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Defender Picks



October 4th

Anatomy of a Murder

Prytania, 10a.m.

Part of the Halloween Classic Series


Gay Day at da Zoo

Audubon Zoo, 10a.m.

Prideful adventure through the zoo


Saints v. Cowboys

Superdome, 7:30p.m.

Nola Saints take on Dallas Cowboys at home



Marigny Opera House, 8p.m.

World premier of this contemporary ballet


Taste The Rainbow

The AllWays Lounge, 9p.m.

Drag and burlesque presented by Dykeadence


October 5th

Mac McClelland

Tulane LBC, 8p.m.

Award-winning human rights journalist and author


In The Valley Below

Hi-Ho Lounge, 8p.m.

Also ft. The Moth & The Flame



Peace Officer

Zeitgeist, 7:30p.m.

Documentary about police militarization and brutality


Witness to Change: From Jim Crow to Political Empowerment

Garden District Book Shop, 6p.m.

Sybil Haydel Morial’s memoir


Nikki Glaser

Freret St. Publiq House, 7p.m.

Comedian as a part of Hell Yest Fest



October 6th


Mardi Gras World, 8p.m.

Latch, Help Me Lose My Mind musicians



Zeitgeist, 9:30p.m.

Flick about child assassins


Night Bus to the Afterlife

Columns Hotel, 7p.m.

Mortality and the Gulf South


Tommy Malone

Chickie Wah Wah, 8p.m.

Nola native guitarist


Open Ears Music Series

Blue Nile, 10p.m.

This week ft. WATIV


October 7th


Champions Square, 8p.m.

English indie rock band


George Ezra

The Civic, 7:30p.m.

Also ft. Andrew Duhon


Brand New

UNO Lakefront Arena, 7:30p.m.

Alt-rock band from Long Island


Screwtape Letters

The Saenger, 8p.m.

Theatrical adaptation of C.S. Lewis’ novel


South Toward Home

Maple Street Book Shop, 7p.m.

Travels in Southern Literature


October 8th

ASAP Rocky

Champions Square, 7p.m.

Harlem rapper come to NOLA



The Civic, 8p.m.

Swedish heavy metal band


Twin Shadow

Republic, 8p.m.

Dominican-American musician


Ogden After Hours

Ogden, 5:30p.m.

This week ft. King Edward


Creole Son

Garden District Book Shop, 6p.m.

Account of Edgar Degas in Nola


October 9th

Ariana Grande

Smoothie King Center, 7:30p.m.

Pop musician known for licking donuts she doesn’t buy


Kacey Musgraves

Howlin’ Wolf, 6:30p.m.

Country and Western Rhinestone Revue


Blackest of the Black ft. Danzig

The Civic, 6:30p.m.

Also ft. Superjoint, Veil of Maya, Prong and Witch Mountain


Friday Nights at NOMA

NOMA, 5p.m.

Opening of Traditions Transfigured


La Traviata

Mahalia Jackson Theater, 8p.m.

Opera story of love and sacrifice


October 10th

Dwight Yoakam

Orpheum Theater, 8:30p.m.

Singer-songwriter and country music pioneer


Meg Myers

OEJ, 7p.m.

Smoky Mountain singer-songwriter


Moon Taxi

The Civic, 8p.m.

Nashville rock band



HOB, 7p.m.

Reggae from Cali


Suggestive Gestures

Zeitgeist, 9:30p.m.

Experimental feature and drag performance


Moonlight Market: A Celebration of 20 Years of CCFM

Reyn Studios, 7p.m.

Crescent City Farmers Market fundraiser


October 11th

Bent, Not Broken Gallery Talk

Ogden, 2p.m.

With Curator, Michael Meads


Odd Man Out

Prytania, 10a.m.

Part of Halloween Classic Series


Masters of Illusion

Saenger, 7:30p.m.

Magicians from the hit TV show


Papa Mali

Chickie Wah Wah, 8p.m.

