Blood and Bourbon
The French Quarter
“I dreamed of New Orleans. Not the New Orleans of today, but the city where Hippolyte and I had been young patrolmen in a cruiser, sometimes even walking a beat with nightsticks at a time when the city in its provincial innocence actually feared Black Panthers and long-haired kids who wore love beads and roman sandals. This was before crack cocaine hit New Orleans. It was like a hydrogen bomb in the early 80s, and the nuclear winter was made all the worse when the administration in Washington, DC cut federal aid to the city by half. Oddly, prior to the 80s, New Orleans enjoyed a kind of sybaritic tranquility that involved a contract between the devil and the forces of justice. The Carolla family ran the vice and maintained implicit understandings with NOPD about the operation of the city. The Quarter was the cash cow. Anyone who jackrolled a tourist got his wheels broken. Anyone who jackrolled an old person anywhere, or stuck up a bar or café frequented by cops, or who molested a child got his wheels broken and got thrown from a police car at high speed on the parish line., that is if he was lucky. The Carollas were stone killers and corrupt to the core, but they were pragmatists as well as family men, and they realized that no society remains functional if it doesn’t maintain the appearances of morality.”
“New Orleans was a Petrarchan sonnet rather than an Elizabethan one, its mindset more like the medieval world in the best sense rather than the Renaissance. In the Spring of 1971, I lived in a cottage by the Covenant School of the Ursulines, and every Sunday morning, I would attend mass at St. Louis Cathedral and stroll across Jackson Square in the coolness of the shadows while sidewalk artists were setting up their easels along a pike fence that was overhung by palm fronds and oak boughs. At an outdoor table at the Café Du Monde, over beignets and coffee with hot milk, I would watch the pinkness of the morning spread across the quarter, the unicyclist pirouetting in front of the cathedral, jugglers tossing wood balls in the air, street bands who played for tips, knocking out tin roof blues and rampart street parades. The balconies along the street groaned with the weight of potted plants and bougainvillea hung in huge clumps from the iron grillwork and bloomed as brightly as drops of blood in the sunlight. Corner grocers run by Italian families still had wood-bladed fans on the ceilings and sold boudin and po’boy sandwiches to working people. Out front in the shade of the colonnade were bins of cantaloupes, plantains, strawberries, and rattlesnake watermelons, Often on the same corner, a black man sold spearmint-flavored snow-cones from a pushcart, the ice hand-shaved off of a frosted blue block kept wrapped in a tarp. Traditional New Orleans was like a piece of South America, sawed loose from its mooring, and blown straight from the Caribbean until it affixed itself to the southern rim of the United States. The streetcars, the palms along the neutral ground, the shotgun houses with the ventilated shutters, and the neon lighting looking like green smoke in the mist. The Irish and Italian dialectal influences that produced an accent that could be mistaken for Brooklyn or the Bronx. The collective eccentricities that drew Tennessee Williams, William Faulkner, and William Burroughs to its breast.”
“All these things in one way or another were impaired or marred forever by the arrival of crack cocaine, and what remained was almost annihilated by Hurricanes Katrina and Rita some two decades later. But the truth is that New Orleans has always had a dark side, one prone to debauchery and violence. Whether the source of such depravities or merely drawn to those sins like maggots to putrid meat, so too has the Crescent City always suffered from a secret cancer poisoning its heart. They call themselves the Kindred, the Camarilla. They are parasites, both esoteric and visceral, and they have been leeching off the city’s soul since its inception. Over the centuries, they have grown fat on New Orleans’ vitality like blood-gorged ticks—and it’s time for someone to burn them off at their heads.”
The jewel in the crown of the Big Easy, this relatively small section of New Orleans has risen to surpass all others in popularity and renown. The Vieux Carré, meaning the “old quarter,” measures only six blocks by 13 blocks, yet it is one of the most densely packed districts of any city. The French Quarter, as it has come to be known, claims many of New Orleans’ finest hotels, restaurants and sites of interest, all within walking distance of one another. Called simply the Quarter by the locals, the district is centered on Jackson Square and abuts the river to the east, the Faubourg Marigny to the north and the Arts District to the south. It claims less than 20,000 permanent residents in even the busiest months, but each of them is a potential vessel for its lord, Antoine Savoy.
One of the only effective methods of reining in the spread of Savoy’s influence has been through the practice of establishing Elysium. When Savoy grew clever and worked toward making the French Quarter an historic tourist destination, Prince Vidal responded by fighting fire with fire, declaring a great many buildings in the Vieux Carré to be Elysium. The move was pure genius. No one questioned the Prince’s stated motivations: to protect the area’s priceless pieces of living history from the depredations of violent Kindred, while providing for both the buildings’ continued upkeep and the Kindred’s mutual enjoyment. Safeguarding the Quarter seemed an obvious notion, and therein lay the genius, for when everyone sees the wisdom of a thing, then the true reasons for doing it become unimportant—even if they are underhanded in nature.
