Friday, May 3, 2024

Disgraced Former LA Health Secretary Greenstein Now Chief Technology Officer of Trump's HHS

Bruce Greenstein, the disgraced former Secretary of Louisiana’s Department of Health and Hospitals under Gov. Bobby Jindal, was recently named the Trump administration’s Chief Technology Officer of the Department of Health and Human Services, an astonishing second act for a man who has spent much of the last few years living under the cloud of nine felony indictments for perjury.  

Since he left Louisiana, Greenstein has been living quietly with his family in Seattle, more than 2,500 miles and a world away from his old home in Baton Rouge. In 2013, after three years on the job, Greenstein resigned from his position as the Department’s Secretary, the same job that gave Bobby Jindal  his first major break into public life.

A year after Greenstein’s resignation, he was indicted on nine counts of perjury, serious felonies related to his alleged collusion with his former employer, Client Network Services Inc. Among other things, Greenstein was accused of improperly contacting his former employer as they sought and ultimately received a nearly $200 million contract with the state of Louisiana for Medicaid billing and fraud oversight services. It was considered the most lucrative contract in the entire state.

During the procurement process, when DHH employees were prohibited from contacting bidders, Greenstein “engaged in hundreds of phone calls and thousands of text messages with CNSI, creating an unfair advantage for the company,” according to the findings of an investigation by the Louisiana Attorney General’s Office, which was then led by Buddy Caldwell. After a grand jury deliberated for more than 18 months, it ultimately returned those nine charges of felony perjury in June of 2014.

Caldwell’s office announced that Greenstein had changed a policy in order to ensure CNSI was eligible for the contract and that CNSI undercut its competitors by submitting a significantly lower bid, only to add millions back into the contract once it was awarded. 

Greenstein resigned only months after the state of Louisiana decided to cancel CNSI’s contract, but the controversy was far from over. 

“This major contract to service our seniors and most vulnerable citizens of the state was first entered into unfairly under Greenstein’s control,” Attorney General Caldwell announced at the time. “He then knowingly lied under oath to the legislature and the citizens of the state about his improper communication with CNSI in order to cover up his wrongdoing. This type of behavior has no place in state government, and he will be held accountable.” 

Caldwell would never make good on that promise. The following year, he was ousted from office by former Congressman Jeff Landry, who ordered a re-evaluation of the case. Greenstein had consistently pleaded innocence. 

CNSI, for its part, sued the state of Louisiana for “bad faith breach of contract,” a case that was finally settled in July of 2016, with the state agreeing to change the language of its termination from “due to bad faith” to “due to convenience” and to arbitrate the value of any work CNSI had provided prior to termination.

Two months prior, in April of 2016, Attorney General Jeff Landry made a stunning decision to drop all charges against Greenstein, despite the fact that they were the result of an exhaustive 18-month deliberation by a grand jury. In explaining their justification, Assistant Attorney General Brandon Fremin cryptically referenced “factors outside the control of the current attorney general [Jeff Landry]” and argued that new legal filings would have complicated the state’s case against Greenstein. He also claimed that “there was a factual basis for the grand jury to return the indictment [against Greenstein] on September 23, 2014” without explaining what specifically led Landry’s office to drop the case.

As Chief Technology Officer, Greenstein will be responsible for, among other things, the acquisition of information technology software.    The Department of Health and Human Services notes, “Given the expansion and impactful role of digital services throughout government, there are many opportunities to improve existing acquisition methods used to support government services, directly benefiting the public.”

