If you’re asking yourself, How Do You Sleep… without new music from Jesse McCartney? The wait is finally over.
New Orleans
Magazine Street is one of the most popular streets in New Orleans. In addition to its proximity to everything, the six-mile-long street is known for its wide range of restaurants, bars, boutiques, and convenient stores lining each side of the street — Keep reading to hear about some of our favorites —and is a fun spot for tourists like me to explore.
The Ernest M. Morial Convention Center is a mere few blocks away. The French Quarter is about a 10-minute drive. Caesars Superdome, formerly known as Mercedes-Benz Superdome up until 2021, is a 20-minute walk.
But on the corner of Magazine Street and Andrew Higgins Blvd lies Higgins Hotel. Though a part of the Curio by Hilton franchise, what separates Higgins Hotel from other hotels in the city is that it is owned and solely operated by the National WWII Museum. The property was named after Andrew Higgins, the founder of Higgins Industries, who designed thousands of boats used in World War II right in New Orleans.
Directly across the street from the hotel is the The National World War II Museum where visitors can tour various exhibits dedicated to celebrating America’s contributions during WWII.
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Photo by Chantell Hayden.
The hotel’s exterior resembles the typical art deco architecture of the early 1930s. Big geometric shapes on the outside of the building with sky-high ceilings and gold accents on the inside, especially in the lobby. The perfect balance between classic and contemporary.
If you visit Higgins Hotel’s website you’ll see this quote: “Honoring History Heroes and Heartfelt Hospitality.” That’s not an exaggeration. This location has over 200 guest rooms that vary from queen and king to suites. The bathroom was clean and crisp with elegant marble floors and a roomy glass-door shower.
Each room is modeled after the 1940s and 50s style décor but with a contemporary twist. Photos from World War II are hung on the walls with a 55-inch TV sitting atop a dark oak wood table.
But the best part, and my personal favorite, was the bed. I’m not kidding when I say that mornings were hard because I never wanted to leave my bed. Room details on the website described the beds as “luxurious” and that was not an exaggeration. The mattress was comfy and the sheets smelled like one of my favorite scents — fresh linen. Yes, I know they’re supposed to smell like that but that’s not always the case at some hotels.
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Photos by Chantell Hayden.
And when the linen started to feel not so fresh, the front desk was just a call away. Throughout my stay, I ordered room service, fresh towels, and bedding that arrived within 20 minutes. Higgins Hotel did not play when it came to servicing their guests. The staff was constantly on top of things which was impressive since it was one of the busiest weeks for the hotel.
I watched all kinds of guests come in and out of the hotel. Some were famous, like R&B singer Anthony Hamilton and rapper Jadakiss, and some were not but they were all treated with the same respect and attentiveness that I had the pleasure of being on the receiving end of.
I’ve been to many cities all over the country and New Orleans has one of the most beautiful skylines I’ve ever seen, by far. If you’re like me and love rooftop bars during the Summer, Higgins Hotel has the perfect view.
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Higgins Hotel Rooftop. Photo by Chantell Hayden.
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Higgins Hotel Rooftop. Photo by Chantell Hayden.
The Crescent City Connection Bridge is a massive bridge that crosses over the Mississippi River and lights up beautifully at night, a view that can be seen from your room or the rooftop.
On the 9th floor, you’ll find Rosie’s on the Roof. Inspired by World War 2 feminist doll Rosie the Riveter, this full-service rooftop bar and restaurant includes an indoor and outdoor area with couches circling a TV for guests to sit and watch while enjoying a chilled, crafted cocktail while watching the sunset.
![](https://theknockturnal.com/wp-content/uploads/2023/07/HOTEL-ROOFTOP-3-1024x719.jpg)
Photo by Chantell Hayden.
The location is convenient and easy to find which is a blessing. After a long night out, the last thing I want to do is search through my phone just to remember where I’m staying. With an address as simple as 1000 Magazine Street, rattling off my destination to a taxi driver when Uber and Lyft became too expensive was almost too easy.
That’s another thing I love about the city: the accessibility. The native New Yorker in me is pretty used to walking everywhere. But in a city where the temperature and humidity levels are almost ungodly, walking isn’t always ideal. And amid Essence Fest, rideshare prices can be a pain. So, what’s another convenient alternative? Taxis!
While taxis may be an ancient concept to some, they’re just as good as your favorite rideshare app and more affordable. The people in New Orleans are very nice (something I wasn’t expecting, sorry!) so you’ll most likely end up with a super chill, laid-back driver that’ll gladly hand over their business card if you’re ever in need of a ride to dinner or the airport.
