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Food

Uptown Charm: A Distinct New Orleans Neighborhood

There’s no question that New Orleans as a city is about as unique as they come. When dissecting New Orleans, it becomes clear just how distinct it is by looking at its collection of neighborhoods. Each one is like a little town unto itself. Uptown would be the quaint village filled with gorgeous houses, tree-lined streets, people jogging down the neutral ground and families out walking their dogs.

Sunpie Barnes hosts this episode of GoNOLA Radio in which our food, music and culture hosts talk to some of the most influential people in Uptown New Orleans. New Orleans Food Goddess Lorin Gaudin talks to double threat restaurateur Aaron Burgau who owns the upscale French inspired restaurant Patois and the casual burger joint Tru Burger. George Ingmire talks to John Rankin, a classical guitar player who is a regular fixture at the Columns Hotel on St. Charles Avenue. Mikko gets familiar with Claudia Baumgarten, owner of Miss Claudia’s Vintage Clothing and Costumes on Magazine Street and member of the Pussyfooters marching club.

GoNOLA Radio is a free New Orleans podcast hosted by Sunpie Barnes, Lorin Gaudin, George Ingmire and Mikko about the food, music and culture of the Crescent City. Subscribe to GoNOLA Radio on iTunes or download to your mobile device on Stitcher. GoNOLA Radio features music by Cale Pellick.

Podcast Transcript

Sunpie: Welcome to GoNOLA Radio. My Name is Sunpie Barnes and I will be your hosts of hosts as we explore New Orleans to learn about the city’s rich cultural heritage, food and music.

We bring you experts, the real deal experts who will talk with you about the people who make New Orleans such a wonderful place to live and visit. 

It’s GoNOLA Radio.

Uptown New Orleans is known for its beautiful Oak trees arching over St. Charles Avenue and the quaint small businesses that make up its unique character. This week our hosts talk to some of those business owners and artists who keep our town thriving.

The uptown restaurant scene is booming from its exquisite fine dining establishments to its casual burger joints. New Orleans food goddess, Lorin Gaudin talks to the owner of two restaurants on both ends of the spectrum. Aaron Burgau is the owner of the French fine dining restaurant, Patois, and the delicious Tru Burger, part of the recent New Orleans burger craze.

Lorin: So, this week the theme is about uptown. And since I’m a transplant, I moved to New Orleans in the late ’70’s and, of course, to go to school, which is uptown. Thematically, in terms of food, well, you get everything uptown. What does that mean to be uptown? It means to be up river; not downtown, not in the French Quarter. 

Over the years I have learned to dine pretty dynamically throughout the uptown area. And one of my very favorite guys, a chef friend of mine, actually, who has two uptown restaurants. So, we’re talking today with my pal and a fabulous chef, Aaron Burgau, the owner of Patois and Tru Burger.

Hey, Aaron.

Aaron: Hey, how you doing, Lorin?

Lorin: Good. How are you?

Aaron: Good.

Lorin: All right. So, Patois, the tag line of the restaurant, which is located at Webster and Laurel, right near the park . . .

Aaron: Right.

Lorin: . . . fantastic, just off Magazine Street, is French food with a local patois or accent.

Aaron: Right.

Lorin: What exactly does that mean?

Aaron: Well, when we opened up, we wanted to kind of keep it fairly French, but we called it Patois . . . well, my partners found the name Patois because their grandfather speaks Patois. I really didn’t know what it meant and when I started doing some research, it kind of made sense.

It kind of lent us to be more open to different cuisines, because we do a little bit of spatial, a little bit of Italian. So, kind of didn’t pigeonhole ourselves in just being a French restaurant. So, it let us have just freedom in our menu to do whatever we wanted.

Lorin: And yet keep it really kind of uber local in many ways too?

Aaron: Right.

Lorin: Right?

Aaron: Right.

Lorin: Which I think is so incredible to use even local product and twist it your own way, give it its own accent, which is . . .

Aaron: It’s more like we use French techniques and kind of put our own twist on certain things.

Lorin: So, I know you’re open for dinner Wednesday through Saturday, lunch on Fridays and then, of course, Sunday brunch.

All right. So, I kind of want to take a little tour through the menu. So, if I’m going to go for Friday lunch, you’ve got such incredible dishes on the menu. I love the fettuccine with the shrimp is really, really good.

Aaron: Right.

Lorin: You have a fabulous burger. I notice on the menu that there was a pork chop on the menu. I want to eat that pork chop, tell me about that dish?