Calling an Appel an Orange: One State Senator’s Love Note to Bad Government and Legislative Incompetence

Louisiana State Sen. Conrad Appel, a term-limited Republican from Metairie and a man who spent his years as Chairman of the Senate Education Committee embarrassing the state in front of the entire world by refusing to allow to a full vote on a bill endorsed by more Nobel Prize winners than any other piece of legislation in American history, is now moonlighting as a columnist on the conservative blog, The Hayride. Among other things, The Hayride is best known for reporting the influx of 10,000 of Syrian refugees into Louisiana (the correct number was 13) and selling fake steroids through its mailing list. So, obviously, it is the perfect venue for a state senator who somehow managed to hang onto his job after defeating a fellow Republican who called for providing $1,000 to any woman on welfare who gets sterilized. Appel won with 14,701 votes. Voluntary Sterilization Man, John LaBruzzo, received 11,109 votes. It could have been a closer race, actually. Voluntary Sterilization Man has been elected before, made a “name” for himself, but when he discovered Appel had stock in Microsoft and also supported Common Core, Voluntary Sterilization did what most people  no one in their right mind would do: Voluntary Sterilization accused Conrad Appeal of purchasing a few shares in Microsoft, a company with $470 billion in assets, as if it was some sort get rich-quick corruption scheme. It back-fired. Duh. Voluntary Sterilization had to apologize and, embarrassingly, change his mailers. It had once looked promising for Voluntary Sterilization, but his candidacy would never rebound. Voluntary Sterilization’s loss is a gain to anyone who appreciates reading the lyrical jazz prose and soaking in the cognitive dissonance of Conrad Appel’s blog posts. Since Appel has opposed science education during his state senate career, perhaps it shouldn’t be surprising that he is such a skilled post-factual writer. His most recent opus titled “A Stalemate at the Legislature Was a Victory for Louisiana, Not a Defeat” is a classic example (and an impressive nod to George Orwell). Let’s unpack the post: Appel writes:
“What we saw this week was a powerful lesson in raw democracy. No, not the Comey hearings, the event was the deadlock reached by the Louisiana Legislature over the next fiscal year’s budget.”
In this context, “raw democracy” refers to a type of government that is prone to being infected by incompetence and corruption.
“The media is having a field day, ‘the legislature failed on all counts!’ Actually nothing could be further from the truth.”
The legislature has not passed tax reform, and at the time Appel wrote this opus, they hadn’t passed a budget either. But they did manage to change the name of the Louisiana School for Math, Science, and the Arts, against the widespread opposition of nearly everyone who ever attended the school, and in doing so, they somehow ended up making the new name into a perfect metaphor for bureaucratic incompetence: The Jimmy D. Long, Sr. Louisiana School for Math, Science, and the Arts, a name so long and so clumsy that, in most cases, the school legally won’t have to use it. Either way, count one for the legislature. Great investment of three and a half hours during the final week in session!
“Because the legislature is the voice of the people it is acting in accordance with that voice.”
Where have we heard that tautological word salad before? Oh yeah.
“Through a twist of fate (1) we have a governor who comes from a political philosophy that is remarkably different from that of the majority of citizens (2). His election, considered by most to have been more a rejection of the other candidate than anything else (3), did not mark as some would have us believe a reversion to the decades-old Louisiana political ideology that has resulted in our state being last in all measures of success (4).”
(1). Sen. Appel is referring to Sen, David Vitter’s predilection for prostitutes. “Twist of fate” is here a reference to the Bob Dylan song, “Simple Twist of Fate.” (2) John Bel Edwards is a pro-life, pro-gun Catholic who campaigned on a platform of criminal justice reform, Medicaid expansion, restoring funding to higher education, fixing the state’s budget by eliminating unnecessary exemptions and by raising revenue through fairer tax policy, increasing the minimum wage from $7.25 an hour, enacting non-discrimination policies that protect LGBT Louisianians in the workforce and housing, and instituting equal pay laws that ensure women earn the same salary as a man does in the same job. Gov. Edwards was elected with 56.1% of the vote and is currently one of the nation’s most popular governors, with 60% approval. What Appel really means is that John Bel Edwards, a West Point graduate and Army Ranger, has a remarkably different political philosophy from people like Conrad Appel, a wealthy construction company executive. (3) Sen. Appel is still managing his grief, y’all. It’s a process. (4) Sen. Appel is here referring to Gov. Bobby Jindal, making one wonder if hypnosis and experimental therapy have allowed him the ability to forget the years 2008 through 2015 entirely.
“Rather than the fluke that was the governor’s election, a far better measure of the thinking of the Louisiana people was revealed in the elections of our very conservative House of Representatives, our statewide elected officials, and in the overwhelming win by President Trump. So why the apparent failure of the legislative process? Well in fact I believe that the deadlock that was reached clearly demonstrates the success, not the failure, of our democratically elected republican form of state government.”
This is the part where Conrad Appel attempts to argue that voters want him to be terrible at his job on purpose, because he shouldn’t have to accept the election of the governor as something that actually happened. 646,924 Louisianians voted to give John Bel Edwards the keys to the Governor’s Mansion, helping him beat the state’s senior U.S. Senator, who had never before lost an election.  Yet Appel thinks that Donald Trump, a thrice-married billionaire from New York is a better representative of Louisiana values than the current governor. In Appel’s world, legislative failure is success. Gridlock is progress. Later in the post, Appel writes:
“Returning to the relations between the governor and the legislature, especially the House from which all tax and spending bills must start, we now have a deep ideological divide between an old-school populist governor and a legislature whose complexion is strongly fiscally conservative. Many in the media tend to support the governor’s liberal ways, with some reporters actually being nicknamed “the governor’s press corps.” So the message that the people get, a distortion in the worst circumstance, is one of legislative disorder, bad leadership, and general failure.”
In causing deadlock, Appel and his Republican colleagues in the Senate are not practicing fiscal conservatism, but neglecting their responsibility to the state. Appel’s party’s fiscal stewardship has led to a downgrade in the state’s credit rating, undermined our universities, jeopardized critical infrastructure projects, closed hospitals, and continuously put critical services for vulnerable Louisianians—children, elderly people, and people with disabilities—in existential peril. Appel and the House Republicans had an opportunity this year to fix those mistakes, but didn’t because they are still under the illusion that Louisiana can cut our way to prosperity. Appel’s post is emblematic of the House Republican’s modus operandi: he is adept at spinning facts and situations so that the other side always looks wrong, no matter how far he has to stray from reality. In other words, he’s a perfect fit for The Hayride.