Besides easy transportation, if there’s one thing you can count on while here it’s good food. You’ll never get tired of it. Seriously.
New Orleans’s Garden District is saturated in gorgeous 19th-century homes shaded by trees littered with Spanish moss and Mardi Gras beads hooked onto the rusted metal gates surrounding the homes.
You’ll find El Paso on Magazine Street has the most flavorful chips and salsa you’ll ever have. Bring a friend and get two margaritas for $10 during their happy hour. On the way there, you might pass United Apparel Liquidators, a luxury thrift store with discounted designer shoes, clothes, and accessories. I found a $200 pair of Amina Mauddi heels in great condition that could’ve been mine had I packed more responsibly.
A few blocks around the corner sits a quaint neighborhood favorite called Atchafalaya.
Sitting on the corner of Louisiana Ave, this gem has a gumbo that could easily rival some of New Orleans’s best; or at least that’s what the bartender told me. Crispy slices of smoky duck and savory chicken masked in thick, dark fatty roux. It was my first bowl of gumbo ever, so I had nothing to compare it to. But it tasted great. I’ll try the seafood gumbo next time.
The real winner, though, was the shrimp and grits. While not exclusive to New Orleans, Atchafalaya’s Shrimp and Grits should be the standard for every restaurant’s shrimp and grits. The creamy grits topped with fresh, juicy shrimp straight from the Gulf Coast was perfection.
And you can’t leave New Orleans without eating some beignets. Almost every restaurant in the city will have them on their menu but Café Normandie in the lobby of Higgins Hotel has great beignets and a wide selection of food for breakfast and lunch. Then walk a couple of steps over to Kilroy’s for a nightcap.
![](https://theknockturnal.com/wp-content/uploads/2023/07/HOTEL-INSIDE-BAR-1024x606.jpg)
Photo by Chantell Hayden.
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The NOAA Climate Forecast System predicted this year’s Fourth of July as a record breaking “hottest day” ever. While global warming could very well be the reason for this, we think it was just the residual heat from Megan thee Stallions performance at Essence Fest.
The annual Essence Festival was back in its home of New Orleans for another full weekend of fun events, performances and panels and more. Now, every year at Essence Fest is a good time but this year being the 50th anniversary of Hip-Hop made it extra special. And the sweltering heat was no match for this year’s star-studded lineup.
Jill Scott, Monica, Juvenile, Mannie Fresh, Jagged Edge, Jermaine Dupri, Big Boi, Ludacris, Ice Cube, Slick Rick and Janelle Monae are only a few of the artists that graced the stage at The Caesars Superdome Friday and Saturday night.
Friday night’s headliner Lauryn Hill killed her performance, despite her tardiness. The Grammy-nominated songstress stylishly strolled on stage adorned in an all-black fit with a massive pleated, ruffle top and showed us why she is and will always be one of the most defining musicians of our time. Fellow Fugees member and long-time collaborator Wyclef Jean also joined the star on stage. Comedian and actor Deon Cole kept the good vibes going through in between performances as the host for the night.
Saturday night brought even more energy. Missy Elliot gave a show-stopping performance with a nostalgic medley of her award-winning catalogue.
Hosted by Abbot Elementary star Janelle James with sounds by the legendary DJ Spinderella, Sunday night’s concert included performances from several artists like Remy Ma, Salt-N-Pepa, Mia X, Eve, Angie Martinez and Megan Thee Stallion to help commemorate Hip-Hop 50. Rapper and New Orleans finest Lil Wayne surprised fans with an impromptu but, nonetheless, epic performance.
Wizkid and Tems brought Nigeria to New Orleans and linked up to perform 2022’s song of the summer “Essence.”
But Big Boi, Ludacris and Megan Thee Stallion took the cake (no pun intended) for our favorite performances from the weekend.
Big Boi had everyone on their feet as he rapped along to his iconic OutKast hit “The Way You Move” in his standard long, fur coat. Ludacris gave us hit after hit like “Move Bitch” and brought out Lil Jon for their 2000 collaboration “Bia Bia.”
And last but certainly not least, Sunday night the Houston Hottie Megan Thee Stallion had every cheek in Caesars Superdome shaking while dozens of fans joined her on stage for an iconic twerk battle.
Tons of events and panels took place, some simultaneously, at The Ernest N. Morial Convention Center where dozens of vendors from fashion to beauty were housed for the weekend. Guests could purchase from their favorite black owned businesses all under one roof.
Popular beauty and lifestyle company BeautyCon made their return to the beauty scene after a four-year hiatus and with a new owner — Essence Ventures, LLC. BeautyCon is an annual event made to highlight new trendy products in the industry, with the help of makeup influencers, celebrities and fans. It’s safe to say the company is in good hands as they plan to introduce a whole new BeautyCon experience for everyone to enjoy very soon.