Aaron: Well, paneed pork chop is, I think a lot of people other places don’t know what that means, but in New Orleans, if you’re from here, you know what it means because paneed anything, oysters . . .

Lorin: So, tell me what everyone means . . .

Aaron: . . . chicken, pork, whatever.

Lorin: What does that mean to panee something?

Aaron: Well, it just means to bread it and to, shallow . . .

Lorin: Drop it in a fryer basically?

Aaron: Well, you can drop it in a fryer, you can pan saute it. In this case we pan saute it. I guess it’s another term in Italian that’s called Milanese, right?

Lorin: Right, absolutely.

Aaron: Yeah. Well, it is very similar to that. You, basically, bread crumbs, usually you pound it out. When you talk about veal, paneed veal, paneed pork chop, it’s usually pounded out a little bit to kind of make it even. So, it cooks really fast without burning the breadcrumbs.

Lorin: Yeah, but what I loved about this particular dish is crispy pork belly, potato and brussels sprout hash, farm egg and a creole mustard vinaigrette. I mean the combination of those textures and those flavors and the rich and the tart and that mustard and then the potatoes and the brussels sprouts, because you have the muskiness going on, what a gorgeous dish.

Aaron: Yeah, it’s a fun dish. It’s a lunchtime dish. It’s stuff we have, not laying around, yeah, I guess we have it laying around. We always have potatoes and we have pork belly, we have a lot of scrap from the cutting of certain portions out of the pork belly. So, we kind of mix that in with the brussels sprouts. It’s a fun dish and it’s easy.

Lorin: So, it does have a New Orleans’ vibe to it?

Aaron: Right, and put our own little twist on it. We always have farm eggs around. So, I figured what goes better . . .

Lorin: So, beautiful.

Aaron: Yeah, what goes better a nice hash and pork and a fried format.

Lorin: You got to do it because you have to poke that yolk and let all that eggy richness kind of drop all over the top of it.

Aaron: Right.

Lorin: It’s so good.

At dinner you do using a lot of Gulf seafood and I was blown away by the Snowy grouper because in that dish it’s so evocative of kind of a Rockefeller kind of thing with the fennel.

Aaron: Right.

Lorin: Tell everyone what’s going on in that dish, that Snowy grouper?

Aaron: Well, I wanted to kind of highlight the fish. I mean grouper is my favorite Gulf fish. I try to stick with either Snowy’s or Yellow-edge. Now, we have Gag. I keep it pretty general on the menu. I keep in same grouper.

Lorin: It’s a good fleshy fish.

Aaron: Oh, it’s very good. It’s really mild, really beautiful fish. My favorite.

In the traditional oyster stew, it’s kind of traditional to New Orleans, when people think of a stew, they think of a brown gravy-type of thing. Well, this is kind of just cream and a little bit of herb Pernod and fennel and leeks and oysters. It’s a very simple dish, there’s not much to it, an oyster liquor.

Lorin: And I know you do a saute of wilted spinach . . .

Aaron: Right.

Lorin: . . . as well, and then that parsnip, kind of frizzled parsnips on the top.

Aaron: Yeah, it’s kind of just for texture mainly.

Lorin: Yeah, but it adds a little something to it . . .

Aaron: Yeah.

Lorin: . . . that little piney thing that runs all the way through when you have that spinach and you have those parsnips and all those things. It’s beautiful. I love that combination. Again, like I said, it evokes an Oyster Rockefeller without really going there.

Aaron: Right.

Lorin: It’s really nice. 

And brunch is always amazing. I love the poached eggs, and the rabbit loin that you do that’s sort of like a chicken-fried steak.

Aaron: Right.

Lorin: Incredible. But I want to shift gears real fast before we have to run off and have another yummy meal and that is that you have a burger restaurant uptown called Tru Burger.

Aaron: Right.

Lorin: Why burgers?

Aaron: I don’t know. We were thinking about it and to me it’s not much of a trend. You think about food, you think about a lot of trendy . . . the way the food, where it works and there’s a lot of trends and a lot of things that are kind of hot at the moment.

Well, when you think about it burgers are always hot. I mean who doesn’t like a good burger.

Lorin: Right, they don’t go out of style.

Aaron: Right. I mean look at McDonald’s, they serve, you know whatever, billions of people annually, whatever. To me, people are always going to go eat a good burger.

Lorin: And your burgers are really great. I know you’ve worked really hard to put together a meat-mixture that’s great.

Aaron: Yeah.