Monumental Task Farce: The Last Stand of the Lost Cause

By Lamar White, Jr.

According to a trove of public records obtained exclusively by The Bayou Brief from Lt. Governor Nungesser’s office, during the first four months of 2017, Nungesser received e-mails from more than 220 people urging him to do whatever he possibly could to prevent the City of New Orleans from removing four controversial monuments. Three of the monuments honor men who betrayed the United States and fought to preserve slavery and white supremacy.-Confederate Commanding General Robert E. Lee, Confederate President Jefferson Davis, and Confederate General P.G.T. Beauregard—and a fourth monument commemorates the victory of white supremacists in a massacre known as the Battle of Liberty Place.

Those in favor of preserving the Confederate monuments had their say during nearly two years of intense public debate, hours of testimony from citizens in front of the New Orleans Historic District Landmarks Commission, the New Orleans Human Relations Commission, and the New Orleans City Council, among the tens of thousands of words spilled in newsprint, and during more than a dozen court hearings. After all this, opponents of Mayor Mitch Landrieu’s decision to remove four public monuments celebrating the mythos of the so-called “Lost Cause” knew they had only one play left, and they knew that Louisiana Lt. Gov. Billy Nungesser, who is statutorily in command of the state’s office of Culture, Recreation, and Tourism, was the only person capable of completing that last-second, Hail Mary pass—a letter to President Donald Trump.

If they didn’t act and act quickly, these four monuments, which had each been a part of the New Orleans landscape for more than a century, would likely be out of the public’s sight forever, relegated to sit indoors at a yet-to-be-determined museum or university or to languish in obscurity behind the walls of a nondescript warehouse. 

