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    Tattered Jeans

    At the Gulf's bedside: A Louisiana Indian opens up on the oil damage — and how BP keeps others quiet

    Katie Oxford
    Katie Oxford
    Jun 23, 2010 | 4:15 pm
    The trees hang low with moss.

    In a way, Louisiana reminds me of my schizophrenic brother.

    This is not a bash by any means. Louisiana is both mystical and raw in a warm kind of way. Like clothes made of “100% cotton.”

    If you look at the state on a map that's especially detailed, it looks like blood vessels running through a body. A living, breathing body, which now in some places has colors of orange, black and some I’ve never seen before — streaming though it. Toxins exacerbated by man-made toxins, also injected by man. Oddly enough, our “mother country,” who, at least to me — rules here.

    Initially, I came to Louisiana on a mission related to a photo shoot, but deep down inside, I knew it was just an excuse. Like a loved one turned gravely ill, I had to come see the Gulf. Now, I’m having a hard time leaving her bedside.

    In the last few days I’ve traveled (by car and/or boat) from New Orleans to Grand Isle to an area about 35 miles south and west of Houma that, as one person warned, “Now there’s some real coon-asses up in there.”

    Maybe so, but the folks I came across — felt like my “tribe” as I like to say. In fact, some do belong to a tribe — the Pointe-Au-Chien. They live along Bayou Pointe-Aux-Chenes, which some know as “Oak Point.”

    I’d read an article about Pointe-Aux-Chenes thanks to my friend and writer, Jeannie Ralston. Like the Gulf, the place called to me.

    The sky steps in — and cries

    I started for there but in Houma, the sky opened up and lightning commenced. This was no downpour, this was a down home, genuine, “gully washer” as my great aunt Lillian Cole calls them, and it went on for a good 30 minutes. Cars (including mine) and trucks pulled over and parked. Lightning not only clapped. It echoed like from in a huge empty warehouse.

    What typically looks like long legs dancing struck me as something from the graphics world. I flinched at every thick white line that speared the earth and then lingered there, quivering.

    When it was over, I headed back out but the street was flooded. I tried another route but that street was flooded too. Again I pulled over. Ten minutes later, the roads were still impassable and I was laughing, remembering something a New Orleanian had told me, “There’s nothin’ good in Houma.” “Not the drainage anyway,” I thought.

    The next morning, I set out for Pointe-Aux-Chenes again. It was Sunday, a day declared as “A day of prayer in Louisiana.” It was cloudless with a heat index of 115, the radio said. It also said that various businesses were down “30 percent to 50 percent” and that there “not enough skimmers, booms, and workers.”

    During one commercial break I heard another radio announcer. “Give me three hours,” he declared, “10 to 1 weekdays. All that we are … are at stake.”

    I passed produce stands stocked with “Washington Parish Watermelons” and “Louisiana Creole Tomatoes” and felt a magnetic pull kick in, but the Pointe Aux-Chenes magnet pulled stronger. Through Bayou Blue and a little town called Bourg, where a bayou ran along beside it like a bosom buddy. Past everything green — cypress, pines, oak, banana trees, huge magnolias until finally the road turned and narrowed even more.

    I stopped at a little bridge where two women were fishing. Rhonda Dupre and Cheryl LeBoeuf were “crabbin’,” they said. “We’re cookin’ our husband’s Father’s Day Supper …before the oil comes,” they laughed. I was taken by their good humor and lightheartedness. “You’re heading the right way,” they pointed and a little further up, the sign confirmed.

    Bienvenu
    Pointe-Au-Chien Indian
    TRIBE COMMUNITY

    Inside a community in pain

    I crossed a steep narrow bridge over the bayou and drove as slowly as possible so I could take it all in. The silence wasn’t sad, like an abandoned house. It was still and respectful — like the storm-ridden oaks, looking as if they’d been power washed, but still standing with apparent strength and a gorgeous color gray.

    I hadn’t driven far when I spotted a man in a Caribbean blue T-shirt sitting in the shade. Little did I know, I was to enjoy the next few hours like I would reading a good book. No drama. All mystery.

    Russell Dardar Sr. (43 years old) is one of 15 children and now lives in the house his grandfather built. He carries a tribal identification card that lists him as tribal member No. 187.

    From the surrounding oaks, moss hangs like perfectly placed tinsel on a Christmas tree. Russell pointed to the other houses in one long line, “that’s my aunt, that’s my cousin, that’s my brother, my Mama, that empty lot is another aunt, the next house is my wife’s uncle … you could go on and on and on.”

    I was white enough to ask him if I could take his picture and then, ask him for a smile! His answer came so honest and easy like. “It’s not quite a smiling time,” Russell said. We both teared up.

    I shut my camera off and put it down, feeling ashamed and utterly thoughtless. I then got some pictures of a lifetime.

    “Well, some people may think the name means point of oaks but to us, Pointe-Aux-Chenes means point of the dog," Russell said. "Years ago ... wild dogs lived here.”

