of all fresh ingredients. It looked pretty good, and I tweaked it to suit my tastes. It didn’t taste much like what was served at Pat O’s, but it was a pretty nice tropical drink and it was still true to the rum-passion fruit-citrus base. (It’s also nothing like the actual Original Hurricane; I’ll teach you how to make that in a bit. Keep reading.)

I had that older recipe up in an previous version of the website for ages, and it ended up in Gary Regan’s The Joy of Mixology. Here’s that version, slightly adapted; gaz swapped out lemon juice for my lime. If you can find fresh passion fruit juice or purée, use 2 ounces of that plus 1/2 ounce of simple syrup instead of the passion fruit syrup, otherwise mix as below:

Hurricane Cocktail: A Variation
(adapted from my recipe as published in The Joy of Mixology)

1-1/2 ounces light rum
1-1/2 ounces dark rum
1 ounce fresh orange juice
1 ounce fresh lime juice
2 ounces passion fruit syrup
1 teaspoon of real pomegranate grenadine

Shake with ice and strain into an ice-filled Hurricane glass or tiki glass. Garnish with a “flag” made of an orange slice and a cherry on a cocktail pick.

This is still a bit sweet but not nearly as sweet as the Pat O’Brien’s premix Hurricane, and it’s all fresh and not artificial.

Oh, and don’t skimp on the passion fruit syrup, either for the above variation or the real thing below. The go-to passion fruit syrup for years has been Trader Vic’s, but it has been reformulated with artificial ingredients and is no longer acceptable. You can get passion fruit syrup from Monin or Torani, opinions of which range from decent to acceptable to yuck, but you’ll really want to go to Aunty Lilikoi from Hawaii and order the best in the world. Seriously, it’s an order of magnitude or two better than the aforementioned ones.

As I understand it the original drink was made with lemon juice. If you’re a stickler for history and if you prefer it that way, use freshly squeezed lemon juice and you’ll be drinking some true New Orleans history. However, I think that lime works so much better and so perfectly in this drink that at home we make it with lime juice. Try it both ways and see which one you prefer.

For the rum try Appleton V/X from Jamaica, or Old New Orleans Amber Rum for a local touch. Jeff “Beachbum” Berry likes Gosling’s Black Seal, and Matt “Rumdood” Robold prefers Coruba “by a factor of about a billion point seven.”

This is for a reasonably-sized drink, not the super-sized one you typically see; unless I’m seriously getting my tiki on, perhaps quaffing at Tiki Ti when someone else is driving, the original proportions might be a bit much. That proportion called for four ounces of spirit, and two ounces of each of the other ingredients. If you want a big one served in a hurricane glass, just double this recipe, then prepare for blottofication.

The Original HURRICANE COCKTAIL
(adapted from the original recipe as seen in
Beachbum Berry Remixed, by Jeff Berry)

2 ounces dark rum
1 ounce Aunty Lilikoi passion fruit syrup
1 ounce fresh lemon juice (the original recipe) or lime juice (which I prefer)
Orange slice and cherry.

Combine rum, syrup and juice with ice and shake vigorously until the mixing tin frosts. Serve in a double Old Fashioned glass or tiki glass over crushed ice, and garnish with an orange and cherry "flag."

Now THAT’S a Hurricane, brah.

“Come and see me if you get a chance,” read the message from Chris McMillian. “I’ve got a new drink for you.”

To describe my reaction as “intrigued” would be a fairly massive understatement.

(If you’re not familiar with Chris, read Wayne Curtis’ article about him in Imbibe, and watch some videos of him making cocktails, especially the Mint Julep. Well, maybe not that last one; that one’s better seen and sipped in person.)

While we were home in New Orleans for two weeks a visit with Chris, dean of New Orleanian bartenders and his lovely wife Laura, both of whom are founding board members of the Museum of the American Cocktail, was pretty high on our list. We’d been hoping to get to Cure and French 75 as well, but seven days at the Fair Grounds, a trip to Acadiana and visits with family and friends cut down on our bar time. We were lucky enough that timing worked out such that we were right near Chris’ bar when he was on during one of our only free days in the Quarter/CBD.