The vast majority of state, national, and international media coverage concerning the removal of these four monuments focused on the public demonstrations and protests, particularly during the final weeks before they were finally and unceremoniously taken down. Throngs of white supremacists and Neo-Nazi sympathizers, most of whom were not from the city of New Orleans or even the state of Louisiana, camped out for days and often entire nights in what appeared to be less like a vigil and more like a tailgate party.

To the press and, as a result, to most of the world, these were the putative faces of the opposition: Unabashed and proud racists, burly and unkempt men who carried weapons like fashion accessories. They were people who showed up from all over the country for an opportunity to dress up in costumes or crass t-shirts and yell at passersby a distorted version of history they likely learned from the most toxic echo chambers of the Internet and talk radio.

No doubt, some of them came to New Orleans looking for trouble and seeking out confrontation. Some may have hoped to rough up some of the locals in this majority-African American city, but because the protesters’ message was so incoherent and their only uniting factor rage, they instead fought one another. It is an understandable response to witness these scenes, watch the videos, or look at the photographs of these protests and believe that these are the real opponents of New Orleans’ decision to remove four old monuments. Certainly, they tell a compelling and revealing part of a broader story.

But the e-mails received by Lt. Gov. Nungesser’s office reveal a much more complicated truth about the real power behind the opposition and about New Orleans itself. 

The first thing that stands out about the e-mails sent to Nungesser’s office is the startling lack of crazy rhetoric. The people who took the time to write the Lt. Gov. were not those whom one would expect. The vast majority of them were professionals in New Orleans—real estate brokers, wealth managers and investors, college professors, lawyers, and architects who wrote to express their opposition to the removal of the monuments.

Among these emailers were Frank Stewart, a prominent local businessman, Andree Faget Pitard, the granddaughter of Mignon Faget and a former State Assistant Attorney General, Patrick Huete, the Commanding Officer of New Orleans’ ROTC programs, Everard Marks, the owner of a large pipeline company, and Sharon Rodi, an attorney and former partner in the national law firm Adams and Reese. 

If you live in New Orleans and have followed the ongoing saga from the beginning, many of these names likely are not surprising, but when considered in their totality, they are a reminder that the real fight had nothing to do with David Duke or out-of-town white supremacists.

Instead, it had always been between Mitch Landrieu, the white, Democratic mayor from a Louisiana political dynasty, and a small contingency of white conservative elites, many of whom had supported Landrieu’s campaigns and felt both betrayed and disrespected by what they perceived to be a capitulation to the demands of African American activists—what they considered political correctness run amuck. The protracted battle over these four monuments was about much more than saving or removing old statues. It was also about who should get to define New Orleans. 

It is impossible, aside from a few exceptions, to know exactly who financed the opposition, which undoubtedly spent a small fortune in legal bills and social media outreach.  But it was the Monumental Task Committee, an organization that led the opposition, who launched a public GoFundMe campaign with the goal of raising $50,000. During the last eight months, they have collected less than $8,000.  The largest donations, both $500 each, came from a preservationist in Jackson, Mississippi named Zee Nobles and Scott Gottsche of New Orleans.  

Gottsche, a real estate investor, is married to prominent New Orleans attorney, Kelly Longwell, the director of the New Orleans office of Coats Rose. During the last five years, she and her husband, both active socialites, have contributed more than $31,000 to the campaigns of New Orleans-area politicians, including $1,100 to the campaign of Mitch Landrieu. 

The Monumental Task Committee is a 501(c)(3) non-profit organization, and according to a spokesman who identified himself only as “Ross” on the organization’s Facebook page, they have not been required to file 990 disclosure forms with the IRS because they have received less than $200,000 in donations and have less than $500,000 in assets. Still, if Mr. Gottsche is any indication, the organization enjoyed the financial support of at least a few people with deep pockets,  providing money they would need to have any hope in their quest to save the four monuments from removal.