Lorin: You also do turkey. The veggie burger, which is outstanding. It’s beets. So, if anyone’s not a beet fan . . .

Aaron: Yeah.

Lorin: . . . do not eat the veggie burger, because it’s all about the beets and the black beans.

And your bun is really neat cause that’s made locally too by . . .

Aaron: Leidenheimer.

Lorin: Fantastic, a local bread baker, which, they’re incredible.

I love that veggie burger. I love the fact that you do all these fun toppings. There’s a Tru sauce, which is real Worcestershire based.

Aaron: Right.

Lorin: And you come up with these specials via your right arm at the restaurant . . .

Aaron: Yep.

Lorin: . . . is incredibly talented and you’ve added all kinds of neat things.

What’s your favorite burger at Tru Burger?

Aaron: I’m pretty simple. I keep it American cheese, dressed with lots of onion. I mean to me, it has to have lots of mayo and lots of onion. I mean, that’s my burger. When I eat a burger anywhere, I mean if it doesn’t have onion, I’m not eating it.

Lorin: That’s awesome. And I know that you also do those shakes with Smith’s Creamery milk.

Aaron: Right.

Lorin: I know recently there was one that was a Butterfinger shake. . .

Aaron: Yeah.

Lorin: . . .and there’s King Cake during Mardi Gras time, and then you guys theme them banana, peanut butter, chocolate and you can pretty much do it . . . and they are thick and they’re delicious and they’re just like magic with those burgers. It’s amazing. Love that place.

And it’s on Oak Street, which has become really . . .

Aaron: Yeah, popular.

Lorin: . . . sort of a hot place for everyone to jump right off the street car and you can cruise Oak Street and do retail and eat burgers and have coffee and all kinds of . . .

Aaron: And draft beer. We have everything over there.

Lorin: Exactly. It’s a phenomenal . . . congratulations. I love Tru Burger. 

Aaron: Thank you.

Lorin: It’s a really terrific place.

And we are facing festival season and you and I talk about this a lot because we lunch, we like to eat a lot of pho together.

Aaron: Right.

Lorin: Vietnamese Food.

Jazz Fest is coming up. I have my favorite dish at Jazz Fest, which is, I love the jama- jama.

Aaron: Right.

Lorin: What’s your favorite Jazz Fest dish?

Aaron: I’d have to say the meat pies. I mean I go pretty simple. I grab the meat pies. They’re easy. You can grab them to go. You don’t have to sit there and eat them and it’s not messy. I usually grab a few, through them in my backpack, go see the next show.

Boudin balls always great. The jama-jama, the chicken patty I think they have.

Lorin: Yeah, the fricassee or patty that they do.

Aaron: Yeah, fricassee, right.

Lorin: Yeah, that’s always good.

Aaron: Those are always good because they’re kind of different. You kind of stick away from the heavy, heavy food that you usually get, like fried chicken and pork chops, and I kind of go to the things that you don’t usually see at a festival or . . .

Lorin: Like ya ka mein?

Aaron: Right. Right.

Lorin: Have you had the ya ka mein?

Aaron: I have, it’s great, yeah.

Lorin: It’s amazing. Linda Green’s Ya ka mein. And if you don’t know what that is, it’s noodles and beef broth and egg and it’s spicy and it’s local and they call it “Old Sober”.

Aaron: Sober, right.

Lorin: Yeah, that’s right, because it’s supposed to be like the Menudo of New Orleans, right, it will help you get over that partying too much from the night before thing.

All right. So, if you’re not eating at Patois and you’re not eating at Tru Burger, what’s your favorite dish, your favorite meal when you’re not eating at your restaurant?

Aaron: Probably Vietnamese food. I go to Westbank a lot.

Lorin: We eat there a lot

Aaron: I go to Westbank a lot. So, when you go to Hong Kong Market on the Westbank, there’s a pho place, what, steps?

Lorin: Yeah.

Aaron: Steps from the door of the Hong Kong Market.

Lorin: Right, [Pho Duong Phor].

Aaron: It’s probably the fastest meal you can eat. I’d put it up there with . . . probably, faster than any fast food you could ever eat. You sit down, they don’t even walk away. You, basically, just order while they sit there and watch, look at the menu, you usually know what you want, and it’s back in, what, I’d say no more than two minutes.

Lorin Absolutely.

Aaron: You’re in and out in, probably, 15 minutes at most, at tops.

Lorin: So, you can shop and get a really good meal.

Aaron: Yeah.