    He spoke about how wise his grandfather was to buy all the land. What the land looked like before the waterways were cut. He mused about the old “skiff” (43 feet long and 17 feet at the widest point) now parked alongside his grandfather’s house, how he hopes to clean it up and use it some day. The old sugar refinery that used to be, the cemetery, now gone too … even the “Rhode Island Reds” roaming in his front yard until inevitably — we got to the heavier heartache at hand.

    BP's plan?

    On May 21, Russell’s cousin caught oil in his fishing net. “It smelled so bad,” Russell said, “I took pictures.”

    He brought them from the house for me to view. “That oil sheen doesn’t look like water,” Russell told me and indeed, he was right. The next day when I saw it from a boat, I thought of a slow moving water moccasin.

    We were still looking at pictures when Russell’s cousin cruised up to the dock in his boat. He, like many all over the state, is no longer fishing because of the oil. Instead, BP had hired him to take them around. His cousin and one other fellow got off the boat and walked silently by us, one offering half of a hand wave.

    “They have a gag order on them,” Russell explained apologetically. “That’s why I didn’t sign up.”

    In other words, BP hired his cousin only under the condition that the cousin agreed to sign a piece of paper promising that he would not “talk” to anyone. “I’m gonna talk,” Russell told me.

    When it was time for me to leave I searched for something hopeful to say to Russell. “Someday,” I smiled, “I’m gonna take a picture of you in that skiff.” Russell’s answer came soft and quiet like.

    “I see myself in that boat too.”

    The trees hang low with moss.

    unspecified
    news/city-life

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    preserve Houston's history

    Preservationists stage last-ditch attempt to save historic Houston theatre

    Emily Cotton
    Feb 17, 2026 | 3:30 pm
    Garden Oaks Theatre protest
    Courtesy of Arthouse Houston
    Community members rally to preserve the Garden Oaks Theatre.

    Houstonians residing in the Heights, Garden Oaks, and far beyond were thrown into a tizzy last week by the abrupt news that the Garden Oaks Theater had been purchased by commercial developers in a $7.1 million, off-market deal.

    Within a matter of days, demolition permits were granted, sewer lines disconnected from the city, and — as of Monday night — construction fencing was placed around the property. Both Preservation Houston and Arthouse Houston, an offshoot of the Friends of River Oaks Theatre, have voiced concerns over the apparent plans to raze the Art Deco building before the community has had time to react to the news.

    Built in 1947, the Garden Oaks Theater is one of several post-war Houston theaters designed for the Interstate Circuit by H.F. Pettigrew and John A. Worley of the Dallas firm Pettigrew & Worley, alongside its sister cinema, the River Oaks Theatre. It is a classic example of streamlined Art Deco design — an architectural gem that connects Houston’s everyday streetscape to its cinematic past.

    Arthouse Houston has been sitting on preservation plans for the theater for years, waiting for it to be sold by the church that had owned and utilized the building since the 1990s. The 700-plus seat theater, along with its stage, has retained its original architectural details and features throughout the years, save for a short stage extension project carried out by the church.

    Developers have not responded to proposals by Arthouse Houston to either buy or lease the movie theater to return it to its original use while simultaneously operating as a community arts center and much needed “third place.”

    According to State of Texas records, parties involved include the Heights Equity Trust, Sage Equity Partners, and Heights Investment Fund, LLC. None of these entities have responded to CultureMap’s request for comment about their plans for the property.

    Jim Parsons, programs and communications director for Preservation Houston, issued this statement to CultureMap:

    “The Garden Oaks Theater and buildings like it give the city a sense of identity. People don't just recognize these places, they remember them. Houston is always changing, but when we treat historic architecture as disposable, we risk losing the landmarks that anchor neighborhoods and give them character.”

    Maureen McNamara, Arthouse Houston’s co-founder and director, is hoping that developers took note of the “save the theater” rally that took place at the theater on Sunday, February 15, and may have a change of heart. Coverage of the rally by ABC13 was widely circulated on social media, so it’s unlikely that the developers are unaware of the public outcry to save the theater — and is what likely led to fencing going up only a day later.

    “We feel like we’re pretty well poised to step in and help investors to incorporate the theater into a larger project, and the first step is to make sure that we win them over,” McNamara tells CultureMap. “Part of winning them over is making sure they know how much the community cares, and seeing how beautiful and dynamic restoring our historical buildings and theaters can be.”

    The restoration of River Oaks Theatre and the attention that project has brought to the area is something McNamara is confident she can replicate.

    “There are nonprofit organizations all over the US saving and running historic theaters as community arts centers, and arts and film centers — there are models for this. Austin just did a big push with the Paramount Theatre,” says McNamara. “I’d like for it [Garden Oaks Theater] to exist for its original purpose — at least in part, as a movie theater — with some live theater components as well.”

    A petition on change.org has already garnered more than 1,000 signatures. In addition, Arthouse Houston will attend a Houston City Council meeting on Wednesday, February 18, at 9 am to discuss what there is to be done about this situation. McNamara encourages people to join them.

    “We would love any help we can get getting people there, signing up to speak if possible — it would be great to have a crowd there.”

    Garden Oaks Theatre protest

    Courtesy of Arthouse Houston

    Community members rally to preserve the Garden Oaks Theatre.

    preservationpreservation houstongarden oaks
    news/city-life
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