More than a year before turning to Nungesser, these opponents understood that there was only one place in which the law ordering the removal of these monuments could be defeated, once and for all, and it wasn’t on the streets. To have any chance of victory, the organized opposition would first have to make their way to the Hale Boggs Federal Building-Courthouse on Poydras Street, an imposing brutalist structure built in 1976, and into the chambers of U.S. District Judge Carl Barbier, the same man responsible for finding BP guilty of gross negligence and recovering billions in damages for their role in the Deepwater Horizon Disaster. 

Only hours after the City Council approved the removal, four different organizations, led by the Monumental Task Committee, filed suit against the City of New Orleans and requested an injunction be granted to prevent the removals.

Their legal argument wasn’t novel: Former Ku Klux Klan grand wizard and former Louisiana State Representative David Duke had made an almost identical claim when New Orleans sought to remove the monument commemorating the 1874 Battle of Liberty Place, which expressly celebrated the Crescent City White League’s insurrection against the federal and state governments and the massacre of at least seven military officers and six civilians. In 1989, that monument was placed in storage while the City made repairs to Canal Street. Upon the project’s completion, the City attempted to declare the monument a nuisance and donate it to a museum. Duke sued, arguing that because the city’s project relied on federal money, the monument should remain in public view, which it did, technically, when it was eventually relocated in between a nondescript parking lot and a rail line at the foot of Iberville Street.

More than two decades later, the team of lawyers representing the Monumental Task Committee and those three other organizations attempted to make a similar but even more absurd argument, telling the court that because these monuments were located nearby or adjacent to federally-funded streetcar lines, they should be considered “effectively a part” of the streetcar system and thus protected.

The irony here is impossible to ignore. Apologists of these monuments are almost universally insistent, even passionate, about two things: that removing these objects from prominent public spaces is tantamount to “erasing history,” and that, despite overwhelming evidence to the contrary, the Confederacy was not fighting over the institution of slavery. Instead, they argue, the Confederacy was fighting to guarantee the sacrosanct rights of individual states to govern themselves without undue interference from the federal government.

In other words, this logic supposes that the Confederacy was strongly in favor of the rights guaranteed under the 10th Amendment, despite the fact that the rebels tore up the Constitution, seceded from the Union, and formed their own federalized system of government.

The monuments’ apologists may truly believe that the Confederacy was fought over the issue of state’s rights—and not slavery—but when their duly elected City Council and their duly elected Mayor exercised their legal authority to remove city-owned monuments from city-owned property, they attempted to convince the court to transfer control from local government and to the federal government.

Still, that is not the most egregious argument that pro-monument organizations made to the court in cases that dragged out for nearly a year and a half.

They claimed, more than once and presumably with a straight face, that their 14th Amendment right to equal protection was violated because the City of New Orleans did not subject each and every monument in the entire city to the same scrutiny. Judge Barbier had to remind these organizations, repeatedly, that monuments are not people, writing:

Finally, to the extent that Plaintiffs argue that the City violated their equal protection rights because all similarly situated monuments were not treated alike, this argument also fails. Here, the challenged ordinance does not distinguish between classes of individuals or groups. The monuments ordinance applies to all classes of citizens and it does not have a disparate impact on members of a suspect class.” Foxx, 157 F. Supp. 2d at 593. Further, “the Equal Protection Clause ensures the equal protection of persons, not monuments.” Id. The City is not required to “choose between attacking every aspect of a problem or not attacking the problem at all.”

It isn’t just professionally and ethically dubious for a lawyer to argue that a monument of Robert E. Lee—an inanimate object—should enjoy the same equal protection rights as an American citizen. It makes a mockery of what the 14th Amendment was principally designed to enshrine in our Constitution: Equal civil and legal rights to all African Americans in this country. The 13th Amendment ended slavery, but the 14th Amendment codified a belief in Americans’ shared humanity.  