Lorin: Well, if you want to find Aaron Burgau, you’ll find him with his head bent over a bowl of Pho at a million restaurants on the Westbank or, better still, head uptown, get on that street car, head towards the zoo and go to Patois, which is at Webster and Laurel, or stay on that street car, make that bend, come around Carollton, jump off at Oak Street and grab yourself a burger at Tru Burger, Aaron’s other restaurant.

Aaron is a ton a fun, so you might see him at music shows around town too because he’s kind of a music geek as well as a great chef.

Thanks, Aaron, so much for joining us.

Aaron: Thank you, Lorin. 

Lorin: Have a good one.

Aaron: You too.

Sunpie: John Rankin is a uptown musician who can be heard playing at the charming Collins Hotel on St. Charles Avenue every week. George Ingmire talks to the classical guitar player about being recorded by his mother at Tulane’s Jazz Archives, his first guitar and his unique approach to playing music.

George: I know you grew up around music, maybe talk about growing up around music and, also, how you found your way to playing guitar?

John: Well, I was born in North Carolina and my family moved here when I was nine years old. I had to think about it. My mom started working at the Jazz Archives at Tulane’s, right, at its very inception, which was based on a Ford Foundation grant to document oral history, to document some of the early musicians.

So, I started playing guitar because of the Kingston Trio and that folky thing, I was real interested in it. I loved music. I was just very attracted to it from the beginning. After I had been playing about six months, my mother took me up to the . . . who is Big Momma from WWOZ . . . and she took me up to the jazz archives and recorded me. Unfortunately, I’ve lost that tape, it went out in the flood, but I would love to hear that and have a good laugh.

She played me Lightening Hopkins and John Lee Hooker and Django Reinhardt, his son Babik Reinhardt, Snoozer Quinn, all these legendary figures.

George: Your first guitar?

John: My first guitar, Bill Russell, who’s a famous historian musician, played violin, lived above the Preservation Hall and was part of that jazz archives. Bill was a friend of my mom’s, of the jazz archives. He went down to the French Market and bought an old Hawaiian guitar. It was those kind where they stencil the white paint on top of it. A Hawaiian guitar has this big thick neck and high strings. 

So, what he did was round the neck and lowered the strings a little bit. Well, I didn’t know at the time how bad it was. I mean I must have been bleeding from it. It was awful. So, that was my first guitar for six months and it was just awful, awful, but I loved the guitar.

My mom for Christmas went out and found a used Gibson from a police sergeant that had it in the closet for $50 and that was when the light bulb went off, right there.

George: And I’ve read somewhere that you approached the guitar with a mind set of how somebody would play a piano and I remember Walter “Wolfman” Washington describing his playing as a drummer where he would think of the strings as different parts of the kit.

I’m curious, what’s the process that you do that, where you think of guitar of something other than a guitar in order to make it sound bigger than just a guitar?

John: Well, there’s several factors. One is I played a lot of instruments. I played bass for years as a living so I’m very conscious of bass lines. I played flute for years so I’m conscious of melody. Also, I’m, probably, just by myself a lot of the times that I just couldn’t imagine the other instruments, so I tried to do it all at once. And that was kind of the genesis of it and coming out of folk music.

But the way I describe it, and I do call it piano style guitar, is if you imagine a piano with only half the keys, the middle half, the middle whatever, section, and then the pianist has just the thumb on his left hand and three fingers on the right hand. So, I’m trying to take the information of a piano and reduce it down to a smaller scope, which means there’s a lot of implication. You have to know how to imply something without saying, get people to hear something that’s not there. So, that’s my idea. 

I love piano. I love piano music. I think it’s the most incredible instrument, compositionally, but the guitar’s my instrument. So, I try to apply those principles to the guitar.

George: Great. Now, when I think of a song, some of the things that hold a song down, make a song really powerful, especially in New Orleans, are the idea of space and place. You have a song that just came out not too long ago in reference to the Jazz Fest season. 

Maybe you can talk about that song and also just the application of like living in New Orleans and how that is translatable into music?

John: Well, you know that’s really interesting. As a solo guitarist, as a piano style guitarist, a lot of times if you listen to solo guitars, they’re real involved in that technical thing of getting all the notes and making it really sound as full as possible and then they lose the rhythm. So, they don’t have the groove.

I was always aware of that being from New Orleans. And when I moved back, which is 1978, it was really apparent to me that if you didn’t have a groove in New Orleans, nobody was going to listen to you. It’s just like bread and butter. If the food doesn’t taste good, nobody’s going to eat it. If the groove isn’t there, nobody’s going to pay attention to it here.