The act of establishing Elysium throughout the Quarter accomplished two major things. First, it intruded on the hegemony of the so-called lord of the domain. The city’s Master of Elysium Gus Elgin is, by decree, permitted to travel freely to and between sites that are declared Elysium, and when so many buildings within a certain domain are under his purview, he effectively has carte blanche with regard to movement within the domain of another vampire. Given the fact that the Master of Elysium is an officer of the Prince, one can see the wisdom in the move. The other thing that the Prince’s strategy has accomplished is to embarrass Savoy. For every Elysium violation that takes place in his domain, Savoy loses some small measure of status. And given the Prince’s stern punishment of Elysium violators, he appears to be forever meting out justice to the “upstarts” and “criminals among the Kindred” who dwell or revel within Savoy’s domain. Savoy wanted the action so badly, now he must deal with the consequences.
Known Kindred Residents
• Antoine Savoy (Toreador/Lancea et Sanctum, e. mid 17th century)
• Natasha Preston (Malkavian/Invictus, e. mid 20th century)
• Reynaldo Gui (Ventrue/Invictus, e. late 20th century)
• Rosa Bale (Ventrue/Circle of the Crone, e. early 20th century)
• Edward Zuric (Gangrel/Unaligned, e. early 21st century)
• Joshua Caimbridge (Toreador/Unaligned, e. early 21st century)
• Justine Chaudrier (Toreador/Unaligned, e. early 21st century)
• Marcus Pollard (Ravnos, e. late 20th century)
• Mary Allen (Malkavian/Lancea et Sanctum, e. late 20th century)
• Yellow Sidra (Ravnos, e. early 21st century)
• Sam (Caitiff/Unaligned, e. early 21st century)
• Simon Jones (Caitiff/Anarch Movement, e. late 20th century)
• Savoy has granted feeding rights to numerous further Kindred. The French Quarter is the choicest hunting grounds in all New Orleans and everyone knows it.
• Lucia “Lucy” Giovanni (Sangiovanni, e. late 20th century)
• Chiafreddo “Catfish Freddy” Putanesca (Sangiovanni, e. mid 20th century)
• Ludovico “Don Vico” Giovanni (Sangiovanni, e. late 19th century)
Canal Street to the south, Rampart Street to the west, Esplanade Avenue to the north and the Mississippi River to the east: these landmarks surround the section of New Orleans known to locals as the Vieux Carre and to visitors as the French Quarter.
Culturally it is one of the best-preserved spectacles of early French colonialism remaining in America. It is a dream out of the past, framed by wrought-iron banner-rails and tall, wooden shutters over doors and windows alike. It is a link to the past, and this alone renders the French Quarter attractive to the Kindred population.
Business and residential areas juxtapose in this 6-by-12 block area. To the south, near Canal Street, one can find the nightclub district of the French Quarter, with its bars and jazz clubs. As one moves toward Esplanade Avenue to the north, however, the area becomes unmistakably residential not so much as a liquor store is in sight. Even the most notorious avenue in the French Quarter, Bourbon Street, becomes almost disquietingly residential the farther one travels past Canal Street.
Even the residential areas feature stark contrasts. Though most of the French Quarter has been restored (and indeed it was even spared the worst of Hurricane Katrina’s destruction), some parts still remain in states of gross disrepair, mostly the areas between Decatur and Chartres Streets on the north side. Still, these areas are more the exceptions than the rule. Unlike most inner-city areas, the French Quarter is neither dirty nor unkempt. On the contrary, it is one of the cleanest areas of the entire city.
Street sweepers make their rounds on a regular schedule; shop owners, barkeepers and residents alike take great pride in preserving their storefronts and homes. This can explain the noticeable lack of vandalism in both the business and residential districts of the French Quarter, but can also lead tourists into a false sense of security. The area is far from crime-free and can be extremely dangerous for the unwary, especially at night or during Mardi Gras.
Perhaps the one thing the French Quarter lacks, most noticeably in the residential districts, is the presence of any lawns. The close proximity of the buildings make such a luxury impossible, but also gives rise to one of the better-known and most beautiful features of the French Quarter—its courtyard gardens. Nearly every house in the area boasts one of these tranquil, intimate gardens, often hidden from public view behind ornamental, wrought-iron gates.
Post-Katrina, the French Quarter has instead become one of the shining lights of the city. While much of the rest of the Big Easy was flooded, the French Quarter managed to escape with minimal damage to its buildings, and almost no water in its streets. Businesses within the quarter were quick to open up again to serve those that stayed behind to weather the storm—some as quickly as the next day.
Several principal thoroughfares run through the French Quarter. Decatur Street runs near the docks by the Mississippi River. The street is one of the roughest and most dangerous areas in New Orleans. Kindred wander the dock areas for prey, several of whom are even rumored to use the storage warehouses as havens.
