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    Tattered Jeans

    An unexpectedly grave concern: Running out of oil in middle of an oil spill

    Katie Oxford
    Jul 7, 2010 | 7:27 pm
    • When you're wondering if you're grave will get washed away in the oil spill"cleanup" ...
      Photo by Katie Oxford
    • Yes, you can run out of oil in the middle of an oil spill. The call for help.
      Photo by Katie Oxford
    • In some places, the water looks like it's full of smoke.
      Photo by Katie Oxford
    • It's hard to tell what good the booms are doing.
      Photo by Katie Oxford
    • If only there was some paradise for the Louisiana Indians through those trees.
      Photo by Katie Oxford
    • Russell Dardar took the author out on the water.
      Photo by Katie Oxford
    • Even with all the destruction, there's still a lot of beauty in the Gulf ... fornow.
      Photo by Katie Oxford
    • There's a whole lot of unnatural stuff in these waters.
      Photo by Katie Oxford

    Editor's note: Katie Oxford is on the ground and in the boats in Louisiana, reporting from the heart of the Gulf oil spill disaster. This is the third of her columns from the scene.

    After being on a boat with bullshitters, I happily hopped onto Russell Dardar’s on Day 66 of the oil disaster.

    We met where I first saw Russell (the Pointe-Au-Chien Indian from Louisiana) sitting in the shade, with a macramé net of new potatoes (from his garden) hanging from above like the droopy ears of a hound dog.

    Another Indian was sitting with him. There were no introductions, hardly words, which struck me as refreshing not rude. His friend got up and walked away without a sound. Russell stood too and said only one thing.

    “Ready?” he asked. “I am,” I told him. Or so I thought.

    Barefoot, Russell walked to the dock, and I followed. We stepped onto a small skiff that sat low in the water. He got behind the wheel while I took the same plastic chair I’d sat in the first day we visited.

    Our first stop was at another dock along the Pointe-au-Chien bayou to pick up an extra can of gasoline. A little white dog ran up to greet us like he’d been waiting there all morning. When he jumped onto our boat, Russell fumed.

    Yet I noticed he picked him up and placed him back down on the dock with the same care you might move a baby rabbit. Tenderly.

    We continued — past the “marina closed” except to BP members. I snapped a picture of two workers unloading brand new boom, which best I could tell in some areas, was one big bust.

    Once past the marina, it was all waterways and sky with muted colors of green marsh grass resting low in between. It was easy to see the difference between cuts in the marsh made by man and those that were not. One looked like an incision made with a pocket knife — the other as though God had just run his fingers through.

    We came across oil in pockets, in colors, not just black. These were the scariest parts to me. Places where water looked like smoke ... injected with purple paint.

    Russell would cut the engine — so we drifted into these areas. I realized seeing the damage in person was not like seeing it on television. And the closer I looked, the heavier my heart felt.

    "How in the world is this ever going to get out of here,” I wondered. I didn’t cry out loud, rather silent and deep. Unimaginable was the sorrow of Russell’s and the Pointe-au-Chien Tribe.

    Guns to save graves

    I’d asked Russell if he’d also take me to the cemetery he’d spoken of a few days before. Along the way he explained that when the oil companies wanted to “cut through the cemetery too,” his ancestors had held their ground. “They stood people off with guns,” he told me.

    We coasted into shore where a small path lead into thick brush. The second we stepped onto land, horseflies the size of nickels latched on to us like bees to honey. (If you’ve ever walked into a “flea infestation” you know what I’m talking about.)

    Russell, apparently sweeter to the buggers than me, slapped around his head faster than his bare feet were moving and his breathing became panicked sounding. I fired my camera twice at the only remaining gravestone and we hot footed it out of there like two robbers from a bank.

    "Where do you want to be buried?” I asked curiously. “Further north,” he laughed. “It’s still sinking here ... I don’t want to be buried upside down.”

    Suddenly, the motor sounded funny. Russell cut the engine and mumbled, “Don’t tell me I did that.” He went to the front and dug for something below ... coming up shortly with a confirmation, “Yea, I did.”