What better way to make a comeback than at one of the largest festivals in the U.S.? Guests were able to stop by the BeautyCon booth and listen to singer Coco Jones and Shea Moisture President of Beauty & Wellbeing Cara Robinson Sabin recall their experiences in the beauty industry as black women.
Oprah Winfrey, Taraji P. Henson and Danielle Brooks all came together for a special conversation surrounding the legacy of the 1985 coming-of-age film The Color Purple. Winfrey, Henson and Brooks all play a major role in the upcoming reboot of the film set to release later this year on Christmas Day.
Vice President Kamala Harris even joined the fun as she spoke on a panel for a conversation on the fight for reproductive freedom and the socioeconomic development of the black community alongside Secretary of the Treasury Janet Yellen.
Other panel speakers included Dominique Fishback, Tyler James Williams, Michelle Williams, YoYo, Roxanne Shanté, Jacob Latimore and Kim Whitley.
Exclusive: ‘Burning Cane’ Director Phillip Youmans Talks His New Film, ‘November’ and His Burgeoning Film Career
The last time I spoke with Phillip Youmans, it was in a restaurant in Lower Manhattan, a few weeks ahead of the release of his debut feature film, Burning Cane.
He had just become the youngest winner of Tribeca’s Founder’s Award, at 19 years old, and the first Black director to achieve that feat. Now, a year later, Burning Cane is streaming on Netflix, he’s put out a few other projects, including Imagine a Moon Colony, for Hulu as part of their Black History Month programming, has been featured in DAZED, on Forbes’ 30 Under 30 list, and more recently, he was profiled in Vogue Magazine.
He’s been on a non-stop rise in his career, one Youmans tells me over the phone, that he’s grateful for. Most recently, he put out a film called, November, which is currently streaming on theshed.org until November 7th. Originally, the piece was a play named Help, written by the formidable, Claudia Rankine. As Rankine puts it, her original intent was to, “confront, address, and have conversations with white men regarding white dominance and their white privilege. This line of inquiry was [my] attempt to understand how we arrived at 2016 with a white nationalist in the White House”. Unfortunately, because of COVID-19’s impact on live performances here in New York City, any possibility of staging Help in its original format had gone out the window. That’s where Youmans came in. “I was brought to November by Jane Rosenthal and Alex Poots and they reached out to me about November to see if I wanted to come on board….I was really attached to it. One: the opportunity to work with Claudia, [like I said] the chance to make a political statement with my art, but also because I have this very real reverence for Black women and the experiences of Black women….It was kind of a no brainer across the board”.
And although Youmans didn’t question much whether he wanted to be part of the project, making sure it came together wasn’t as easy as his decision to sign on. For one, he had to adapt Rankine’s play to fit into a completely different medium, and he only had four weeks to do it. “I wanted to bring forth free association into the project. I wanted to have people be able to come to the project, and hear Claudia’s very, very powerful, very affecting words, and pair it with imagery that allowed for some free association. It felt like I was going to marry this vignette of performance with outside vignettes, with documentary elements. It felt like this could be a snapshot piece, like a slice of the life of the narrator recounting their experiences.” Ever the collaborator, he credits the team beside him for helping him get it done within his month-long timeframe, especially his producer Ayesha Nadarajah. “I had the help of my amazing producer, to help assemble and pull everything from a logistical standpoint together. Her and the help of Laura Aswad, the producer of The Shed.”
From the moment he landed in New York, it was a rush of conversations, ever-evolving scripts, and coordinating between his team and the team at The Shed. But it wasn’t just lighting, sound, and staging, the director had to be concerned with, he also had a new worry: coronavirus. He tells me that, of course, everyone followed proper CDC guidelines, wearing masks, and staying socially distant as much as possible, but that these safety precautions, fortunately, didn’t do much to dampen anyone’s spirit. “I don’t think it’s changed as much of the spirit of what we do. If anything, it’s made it even more of a group, sort of community feeling, that everyone has to go through the same sort of protocols. But it’s important. People’s safety is the most important thing.” Of course, he laments on “the old way” of shooting, where less than a year ago, we were all free to carry on in close proximity without having to worry about wearing masks and sanitizing our hands every twenty minutes, but he’d rather be doing something than nothing at all. “It just feels good to be back in production. It feels good to be making things. Period. So, for that, I feel super grateful.”