• Cafe Du Monde: The Original Cafe Du Monde Coffee Stand was established in 1862 in the New Orleans French Market. The Cafe is open 24 hours a day, seven days a week. It closes only on Christmas Day and on the day an occasional Hurricane passes too close to New Orleans, something the couple who has owned the establishment should have worded better in a social media PR campaign considering how well the French quarter made out compared to other district in New Orleans. The original Cafe Du Monde is a traditional coffee shop. Its menu consists of dark roasted coffee and chicory, beignets, white and chocolate milk, and fresh squeezed orange juice. The coffee is served black or au kait, in contrast with many of the almost artisan-level coffee common in other shops, giving it a classic feel. In 1988 iced coffee was introduced to the cafe, as well as soft drinks, making it a popular youth hangout. The Cafe Du Monde is what is known as a honey trap. Decatur Street is one of the most dangerous areas of New Orleans, while people would never associate the French Quarter with such. Its continued success is a pillar that lets Decatur Street survive. For better or worse.
• Tujague’s Restaurant: In existence before New Orleans even bore its name, and having served as a Spanish armory, Tujague’s restaurant has survived decades of war, depression, fire and plague. Prosperity had never smiled more broadly on New Orleans than it did in the period when Tujague’s first opened its doors. The city’s growth during the 1850’s was immense, and, for European emigrants in search of success in the New World, opportunity was everywhere for the taking. Immigrants from France started Tujague’s as a butcher shop, selling to dock workers and working men. Tujague’s became a recognized local institution. But, New Orleans could never keep a good thing to herself. Inevitably, the pleasures of Tujague’s were shared with visitors. Presidents – Roosevelt, Truman, Eisenhower, France’s De Gaulle – have enjoyed Tujague’s hospitality. The guest book include such notables as Cole Porter, O. Henry, Diane Sawyer, Don Johnson, Harrison Ford, Margot Kidder, Dan Akroyd, Ty Cobb, John D. Rockefeller and other well-known personalities whose claim to distinction rests simply and appropriately on their appreciation of fine food. Some say Tujague’s is irrevocably blessed, some say they have never missed a dish, even during hard times in the South during Civil War. Some say by God, others whisper darker names.
• House of Blues: Hard to find, harder to leave, the New Orleans House of Blues is a strange hole in the wall named one of the ‘Hidden venues’ of NOLA, despite it being part of a franchise. Walking down the street, the chalk sign detailing today’s bar specials are right outside an archway, through a thin corridor of an alley into a small glass roofed courtyard. Tables strewn about rather haphazardly with people waiting to seat it’s customers. Keep walking however, and there’s a second door, the real entrance. The House of Blues is a living nightmare for some, and the perfect hangout for others. Gold, turquoise, wood, and aggressive signage and hanging decorations from the floor to the ceilings, the House of Blues on the inside is two-story music venue, balconies overlooking the stage, with a bar and a surprisingly competent restaurant. If once can keep their food down in the overwhelming surroundings. When looking past the surface however, the tourist trap is more akin to Margaritaville than an actual restaurant, a show of over the top New Orleans shlock that has, ironically enough, put an actual Margaritaville on Decatur street out of business. Frat boys, drunk tourists, and easy marks all stumble out into a Decatur night from this glorified bar.
• Jax Brewery: Over 110 years old, and long since the days of being a brewhouse, The Shops at Jax Brewery has endured as a great landmark in the City of New Orleans. Designed and constructed by German-born and educated architect Dietrich Einsiedel in 1891, the Brewery was the largest independent brewery in the south and the tenth largest single-plant brewery in the country. Located on the second floor and mixing in with the colorful history of New Orleans, the only piece of the former brewery left is where Jax brews sit in part museum part shrine in ‘The Jax collection’. Today the building is no longer a brewery, but the view is still intoxicating from four full floors of stores, attractions, kiosks, restaurants, bars, and cafés. With its extensive convention and private function spaces, everything from weddings to corporate functions can be held and catered by the The Shops at Jax Brewery.
• Old U.S. Mint: Built in 1835, the Old U.S. Mint is the only building in America to have served both as a United States and a Confederate Mint. President Andrew Jackson advocated the Mint’s establishment in order to help finance development of the nation’s western frontier. Renowned architect William Strickland designed the building in the then-popular Greek Revival style. Three years after the building opened, in 1838, minting began. In 1861, Louisiana seceded from the Union. For a short time, it was used to mint Confederate currency and to house Confederate troops. Ironic that it’s now a monument to a historically black form of music. The New Orleans Jazz Museum celebrates jazz in the city where it was born. Through dynamic interactive exhibits, multigenerational educational programming, research facilities and engaging musical performances, the music New Orleans made famous is explored in all its forms. Strategically located at the intersection of the French Quarter and the Frenchmen Street live music corridor, the New Orleans Jazz Museum is in the heart of the city’s vibrant music scene. Through partnerships with local, national and international educational institutions, the New Orleans Jazz Museum promotes the global understanding of jazz as one of the most innovative, historically pivotal musical art forms in world history. Her only blemish is a rumor, about why there is music playing in the halls 24/7, and what sounds it’s covering up.