    The boat was out of oil he told me. I felt a strange war take hold in my stomach. Fear versus gladness. Russell again dug from below only this time; he came up looking relieved and holding his cell phone in one hand like he’d just caught a fish.

    In seconds he had his cousin on the line and was speaking part English and the rest I couldn’t recognize. “Yea I brought gasoline,” he told Eugene, “but no oil.” He gave him our general vicinity (I thought) and just before hanging up said, “Yea, I got a woman ... and a little breeze.”

    Wanting to put him at ease I said, “If we need oil we could just dip down in the water and get some,” I laughed. “Yea, what does that tell you?” he asked. “We need oil but not the way it’s coming in.”

    All I felt now was gladness (thanks in part to Russell finding his cell). When would I ever be in such an environment again? Sit in this low-riding seat to take in its beauty (head to toe) before the scenery was all gone thanks to man. The moment was one to mark and so, I did.

    The Wait

    For 45 minutes (while waiting for a can of oil) — I watched the easy flight of egrets, herons and cranes; saw white in the pelicans — as clean as my grandmother’s cotton sheets flapping on her clothesline; heard strength in voice alone of one horsefly, a sound similar to when my brothers got their burrs.

    I was grateful that Russell sat in silence too. That he didn’t inject words into ecology. I looked away from this grand movie briefly to write what felt like music notes more than words ...

    “The Quiet ... is so ... quiet is ... so quiet.”

    When Eugene arrived and handed the oil over, I felt a little sad. He smiled and left quietly.

    We continued southward and reached the north part of Lake Raccourci — coasting into areas where oil was black. “Looks worse today,” Russell said as though talking to himself.

    In Timbalier Bay we passed boats, “skimming for oil.” Russell pointed to his “oyster leases,” some 122 acres now closed and in booms. “How much do you lease them for?” I stupidly asked of the oyster areas.

    “I wasn’t charging them,” Russell answered. “They’re my family.”

    Closer up, the boom looked like it was disintegrating in these areas. When I asked Russell to explain this he said, “The oil was already here when they put the boom in ... I don’t know what it’s doing.” Who did?

    By afternoon, it was time to make a U and head back. Along the way, Russell pointed high overhead to a kind of plane I’d never seen before. Its wingspan and slow speed reminded me of an Osprey. “Dispersant,” Russell said. When I asked him if he’d actually seen it spraying, he said “no” but I could tell he didn’t need to. The plane was the “third” he’d seen in the last two days.

    Chugging along the bayou again, I reflected, “Who’d have ever thought we’d have all this oil around us and run out of it too?” I could have sworn I’d heard laughter coming from the marsh — like munchkins at first, then growing louder like a drum.

    I retrieved a gift for Russell from my trunk. It was a watermelon I’d purchased in Bourg. The store owner said they were from “Alabama and sweeter than last year’s,” he claimed. Russell seemed surprised when I handed it over to him.

    “It’s big,” he smiled.

    I was pleased. I’d wanted to give him something from the ground ... even if it wasn’t grown from his.

    unspecified
    news/city-life

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    a bright flame

    Houston's game-changing free arts academy breaks ground in the East End

    Holly Beretto
    Oct 15, 2026 | 9:00 am
    Frank Liu Jr. Academy for Music and Arts (FLAMA) exterior
    Rendering courtesy of OMA
    A rendering of the exterior of the Frank Liu Jr. Academy for Music and Arts (FLAMA)'s exterior. The new school broke ground in the East End last week.

    Houston’s newest school for arts and music broke ground last week in the city’s historic East End. The Frank Liu Jr. Academy for Music and Arts (FLAMA), a tuition-free charter school, will welcome students in pre-K through 8th grade next August.

    Members of the Liu family, the school’s founding board members, elected officials, and East End community partners gathered at Buffalo Bayou Partnership’s historic Turkey Bend development for the official groundbreaking ceremony on October 8, which kicked off with a performance by the Kinder High School for the Performing and Visual Arts’ Mariachi group.