Throughout our conversation, Youmans is quick to emphasize just how much he believes in the message of November and how grateful he is to have a chance to make a statement with his work. It was important to him, with this film, to show the juxtaposition between the ways white privilege can rear its ugly head in our lives, and the eternal commitment Black people have towards finding joy in any situation. So, I posed the question, “What is Black joy to [him]?” “Black joy to me is being able to live and determine our own destiny. To love freely, to love unconditionally, and really be who we are a hundred ten percent, and to have that sort of spirit of determining our own destiny; reverberate across color lines and across race lines. Even in the face of everything we go through, considering the harshness of [it], just as Black people on a cultural level, Black joy is defined by the counterpoint to that. I feel like we’re so soulful, and we have so much life, considering everything we’ve gone through as a people…. The joy is really something I’m trying to highlight as an artist.” I think he succeeds in doing so.
Weaved between vignettes of Black women monologuing about interactions with Trump supporters while waiting in line, there are images of Black couples driving aimlessly in parking lots, arms in the air, feeling the wind on their backs, a group of Black men playing a game of pickup basketball, and even a few shots of Youmans and his friends/cast members enjoying a dip in the pool, amongst other things. My next question for the Louisiana native, of course, is how he maintains his own joy with all that’s going on in the world right now. “Making sure I’m invested in real-time and in the emotional relationships in my life; my best friends, my family, my mom, my sister. Finding time to stay in tune with that is the most important thing….That’s been huge.” You can hear the reverence in Youmans’ voice when he speaks about his mother and his sister, two Black women who he says have influenced him greatly in his life. They came up more than a few times in our talk and each time he expressed his love and awe for their support. He’s gotten a lot closer to them in quarantine, speaking with them quite a lot, and I believe that bond he shares with them is evident in his work. November, although not written by Youmans, is another one of his works that centers Black women. Burning Cane, while highlighting themes of toxic masculinity and religious fundamentalism, really seeks to explore the way those behaviors in men affect the women in their lives. Another Black woman he reveres? Claudia Rankine. “She was amazing….I love Claudia. She’s really, really, dope, whippingly intelligent. Her opinions and her POV about everything always comes from such a carefully, calculated, intelligent, full-hearted perspective. It’s very, very inspiring to be around someone who works that way and who is that way. In working with her, I’ve only had amazing things to say about her, honestly.” A sentiment, I’m sure Rankine returns considering the careful and considerate way Youmans went about bringing her piece to life.
November is a stunning film, filled with deep performances that, for me as a Black woman, felt like listening to my friends and family talk about their personal experiences. Each actress brought her own flair and personality to her role, highlighting the vast differences between Black women’s experiences. One of my favorite parts of the film included a moment when the camera “backflips” from the stage where an actress, Zora Howard, is performing, into a sea of actors. Howard appears in the crowd, reciting a line, pantomimed by a white male actor positioned in front of the camera. It’s an interesting shot that echoes the ways in which white men are often brought to the forefront of conversation, while Black women are left behind and forgotten. The film is filled with what I’m coming to realize might be Youmans’ directorial signatures. There were a multitude of jump cuts, seemingly handheld tracking shots, and several closeups and low angle shots meant to illuminate and give power to his subjects.
Already I’ve seen talk labeling Youmans an ‘auteur’, but when I try to ascribe the label to him, he gets a little squeamish. “I can’t really indulge much in what that means or who’s saying that. The biggest thing is that I’m making films, especially in the narrative feature space at this point. I’m just trying to make sure that I stay true to films and projects that personally resonate with me, that I have substantive attachment to. I’m separating more from, whatever [being an auteur] means, in terms of a wider conversation, or a wider look at what the word auteur means, really. As a filmmaker, I feel like I’m a true artist. I try to attach myself to the things that really resonate with me….It’s just hard to say that about yourself. It’s dope to be considered that. It’s dope to be spoken of in that way, because I want to say I’m an uncompromising collaborative in that way, but that I’m really firm in my convictions as a filmmaker. That’s what I feel is the “auteur” spirit. But it’s weird to point the finger at myself and call myself that.” A sentiment, I find completely understandable, although I assure him it’s more than okay if he nods his head along in agreement at the moniker being thrown his way. I also wonder, as someone in the same generation as him, how he feels about so much of the chatter concerning how young he is. He recognizes and is okay with the fact that his being 20-years-old is a big part of his narrative. “It’s just part of the story, I guess. I also feel like it’s dope that I’ve had the opportunities that I’ve had at the age that I’ve had them. I also understand that my age is hard to separate from the story of it all. At the end of the day, as an artist, I want my work to be appreciated no matter what extraneous factors or considerations are attached.”