Laura stopped by not long after we arrived and we were having a grand time all around when Chris asked if we’d like to taste something. Despite his great talent and profoundly deep knowledge of New Orleans and cocktail history, Chris is a pretty modest guy and doesn’t consider himself the type of bartender/mixologist who’s constantly coming up with new drinks. “If I come up with two new drinks a year that’s pretty good for me,” he says. In my experience those two drinks tend to be worth waiting for, and this was no exception.

The drink he prepared for us falls into the category of “Why didn’t anyone think of this before?” or even, “Hell, why didn’t I think of this?!” (Well, because he’s Chris and I’m me, that’s why.) The drink was so simple, yet so sophisticated and absolutely delicious.

It has its history in a few different places, starting with the classic Champagne Cocktail. Traditionally it’s a sugar cube soaked with Angostura Bitters, dropped into a Champagne flute and topped with bubbly. The Champagne treatment in a cocktail is often acknowledged by appending the word “royale” to a drink’s name, as in the classic variation on the Kir cocktail. That began as a combination of crème de cassis (blackcurrant liqueur) poured into white wine, a drink that was once commonly called blanc-cassis but was eventually called Kir in honor of Félix Kir, a mayor of Dijon, France in the early 20th Century who loved the cocktail and was frequently seen quaffing it. Substituting Champagne for the white wine made it a Kir Royale.

Simple enough, then — give a Sazerac the Royale treatment. This is an ideal apéritif and a perfect Sazerac variation to serve to those for whom a strong whiskey cocktail is a bit overwhelming. This drink is a knockout.

THE SAZERAC ROYALE
by Chris McMillian, Bar UnCommon, New Orleans

1/2 teaspoon Herbsaint Original or absinthe
1 sugar cube
3-4 dashes Peychaud’s Bitters
1 ounce rye whiskey (Chris used Old Overholt)
4 ounces chilled Champagne
Lemon peel

Rinse a Champagne flute with the Herbsaint or absinthe and discard the excess. Drop the sugar cube into the flute and soak with the bitters. Add the whiskey, then carefully top with the chilled Champagne. Twist the lemon peel over the surface, rub it around the rim and commit the sacrilege of dropping it into the drink.

I’ll post Chris’ other new one later this week.

Oh, um … yeah, I probably shouldn’t cuss in an actual post title, should I?

Well, you may have noticed — if you’re a New Orleanian, there’s no way you wouldn’t have noticed — that the disastrous regime of would-be Mayor C. Ray Nagin is finally over. There was an inauguration on Monday, Mitch Landrieu is now the mayor, and we’re all hoping he can kick the right asses and get things done.

I don’t really write about politics anymore, but I do write about New Orleans, and the inauguration of a promising new mayor after 8 years of Nagin’s incompetence, corruption, and lack of accomplishment is a big deal. Primarily, the post is to share this — for those of y’all who don’t subscribe to the New Orleans Times-Picayune, this was a half-page ad appearing on the back page of the front section on Monday:

As you can see, it’s credited only to “a 100% gladly paid-for advertisement!” Whoever they are, I want to buy them all drinks. Y’all rock.

For those of you who are from out of town, in the upper corners are Nagin’s “crime cameras”, covered with cobwebs as most of them never worked anyway. In his pocket is a chocolate bar referring to his infamous “chocolate city” remarks, and his necktie says “Jamaica,” referring to an infamous vacation to that Caribbean nation with his entire family, paid for by a technology firm that had several contracts with the city. (The city’s former CTO and Nagin’s close friend and top aide was indicted on 63 counts of bribery, kickbacks, corrupton, tax fraud and much more, involving the owner of the firm who paid for the trip.)

Here’s a bit of video of a WWL-TV reporter attempting to interview the former mayor at Landrieu’s inauguration celebration:

And here are some of his recent quotes, the last we’ll ever hear (I hope):

[WBOK radio host Gerod] Stevens prodded Nagin for a response to his critics, such as those who have called for the mayor to spend some time as a homeless person under the Claiborne Avenue overpass.

Nagin rose to the occasion. “Kiss my chocolate buttocks, ” he said.

Classy to the end, Clarence.

Now go away to Dallas and don’t come back.