George Porter Jr., Robert Hunter and Bill Kreutzmann

Iles of Light

Bill Iles' Transcendental Forests

Painter Bill Iles reigns in Southern terrain to controlled, comprehensive and complex works. His oil paintings depict forest scenes of Southwestern Louisiana, inspired by the land around Lake Charles and Dry Creek, the small town where he was born.


Those who have ventured out of New Orleans and had the chance to see Southern fall landscapes will appreciate his body of work showing in March at the Cole Pratt Gallery (3800 Magazine St.)

Bill Iles shows his most recent forested landscapes.
Where: Cole Pratt Gallery, Magazine St.
WhenMarch 2, 2013 - March 31, 2013
Opening: March 2, 5:30 p.m.


Featured in the Louisiana Endowment for the Humanities publication A Unique Slant of Light: the Bicentennial History of Art in Louisiana, Iles is a prolific artist with a secure spot in our country’s perspective of the natural world. However, he does not leave the viewer with any lofty impressions. Kind and open, he has a generous personality and thoughtful perspective on his life work. 


“Our ability to see is such a precious gift,” he says. And it’s easy to see how much he has devoted his life to this gift. On the day he delivered his paintings to the gallery, we talked about light and vision.  It’s clear that his eyes are as important a tool to him as his brush. His paintings deal a lot with perception and putting down human vision into concrete images.


We talked about how when the daylight is fading, and there’s barely any light left in the sky. It’s really our imagination that gives color to the outline of grass and trees, he said.


“We think we see more color than we actually do,” he said.


The muted blues and greens of the bark of the trees in Late Autumn are a good example of this phenomenon, and in Dusk falls on the Winter Woods he pushes the palette almost to the point of being monochromatic.


Repetitive and meditative, his color palette and composition express a certain serenity that doesn’t actually exist in reality. Given the complexity and often unideal nature of life, his work aims to harmonize the chaos of the woods. His emotional attachment to these scenes stems from his childhood in the woods of Lousiana, where his father would take him hunting. 


Unwilling to shoot the animals, he would “hide out” in a corner of the woods, observing. These formative years were the beginning of a life-long exploration of wilderness. In a press release issued by the Cole Pratt Gallery, Iles quotes Emerson’s essay On Nature:  “In the tranquil landscape, and especially in the distant line of the horizon, man beholds somewhat as beautiful as his own nature.”


Iles is heavily influenced by transcendental thought, and like other artists before him like Poussin or William Morris, he seeks to make sense of reality by creating a harmonious and balanced image.


The “line of the horizon” that Emerson wrote about is a significant reference for Iles to choose. Unlike many other landscape artists, who begin their work by painting the background sky or water, Iles intuitively starts his paintings with the foreground image, like the way our eye works. In a few of his paintings, like "Embankment Viewed from the Creek," we have to concentrate and struggle to make out the brush and trees before we arrive in the distance. 


In a 2010 article for, John R. Kemp writes of Iles: “Muted beech trees in the foreground of his paintings act almost as barriers that viewers must breach before emerging into the distant sunlight and bright colors.”


Looking at his work definitely requires a certain amount of time and focus because his vegetation sometimes borders on abstraction. The reward of doing this is stepping back and making sense of the assembly of colors and textures, and realizing that there are some bigger pictures in the horizon of Iles’ paintings. 


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Dead Huey Long, Emma Boyce, Elizabeth Davas, Ian Hoch, Lindsay Mack, Anna Gaca, Jason Raymond, Lee Matalone, Phil Yiannopoulos, Joe Shriner, Chris Staudinger, Chef Anthony Scanio, Tierney Monaghan, Stacy Coco, Rob Ingraham,

Staff Writers

Cheryl Castjohn, Sam Nelson

Theatre Critic

Michael Martin


Brandon Roberts, Rachel June, Daniel Paschall

Film Critic

Jason Raymond


Paolo Roy

Art Director:

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B. E. Mintz

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