• French Market Inn: The original property deed was issued to a baker named Dreux in 1722, who opened up a shop on the ground floor and used the second floor for family living. The third floor of their property was used to store imported and exported goods. Wagons and carriages would drive through the archways in the courtyard to deliver goods and to pick up deliveries. The bakery often supplied the Colonial Spanish, and later, the Colonial French Soldiers, who were stationed at the Place d’Armes (present day Jackson Square). In the early 1830’s, the Baroness Pontalba y Almonaster purchased and refit the bakery. The Inn opened and was well received by both the local Creole families and many visitors to the Cosmopolitan City of New Orleans. Soon after, in 1832, the first hauntings were recorded. Guests claimed to see misty shapes entering the rooms of the inn after dark and heard loud metal noises echoing throughout the halls – reminiscent of the old pulley system the Dreux’s bakery used to hoist their goods to the upper levels back in the 18th century.
The old town square and historic heart of New Orleans. Jackson Square (formerly Place d’Armes), originally designed by architect and landscaper Louis H. Pilié (although he is only given credit for the iron fence), is an open park the size of a city-block located at the center of the French Quarter. After the Battle of New Orleans it was named after victorious general Andrew Jackson; an Equestrian sculpture of Jackson is in the center of the park.
The square originally overlooked the Mississippi River across Decatur Street, but the view was blocked in the 19th century by the building of larger levees. The riverfront was long given to shipping, but the administration of Mayor Moon Landrieu put in a scenic boardwalk along the river across from the Square; it is known as the “Moon Walk” in his honor. At the end of the 1980s additional old wharfs and warehouses were demolished to create Woldenberg Park, extending the riverfront promenade up to Canal Street.
The Cabildo (Elysium): Seat of government in the city from 1788 until the 1850s. Site of the Louisiana Purchase’s signing. The building takes its name from the governing body who met there—the “Illustrious Cabildo,” or city council. The original structure, which served as the seat of Spanish rule, was destroyed in the fire that swept through the French Quarter in 1788. At the time, rumor had it that Vidal’s agents set the fire and that the target had been early rebels against his reign who planned to meet a number of Kindred allies from France. The city rebuilt the Cabildo shortly after the fire, only to see it again burn down when another fire struck New Orleans in 1794.
Rebuilt yet again, it served as the center of government for the Spanish,French and Americans before becoming a museum in 1911. Savoy continued to use back rooms to conduct much of his business until 1988, when a four-alarm fire broke out in the building. Though most of the historical pieces were saved, the top floor and roof were destroyed. Although nothing was ever proved, some Kindred maintain that the fire was an abortive assassination attempt by either Vidal or Cimitiere to remove the French Quarter Lord.
• French Market (Elysium): Cafe du Monde marks the beginning of the French Market, a combination of renovated buildings and opene-air markets extending several blocks along Decatur Street, French Market Place and North Peters Street. Tradition claims it to be the site of an old Choctaw Indian trading post where the natives sold wild herbs and berries to the settlers. It holds the distinction of being one of the oldest institutions in New Orleans. For more than 150years its shops, sheds and stalls have sold the best fruits, spices and fish in New Orleans. The Kindred claim that mages regularly frequent the French Market, perhaps seeking special herbs there.
• Moon Walk: When Jackson Square was first laid out in the 1720s, it looked out over the Mississippi river. In the second half of the nineteenth century, after the disastrous floods caused by a Mississippi levee failure, the original eighteenth century 3ft (one meter) high levee protecting New Orleans from flooding was heightened several times, creating a barrier between the city and the river. During the twentieth century, much of the riverfront was dedicated to industry and commerce and port authorities made the riverfront inaccessible for decades.This changed in 1976 when a promenade was constructed along the Mississippi river, which once again made the riverfront accessible from the French Quarter. The project was named for mayor Maurice “Moon” Landrieu, during whose tenure the promenade was built. It’s become a popular place for visitors who come here to enjoy the view and escape the humidity of the city; thanks to a constant breeze the air said to feel very fresh and cool. The port of New Orleans is one of the largest in the US and the Mississippi is heavily trafficked with all kind of vessels ranging from historic paddle steamers to huge container ships and cruise ships. The Moon Walk is also a popular place for street performers and chances are one will see jazz musicians playing in return for some donations. City officials pledge to do more in the coming years about the ‘Moonwalk Muggings’. problem.