I think that’s the fabulous thing about New Orleans. The groove for me, specifically, comes out of the thumb line a lot of it, the bass line. So, I’ll practice with just the bass line and get that really, really the way I want it with the groove and then I put everything on top of it. And with New Orleans’ rhythms, there’s some unusual bass lines and unusual rhythms.
So, coming up and being able to deal with those and keep the rest of the guitar part going was kind of what I worked on specifically as much as anything, keep that groove going.

[Music playing]

John: With the song you’re talking about, “The Last in April, First in May”, which is the weekends of Jazz Fest as you know, and I’m sure many, but not all of your listeners do, it’s a song about that joyous spring celebration, the renewal of life and it’s very upbeat. It’s based a tuning, an unusual guitar tuning, that I learned from Jorge Morel, who is an Argentine who writes Brazilian music, lives in New York and from some of the rhythms that I heard with the African bands out at the [Kundo] stage or Congo Square.

Some of the rhythms, they’re just amazing. So, I was writing them down trying to field them out and somehow all those elements came together. It’s very international and just very simple song, but it’s certainly all about the rhythm and simple. 

I think that’s characterizes New Orleans’ music, don’t you? Just simplicity and earthy clarity and just good solid fun.

[Music playing 18:33 to 19:21]

Sunpie: Claudia Baumgarten is a Magazine Street business owner. Mikko speaks with her about the lure of uptown and how the men’s dress trend in New Orleans started after the Saints won the Superbowl.

Mikko: Magazine Street got it’s name from the French word for store which in the early days meant the store of weapons that they kept down in what’s today the French Quarter. However, these days Magazine Street is full of stores of what we think of as stores.

Hello, everyone. My name is Mikko and I have Claudia Baumgarten with me who has a fabulous store on Magazine Street.

Welcome, Claudia.

Claudia: Thank you, Mikko. Appreciate it.

Mikko: The name of your place is “Miss Claudia’s Vintage Clothing and Costumes” uptown on Magazine Street. And today we’re talking about uptown and it’s charm, it’s draw.

Why are you there? Why did you end up finally deciding on having your business on Magazine Street?

Claudia: Well, at the time, about 15 years or so ago, I thought I’d like to open up a little shop and Magazine Street just seemed the perfect place to do that. There were all kinds of interesting antique stores and junk shops and odd people roaming about and young people and uptown society people and I just thought it would be a perfect place to do what I wanted to do.

Mikko: Now, I remember after Katrina, it was kind of gapped-toothed along Magazine Street. There was your business and then there’d be an empty store, maybe a struggling business, but today it seems wall to wall. What do you account for the growth of Magazine Street as a commercial place, as a place that people actually enjoy coming to, what’s the attraction?

Claudia: Well, I think there are a couple of things. You know business feeds on other business. So, you get a couple of interesting businesses and people come and then more people think, well, gee, I could open up a business there. There are just a lot of variety of people living between, let’s say, Jackson Avenue and the park and beyond.

So, there’s so many different kinds of people. It’s a traditional street. I have friends there whose parents owned buildings and whose grandparents owned buildings. I used to be friends with Ed Young who had a junk store and he was born in the upstairs apartment.

Mikko: Of the very building that they had their store?

Claudia: Yes.

Mikko: That’s a real New Orleans story.

Claudia: Yeah, he lived there and worked there until he got to be about 70 and then he retired to Base St. Louis right before the storm, but, nonetheless.

Then after the storm it was a pretty interesting place. I had no intention of opening after the storm. I just came back and tried to renovate my house, but people . . . I kept running into people. I was staying in the quarter and they would say, well, you’re going to be open for Halloween, right.

I was thinking, well, no, I don’t have any merchandise, the store’s a wreck. But so many people asked me that I decided, well, all right, I’m going to have to do this. So, somehow I managed to find someone to clean the store and take the bathing suits out of the window. We did, we actually opened for October of 2005.

Mikko: Well, it’s interesting in New Orleans, in a lot of cities if a disaster hit, they would say, well, you have to open your food store or please open your coffee shop again or things that most people see as fundamental needs. You have vintage clothes and costumes and in New Orleans. It’s almost a yearly necessity to your average citizen. Please open up, we have Halloween and then we have the 12th Night Parade, then Mardi Gras, then Valentine’s Day.