His work, for the large part, tries to focus on Black joy and his own perspective of Blackness as it informs his world. I ask if any of the conversations swirling around on social media about which Black stories are being told in the media affect the way he chooses his projects, and it is something Youmans is cognizant of, always. “I want to be representative of what Black people want to see. I want to be a part of that vanguard, in terms of expanding the view- and the way that we as Black people get to live in the film space. I want to be a part of broadening that, a part of widening that. I think my work is doing that. At least, that’s really what I’m trying to do.”
At this point, I switch gears, to more lighthearted questions. I’m curious to know what inspires him and informs the worldview he speaks about so much. I noticed, in another interview, he talked about music, a medium very centered in the lives of Gen Z people. He rattles off for me a list of artists, from what I refer to as his “expansive library”, some that include Interwave (a Latinx band from LA), Raveena, Liv.e, Aminé, Crumb, and lots of Orion Sun. He also cites older influences such as The Velvetones, Elis Regina, Antonio Carlos Jobim, Aretha Franklin, The Beach Boys, Irma Thomas, The OJs, Marvin Gaye, and so many more. Bossa nova, alternative R&B, and soul music have been in heavy rotation for him recently as they serve as some of his inspo for his upcoming Black Panthers centered film, Magnolia Bloom. We don’t get much into it because as Youmans tells me it’s constantly evolving so he’d rather not divulge many details. But, he has been making playlists to help keep him motivated.
Another source of motivation for him is his native Louisiana. Youmans was born and raised in New Orleans, where he calls home. “New Orleans is home. It’s been the source of me developing my entire creative POV. That, my mother, my upbringing, everything that city represents, and has brought to me has been so cataclysmic. I have nothing but love and reverence for New Orleans. I’m making my next feature (Magnolia Bloom), the bulk of our principal photography is in New Orleans. I’m trying to bring all the work I can there and really represent the city in the best way I can.” For a city so well known, its film scene is a little less known, but Youmans does good on bringing it more in the spotlight. Later, I wonder out loud which of his peers Youmans is inspired by as well. He takes quite a while to ponder before answering, making sure he doesn’t forget anyone. When he does have an answer, he names Garrett Bradley, Zac Manuel, and Nikki Houston. As for films he’s seen lately, he names Black Mother, but he admits he hasn’t been too tapped into what’s been coming out (mostly in the festival circuit) because he’s so focused on production for Magnolia Bloom, as well as what’s been going on in politics and with the election.
Surprisingly, our conversation dips into something easier; sharing film recommendations, discussing favorite directors, and what we’ve been doing in quarantine. Youmans, as I’ve come to learn of him, gives a somewhat profound and serious answer, with a breezy, yet earnest delivery. “I’ve gotten better about using my time more productively. The more intense bends of isolation has helped me to key in. I feel like I’ve kind of rediscovered what brought me here in a lot of ways in quarantine. I feel like that same sort of tenacious, working spirit that I’ve always had, really came back in a big way….I feel like my work has been a super therapeutic thing, so I’ve been a lot better about managing my time; diving into my work when outside pressures seem more intense because it helps me deal with them. It helps me cope.” When I mention my penchant for baking during my quarantine, it jogs his memory of the one new definitive skill he claims to have learned, cooking. “I know how to fry rice. I know how to cook bacon and cook a whole breakfast. I make the best French toast with brioche bread. All that kind of stuff. All those recipes. All that cooking has come from quarantine too.” But he’s partial to his signature dish chicken fried rice with brioche bread.
We wind up the conversation, talking about different odds and ends; playlists, astrology, Youmans’ older sister, Sydney, meditation and yoga, and healthier living practices. In our friendly rapport, it was easy to get sidetracked talking about random things, something I think speaks to how open and easy-going Youmans is himself. Finally, before signing off, he tells me about what new work he has coming up. A new short film (that he can’t speak much about yet), some music videos, and pre-production on his next feature, Magnolia Bloom. If Burning Cane and November have anything to say about it, I’m sure Magnolia Bloom will be yet another success in his filmography.
November streams on theshed.org until November 7th.
Preview YouTube video A Peek at “November,” Directed by Phillip Youmans | THE SHED
Prospect 5 New Orleans is proud to announce the official artist list for the 2020 iteration of their internationally acclaimed triennial Yesterday We Said Tomorrow. Curated by Artistic Directors Naima J. Keith and Diana Nawi, the exhibition will feature artists based in the United States, the Caribbean, Africa, and Europe, and take place in museums, cultural spaces, and public sites throughout New Orleans.
On Friday, August 25, The Knockturnal was on the scene for a special screening of writer/director Justine Browning’s short film “Breach” at the beautiful Carragher’s Pub & Restaurant rooftop near Times Square.