• Pontalba Buildings: The Pontalba Buildings form two sides of Jackson Square in the French Quarter of New Orleans, Louisiana. They are matching red-brick, one-block-long, four‑story buildings built in the late 1840s by the Baroness Micaela Almonester Pontalba. The ground floors house shops and restaurants; and the upper floors are apartments which, reputedly, are the oldest continuously-rented such apartments in the United States. According to Christina Vella, historian of modern Europe, the Pontalba Buildings were not the first apartment buildings in the present-day U.S. They were originally built as row houses, not rental apartments. The row houses were turned into apartments during the 1930s renovations (during the Great Depression). Before this, the Building had sat empty and under disrepair from 1874, when Baroness Pontalba died in France. From then the property changed hand after hand, not a single developer touching it from Local Philanthropists to the Louisiana state Museum. Not until the property was finally given up to the City of New Orleans as a whole were there repairs and developments. Rumors are abound as to why this is, but local theories include everything from severe hauntings to a curse put on the house by the French Baroness Pontalba herself, who was reputed to have lost a lover in the very building from a jealous suitors murderous actions. Fewer still know why it stopped when the city obtained the property.
• The Presbytère: The Presbytère was designed in 1791 by Gilberto Guillemard to exactly match the Cabildo, or Town Hall, on the other side of St. Louis Cathedral. By 1798, only the first floor had been completed, and its second floor was not completed until 1813. Originally called the Casa Curial (Ecclesiastical House), its name derives from the fact that it was built on the former site of the residence, or presbytére, of the Capuchin monks. While intended to house clergy, it was never used as a religious residence much to the chagrin of many Spanish Catholic citizens. The building initially was used for commercial purposes until 1834, when it was used by the Louisiana Supreme Court. In 1853, cathedral officials sold the Presbytère to the city, and in 1908 the city sold it to the state. In 1911 it became part of the Louisiana State Museum and even declared a National Historic Landmark in 1970. It remains three things in New Orleans; a confusing mirrored landmark for tourists, second fiddle to the Cabildo, and surprisingly a more engaging a Museum than it as well. Despite their history, The Presbytere has the last laugh in that the people of the modern age find it to be more exciting (if less informative) of the twin Museums.
• Saint Louis Cathedral (Elysium): The Cathedral-Basilica of Saint Louis, also called St. Louis Cathedral, is the seat of the Roman Catholic Archdiocese of New Orleans and is the oldest cathedral in the United States. The first church on the site was built in 1718; the third, built in 1789, was raised to cathedral rank in 1793. The cathedral was expanded and largely rebuilt in 1850, with little of the 1789 structure remaining.Most notable of the pieces carried over was the original bell used in the 1819 bell tower. Despite it’s age, The cathedral was only designated as a minor basilica in 1964 by Pope Paul VI. Many claim the church was deserving of it decades, considering even before Hurricane Katrina it survived the Hurricane of 1915, in 1909, a dynamite bomb was set off in the cathedral, blowing out windows and damaging galleries. The following year a portion of the foundation collapsed, necessitating the building’s closure while repairs were made. Besides it’s almost 6000 strong congregation, the cathedral is also visited by thousands of tourists each year. Some for the holy sight’s importance, and others solely because the cathedral is said to be haunted by Fr. Antonio de Sedella and many others. Unfortunately for tourists (and fortunately for the cathedral) the leadership has so far denied every request for ghost tours and television programs to investigate.
West of Decatur Street is Chartres Street, which runs by the west side of Jackson Square. At its south end is the usual assortment of bars, open-air jazz clubs and restaurants. The north end, conforming to most of the French Quarter, is residential, and many Kindred in Savoy’s good graces own several houses here. Though they may not live there, the houses often serve as guest houses for acquaintances who come to town.
• Giacona Manse: Home of the mobster Fat Benny.
• Guillot Books: Quiet and out of the way bookshop run by Michelle Guillot. The store catered to spiritualists, paranormal enthusiasts, and practitioners of alternative religions for most of its history, and Michelle has lately been attempting to broaden the store’s appeal to a more mainstream customer base without driving away her current regulars. There is a strict “no smoking” policy.
• Williams Research Center (Elysium):* The Historic New Orleans Collection’s holdings are available to the general public in the Williams Research Center, situated on Chartres street, just a few blocks from the main Collections campus.. Patrons have access to more than 30,000 library items, more than two miles of documents and manuscripts, a microfilm collection, and more than 500,000 photographs, prints, drawings, and paintings, as well as beautiful and unusual three-dimensional objects. Rare documents and manuscripts are available in microform and in the original. Built in 1915 in the Beaux Arts style, the two-story brick structure housing the WRC is the work of Edgar A. Christy, architect, and builder James A. Petty; it was erected to house the Second City Criminal Court and the Third District Police Station. The Chartres Street building, purchased by the State of Louisiana in 1957, laid vacant for many years until The Collection bought the property in 1993. The exact reason for the long period in which the building sat unowned and unknown, but there are rumors it had much to do with the end of the Jim Crow era, and fear of black retribution for whites owning a place where many protesters were held against their will. The former police station turned research station for the well stories city is also supplemented with several other unmarked buildings on the street, lending space for archival storage and administration.