Do you find that there’s a constant need for different types of stock or is it a seasonal thing?

Claudia: Oh, I consider it a fundamental need, especially when your spirits need boosting. For example, after the hurricane, even through St. Patty’s Day I a huge time. People want to wear green, but they don’t want to wear the same green every year. We have next week there’s a pirate convention in town. The week after that there’s the “Fret son Saiz”, which is uptown. 

Then after that, the Red Dress Run is huge. So many guys come in, they’re looking for a red dress to run in and that’s a really busy time for us in August. You’ve got Bastille Day. You’ve got King George Day.

I don’t know, it’s just one event after the other.

Mikko: And, yeah, the Red Dress Run is a very interesting thing where men come from around the country, they dress up in red dresses and they do a distance race. I know they do this in other towns.

But speaking of men in dresses, I did want to get to the Buddy Diliberto story. The sadly missed Buddy Diliberto had been the Saints commentator for years and years and years. He said if the Saints ever win the Superbowl, he would walk down Canal Street in a dress. And he wasn’t here physically for the Saints winning the Superbowl, but he was here in spirit.

What happened in your life when the Saints won the Superbowl?

Claudia: Well, it’s not that Miss Claudia’s lacks for men coming in who want to wear a dress because we certainly have that kind of shopper as well. And every Mardi Gras you get a few guys that go, gee, this is my chance to wear a dress, college students or people.

But this was like a deluge of people that had never worn a dress. You’re like no, no, you have to zip it up. No, that wig is terrible, wait. They just had no idea of how to wear a dress. It was shocking. So, it was a lot of fun, actually, to help them to get dressed up and join Bobby Hebert on the float and I went downtown to see it and it was really pretty hilarious.

Mikko: I bet they were quite confronted. I mean you have these suburban guys coming in their Chevy Suburbans, probably never thinking and asking you, a fine lady, about wearing a dress and how do I look in this.

Claudia: Well, they weren’t that concerned about how they looked some of them. There were a few, but a lot, a lot were just . . . I tried to make them understand a dress needed to go with their complexion, but that just didn’t fly.

Mikko: I also wanted to touch on something else. You’re not just a New Orleans business owner, you are quite active in the social scene of New Orleans. You belong to the Woman’s Parade Muses.

Claudia: Yes.

Mikko: And you’re part of a group and they are called the [Pussyfooters]; is that correct?

Claudia: Yes.

Mikko: And then you have this, I don’t . . . I see it as a German singing drinking group, but tell me about Miss Claudia and the what?

Claudia: It’s Miss Claudia and Her Biergartners. I started this a few years ago with my friend John [Pult] who plays the ukulele and Jessie Reeks who plays the accordion, who recently graduated from Loyola. It’s kind of expanded. We are in about, I guess, our fourth or fifth year. 

This Jazz Fest we will be in the Kids Tent on the first Friday. We were in the Kids Tent last Jazz Fest for a session. And what we do in the Kids Tent is talk a little bit about the contribution of German Musicians to the brass bands and marching bands of New Orleans at the turn of the 20th Century. We also play during Octoberfest all over town. Then it kind of expanded into Miss Claudia and Her Mistletoes. So, we play Christmas music around New Orleans. 

We are looking to expand on the idea of taking other holidays or possibly just have Miss Claudia and Her Jazz Banders and move in to a more traditional music theme because at the moment I’m going to UNO taking music studies and I have the opportunity to take vocal lessons with Lea Chase who is a fabulous local jazz singer.

Mikko: And whose mother is a legendary chef.

Claudia: Yes. Who is being currently honored with a book and other . . .

Mikko: So, Miss Claudia, first of all, thank you for coming along and if any of you go uptown, make sure you stop by her store and say hello and, maybe sing a German song or two.

Claudia: Yes. I might also mention that there’s some upcoming theatrical projects in the works. I play Margaret Haughery with the Historical Characters, Louisiana Historical Characters, and there’s a new Irish Museum being opened up on Conti Street in the French Quarter. 

So, there are a lot of different cultural events that get brought my way.

Mikko: We may have to have Margaret on one day as a guest.

Claudia: Yes.

Mikko: Well, have a wonderful day and good luck to you.

Claudia: All right. Thank you very much.

Sunpie: GoNOLA Radio is a production of New Orleans Tourism and Marketing Corporation in conjunction with FSC Interactive. Music by Cale Pellick. My name is Sunpie. Tune in next week by subscribing to GoNOLA Radio on iTunes or GoNOLA.com.

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