    The new school is on a portion of the former Folgers Coffee Plant, located at 235 N. Norwood St. OMA, an international architectural firm known for its approach to urbanism, cultural projects, and adaptive reuse, is transforming the 1930s plant into a state-of-the-art educational facility.

    “We’re excited to celebrate this milestone for FLAMA and look forward to seeing the transformation of the historic Folgers plant into a new home for music and arts education,” said Jason Long, one of the firm’s partners. “Like fine-tuning an instrument, our design recalibrates the existing industrial structure into an open, connected, and expressive environment for learning. FLAMA will be a new learning environment that builds on the character of the existing building while giving it new life for the community.”

    Unfolding across three stories, the school draws inspiration from Montessori education principles, which prioritize openness, independence, and collective learning through shared “neighborhoods.”

    It all begins when students, families and guests enter through a private courtyard. The welcoming space will change the building’s original industrial facade into a brightly colored, kid-friendly spot, complete with yellow and green blocks spelling out the school’s name. The original windows will be restored to preserve the building’s historic character and upgraded to meet contemporary energy standards. Similarly, all of the school’s classrooms are located around the building’s perimeter, providing an abundance of natural light.

    Inside, FLAMA’s three stories are divided so that younger students will find their classrooms at the school’s base, and they will move upward through the school as they progress through grade levels. The ground level has a common area for younger kids that could host drum circles, movement classes or “breakout play.”

    Children in first and second grade have their own, larger open space, with an eye-catching staircase, that's inspired by the curve of a French horn. The space lends itself to everything from small gatherings to performances by the school’s early musicians.

    As students progress through grades three and higher, they’ll find FLAMA’s upper floors created to meet their growing artistic and intellectual needs. One example is the open library, a shared spot for students in third through fifth grades. It has flexible furniture that can transform the space into a place for group study and project work, as well as one that can host after-school activities. Directly above this library is a second common room for middle schoolers where students in sixth, seventh, and eighth grades can study.

    These two libraries are connected by an F-shaped floor opening that references both the F-hole of a string instrument and the forte symbol. Musicians know this curly f as a note indicating them to play a passage with strength. That could easily be a metaphor for the school itself, which will combine high-quality education with rigorous academics. This visual cue emphasizes FLAMA’s desire for music and art instruction to amplify learning across reading, writing, math, and science.

    “This will be a place where children can discover their talents, families can find opportunities close to home, and music and art can open the doors to a stronger education,” said Congresswoman Sylvia Garcia, who attended the groundbreaking. “I know how much it matters when someone brings opportunity within the reach of a child.”

    Dr. R. Scott Allen, FLAMA’s founding superintendent and former principal of Kinder HSPVA, spoke about the school’s vision to pair a rigorous, engaging academic opportunity with deep immersion in music and visual arts.

    Congressman Christian Menefee, State Senator Carol Alvarado, and Houston City Councilmember Mario Castillo also delivered remarks at the ceremony, speaking about the school’s power to not only transform Houston’s Second, Third, and Fifth Ward communities, but also bring incredible education opportunities to students. Former Mayor Annise Parker, former State Board of Education Member Staci Childs, State Representative Christina Morales, and Houston City Councilmembers Joaquin Martinez and Sallie Alcorn also attended the event.

    “In this city, known for our undeniable contributions to music and arts, the gap has never been ability or talent; it has always been opportunity, and opportunity can be built,” said Kirby Liu, who spoke at the groundbreaking, memorializing his late brother’s vision of arts education for the youngest Houstonians. “When it comes to opportunity being foreclosed on our children, we will try like hell to bust those damned doors down.”

    The Frank Liu Jr. Foundation has pledged $20 million in financial support during FLAMA’s first years of operation.

    Applications are now open for kindergarten and first-grade students for the 2027-2028 school year.

    Frank Liu Jr. Academy for Music and Arts (FLAMA) exterior

    Rendering courtesy of OMA

    A rendering of the exterior of the Frank Liu Jr. Academy for Music and Arts (FLAMA)'s exterior. The new school broke ground in the East End last week.

    flamafrank liu jr academy for music and artseast endperforming-artseducation
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