• Hotel Villa Convento (Elysium): Accented with Greek revival styles, and a Creole townhouse foundation, there are not many hotels that can offer the same french quarter flare that the Hotel Villa Convento can. Quite special, in a very odd sense,Convento is the most likely inspiration for the 1964 song ‘House of the Rising Sun’ by The Animals, a venerated classic. This is course paints the property as a former bordello. This isn’t much of a shock, since it was not uncommon, many brothels through the years being shut down and re-opened in different places. This also brings a small amount of shame from the property’s original owners, the name sake of the cross street the property sits on, the Ursaline Nuns. Like many of New Orleans oldest properties, the Convento has changed hands more times than a bottle of liquor, until finally meeting it’s current owners in 1981, who converted the building into a hotel to have it open to this day. While the hotel itself is well reviewed, quirky, and cozy, and has a ‘Jimmy Buffet suite’ where he once graced the hotel, a big point of fame and a big draw for the hotel in potential guests is that it’s a hotspot for paranormal activity. It’s most famous ghost is ‘The Madame’, and the popularity of the hotel is much spurred on by her reportedly amorous intent towards male guests, the only patrons able to see her.
• Le Petit Theatre: Le Petite Theatre du Vieux Carre is one of the countries oldest ‘Petite’ or ‘Community’ theaters, established in the roaring 20s, it had humble beginnings as a passion project for a group of local thespians. The property it currently stands on has been renovated multiple times, to match the center piece of the 1790s Spanish Colonial corner building, including the demolishing of several smaller structures before their opening. Richard Koch is responsible for the matching design of the admittedly stunning theater interior and stage. For 90 years, the theater ran smoothly, featuring everything from local playwrights to New Orleans classics written by masters like ‘A Streetcar named Desire’, of which every second season seems to have a showing. In the 2000s, however the theater took a nosedive. Poor management brought about many misfortunes, including the firing of an art director, the hiring of a third party company, and immediate firing for them the next month. The Theater was on the verge of closure, before a deal was struck. New Orleans restaurateur Dickie Brennen bought a 60 percent share of the building, retired the million dollar debt the building was in, and opened his very own restaurant ‘Tableau’, during extensive multi-million dollar renovations. The theater was saved, and under the iron grip of a man who owned a half dozen of the French Quarters greatest restaurants. Rumours are abound with how private parties now often rent out the theater itself, but no staff dares speak to the public about Dickie Brennan presents; ‘Le Petite Theatre du Vieux Carre’.
• Maspero’s Exchange (Elysium): Originally named The Original Pierre Maspero’s Slave Exchange, this coffee house has since dropped the part about slave trade, and focused more on the positive points that it claims about it’s history, and clings onto the status of a tourist site in New Orleans with everything it has. While the place has always been a place where people meet and gather to have meals, it is said that this is the site where Andrew Jackson and Jean Lafitte himself met to plan the defense of New Orleans. There is a small plaque outside stating as such, though for those savvy on their New Orleans history, they will recall another location with a plaque much like it, in Jean Lafittes old Absinthe House, on Bourbon Street itself. While the two places battled bitterly, a court ruling made it clear that neither place was there or could prove anything, making it a legend and unsubstantiated. And so, both places have their plaques and claim to the same great historical honour. Besides it’s history, the building is now a well reviewed restaurant and bar, a middling option away from the higher prices and bustle of Bourbon street.
• Napoleon House (Elysium): The Napoleon house is another strange case in New Orleans history, in which the building was set aside for an event that never came to pass, and still carries the name into the present, as well as the fame of the charismatic man who claimed himself as the Emperor of France. In 1821 New Orleans, where sentiment for all things French remained strong, a plot was afoot to rescue Napoleon Bonaparte from his exile on St. Helena and bring him to the Crescent City. The plan: Dominique You, a pirating colleague of Jean Lafitte, would lead a band of Baratarians to spirit the Little Corporal off the south Atlantic island in a yacht called the Seraphine. Nicholas Girod, a wealthy businessman and former mayor, not only helped underwrite this scheme but also offered to put Napoleon up in his house at 500 Chartres St. Unfortunately, this never came to pass, as world of Napoleons death reached New Orleans before the plot could be set in motion. The property went through sever incarnations, a private residence for Girod as he was mayor, a small grocery store, and the finally The Napoleon house in 1914. The restaurant was, even at inception, kept in a state of remembrance of the French heart of the city, classical music and framed paintings and black and white, and tasteful exposed stone work. The restaurant itself is well priced, and famed for it’s itallian muffuletta sandwiches and perfect atmosphere.
• Old Ursuline Convent: The Old Ursuline Convent is the oldest building in the Mississippi River Valley. Completed in 1752, it is also the oldest surviving example of the French colonial period in the United States. Often referred to as the Archbishop Antoine Blanc Memorial Complex, the Old Ursuline Convent also houses the Archdiocesan archives, and a small museum stating its founding. Along with the main building, housing many of the original rooms to preserve its history, the Convent has a massive well manicured garden and courtyard complete with marble statues of the convents founding Ursuline sisters, as well as many event spaces for parties and weddings. The main lodge is filled with dozens of oil paintings of past archbishops, bishops, religious statues and bronze busts. The building saw a mass amount of use as the years went on, even serving as a civil war barracks for southern soldiers at once point. Despite great interior alterations and decay, the Convent is considered one of the most important historical and religious landmarks in the United States and is one of the few remaining physical links with the French colonial period in Louisiana. This is reason enough that many history books overlook the rumoured overzealous and harsh nature of early Ursuline nuns in Louisiana, who went on record claiming the girls of the state did not even know how many gods there were if not for them.
• Omni Royal Orleans (Elysium): Situated on the cross street of Chartres and St. Louis, the Omni Royal Orleans has a venerated reputation and history in the French Quarter, so much so that Arthur Hailey’s NYTimes best selling book ‘Hotel’ called it the best hotel in North America. At conception, It was to be a “Creole palace, a place for aristocrats to meet and do business, to eat and drink and make love, to buy slaves and sell plots of land on the banks of the Mississippi,” according to John DeMers. It was Louis Armstrong’s hotel of choice, the setting of the Led Zeppelin song ‘Royal Orleans’, and even James Bond himself stayed in the hotel in the film ‘Live and let die’ (1973). The hotel is a Spanish colonial style, renovated to well match the previously 1915 Hurricane assailed ‘St. Louis Hotel’ in style but not scale, and the interior was done in gold, whites, and reds, with great bronze statues and crystal chandeliers. This hotel is, to this day, a space where important men and women come to hide away from those they view their lessers, from the tight security to the restaurant only accessible through the lobby itself. Like most old buildings in the French Quarter, the Royal is rumoured to be haunted, but details are extremely scarce, as staff is well paid enough to be tight lipped, and guest reviews are incredibly tightly scrutinized for pointing out the slight chills they may get.
Royal Street, just above Chartres Street, is the second most famous street in the French Quarter. It is lined with some of the most beautiful houses in the city, though their histories are rarely as pleasant as their facades. It is also famous for its antique shops, bookstores, and luxury hotels.
• 318 Royal Street: First fireproof structure in New Orleans, constructed in the early 1800s.
• 333 Royal Street: First U.S. Post Office in the New Orleans. It now goes by the name Nez Coup6 Books, specializing in rare books, documents and old maps. Many Kindred patronize it and enjoy perusing these reminders of earlier days.
• Antoine’s (Elysium): Oldest continuously operating restaurant in the city, established in 1840. Antoine Savoy has been known to frequent the establishment and jokingly refer to it as “his” restaurant.
• Bourbon Orleans Hotel: Historic hotel. Andrew Jackson supposedly announced his candidacy for the Presidency within its walls.
• Cornstalk Hotel (Elysium): Victorian hotel. Named for the ‘Cornstalk’ fence erected in 1840 by the owner, recently married, who wanted to ease his bride’s homesickness for her home state of Iowa.
• Court of Two Sisters:
• Evergreen Plantation: Antoine Savoy’s informal headquarters.
• Gallier House:
• Hotel Monteleone: Built in 1886 by Antonio Monteleone in the Beaux-Arts architectural style, Hotel Monteleone is a family-owned and -operated hotel located at 214 Royal Street. Famous for its Carousel Piano Bar & Lounge as well as popularity amongst numerous literary and musical figures from the South and beyond.
• LaLaurie House: The infamous Madame Delphine LaLaurie and her family lived in the three-story structure from 1825 until 1834, when they were driven from the city after it was discovered that Madame LaLaurie subjected her slaves to unspeakable tortures and cruelties. The ghosts of slaves who died in the house have reportedly been seen. The most common sighting is of a young girl who leaped to her death from the roof of the house to escape her mistress.
• LeMonnier Mansion (Elysium): New Orleans’ first skyscraper, begun in 1795. The structure grew to three stories tall by 1811 (a 4th floor was added in 1876). Until that time, building was generally limited to two floors for fear that the swampy soil couldn’t support taller structures.
• Les Murmures des Morts: Quaint, upscale esoteric shop, and reportedly the storefront for a true medium according to word on the street. Tarot, palmistry and other forms of divination are practiced by the staff.
• Louisiana Supreme Court Clerk: The seat of the Louisiana Supreme Court. The justices are believed to be heavily under the sway of Antoine Savoy.
• Madame John’s Legacy: Casket maker.
• Muriel’s: Restaurant and séance lounge.
• New Orleans Jazz:
• Tante Lescaut’s Occult Curiosities, Horoscopes, & Palmistry: The longest contiguously operating occult store in New Orleans, Tante Lescaut’s has had scores of proprietors since the original “Tante”, a prostitute-felon, was forcibly deported from the prison of La Salpetrière to the Crescent City in 1721. The current manager and mass-horoscope mailer is Césarine Rouselle, an eighty-two year old woman descended from Yoruban maroons, Acadian redbones, and Haitian revolutionaries who lives above the shop with her two companions and a swarm of cats.
• Wycked Wishes: Occult bookstore operated by Sangria Myst.
Above Royal Street stretches what is probably the most notorious thoroughfare in the French Quarter. Indeed, its very name has become synonymous with the city of New Orleans—Bourbon Street. Despite Bourbon Street’s reputation, however, the brightly lit, raucous, nightclub- and bar-filled southern district of the street fills only the first half-dozen blocks. The closer one gets to Esplanade Avenue, the more residential the area becomes, until the only lights are those on the street corners and the only sounds are the fading rhythms of the jazz bands down the street.
Of course, the first few blocks are the most famous, as well as the part where the greatest number of Kindred congregate. In the late night hours, members of almost every clan in the city can be found here. Toreador, who greatly favor the jazz clubs and sit in with the bands, appear regularly. Indeed, in the jazz world, no one questions someone who appears only after sunset, disappears in the early morning, and is never seen otherwise.
Bourbon Street’s festive atmosphere lures Kindred for the easy hunting as well as the bright lights and loud music. From sundown to dawn, the strip clubs, bars and nightclubs overflow with patrons, who often spill out onto the streets. Each day at sundown, city workers close Bourbon Street to automobile traffic. They accomplish this by setting large, thick steel posts in the street, allowing the clubgoers to wander the street in safety. Most of the bars and clubs feature panels that are rolled up to expose the bar to the street.
Although a number of clubs stay open 24 hours a day, seven days a week, most close for a few hours each day, usually between dawn and late morning. They open when the tourists return to the French Quarter. In those early morning hours, the once brightly lit French Quarter assumes a tired, faded look. Many of the club and bar owners use these hours to sweep out the remnants of the previous evening’s festivities. Workers hose off steps and sidewalks while the sounds of the outer city echo down the channels of empty streets. Vagrants and those too drunk to make it home can often be found in small alleyways between shops, sleeping in old blankets or rags. As twilight re-descends, however, the French Quarter quickly sheds its daytime image and slips back into its carnival atmosphere.
• The Barely Legal: Hole in the wall strip club owned by Ricky “Cash Money” Mouton.
• Café Lafitte in Exile: The oldest continuously operating gay bar in the United States.
• The Dungeon: Twin S&M dungeon-clubs that open at midnight.
• Fancy Slut Ink: Tattoo parlor.
• Galatoire’s (Elysium):
• Lafitte’s Blacksmith Shop: The oldest bar period in the United States. Legend claims the structure was once owned by the pirate Jean Lafitte, though as with many things involving Lafitte, no documentation of this exists.
• The Lamp Light: Small strip club with a twist. Run by a Toreador, the club is open to both Kindred and kine until the wee morning hours. Certain nights, however, the club is closed to its mortal customers,and an entertainment of a different sort is served to titillate the Kindred who come to watch.
The show, which usually features a mortal and a Kindred, offers the usual fare from its mortal participant, but adds a unique touch at the end for the voyeuristic pleasure of its audience. Performers almost always conclude each show with a Kiss, though blood is taken sparingly, to guarantee the performer does not lose consciousness on stage.
The club manager carefully chooses the mortals for the shows, but this does not keep the immortal clientèle from holding them in low regard. These mortals, known among the Kindred as blood dolls, willingly submit to the Kiss for the chance to experience the euphoria that accompanies it.
• Old Absinthe House (Elysium): Historic bar and restaurant. Site of the meeting between Andrew Jackson and Jean Lafitte.
• Preservation Hall (Elysium): Historic, all-ages jazz bar.
• Saints and Sinners:
• The Twilight Club:
• 1020 Esplande Condos: Giovanni “embassy” in New Orleans. Originally a private mansion built in 1835, the building was extensively remodeled in 1920 and served as a center for various Italian-American fraternal organizations. It was also rented out to record companies that visited New Orleans in the 1920s, and recorded sessions from such musicians as Jimmie Rogers and the Jones-Collins Astoria Hot 8. In the second half of the 20th century the building was purportedly renovated into an apartment building.
On the west side of the French Quarter is Rampart Street, also favored by the Kindred because of its easy prey. A divided, two-lane road, Rampart Street is known for the prostitutes, pushers and junkies who regularly hang out there.