The 14th Amendment represents everything that the Confederacy fought against. 

Over the past two years, critics of Mayor Landrieu attacked him for caring more about monuments than violent crime.  In his failed bid for governor, former U.S. Senator David Vitter attempted to make the issue a centerpiece of his campaign, hoping to appeal to white voters in Central and North Louisiana, who were much more outraged by the monument efforts in New Orleans than the majority of white people who actually lived in New Orleans. Col. Rob Maness, who has twice lost U.S. Senate campaigns, urged his fellow Republicans in St. Tammany Parish to boycott the city entirely, pretending to speak on behalf of all American veterans. The day after Col. Maness’call for a boycott, the Veterans of Foreign Wars, a major veterans organization, selected New Orleans as the host city for its next national convention.  

Conservative bloggers on fringe websites published a series of widely shared but entirely false conspiracy theories alleging a secret deal between Mayor Landrieu and John Cummings, the owner of the nation’s first-ever slavery museum, to relocate the monuments to the museum’s campus—as if a museum intended to communicate the humanity of enslaved people could be an appropriate context in which to display gilded monuments of men who sought to perpetuate slavery. 

Others feigned outrage at the city’s efforts to raise anonymous private-sector donations through a foundation in order to offset the costs of removal, not because they would prefer the project to be completely paid for by taxpayers (quite the contrary), but because they wanted to know the identities of each and every person who has contributed. These are not campaign donations; they are donations from people who simply want to help with a public works project without fear of retribution or violence. 

After the City of New Orleans hired its first contractor to assist in the removal of the monuments, his car was torched. On the day that the Jefferson Davis monument was removed, a representative from a Facebook group of more than 15,000 members, many of whom have expressed support for white supremacist causes, posted the home address of a friend of Mayor Landrieu, who had attended a fundraiser at the house earlier in the evening. The poster encouraged people to show up to protest late in the evening, hours after the event had ended, the crowd had shuffled out, and the Mayor’s friend was home alone with his family.

Contractors and city employees who were tasked with removing the monuments wore masks, and with the exception of the removal of the Robert E. Lee monument, worked in the middle of the night. Conservative critics lambasted Mayor Landrieu and the city government for hiding under the cover of darkness. Then, a day after the removal of the P.G.T. Beauregard monument, a commenter in that same Facebook group published the names, titles, and addresses of  several contractors and city employees they could identify at the scene. 

There was a legitimate reason to be as cautious and as discreet as possible. 

Landrieu’s critics accuse him of stoking unrest, inviting controversy, and unnecessarily spending hundreds of thousands of dollars for what they believe to be a vanity project undertaken for purely political purposes. This version of the story seeks to delegitimize two different city commissions, the city council, the mayor, and the courts. 

The process of removing those four monuments did not take nearly two years because of action or inaction by the city government. The war of attrition was waged by a contingency of white New Orleanian conservatives who bankrolled a team of lawyers to use the court system as a way of dragging out the controversy for as long as possible, even if it required making absurd arguments. In so doing, they forced their own city government to spend thousands of dollars and countless hours defending in court a series of obvious legal truths: The monuments were the property of the city and not the federal government, statues of people are not actual people entitled to equal protection, the monument removal followed the democratic process.

The longer this debate continued in courts and the media, the more opportunity there was for opponents to build up outrage. The aim was to scare city officials into submission, to force them to indefinitely call off their plans due to concerns public safety. That didn’t happen. 

Today, all four monuments are finally out of sight and the threats those involved in the removal have subsided, and The out-of-town protestors have gone home, with the exception of a dwindling, rag-tag group of white supremacists hovering near the former site of the Jefferson Davis monument.  Even those conservative New Orleanians who helped finance the opposition are ready to bury the hatchet. 

Billy Nungesser’s letter to Donald Trump went unanswered. 

Fathers and Sons: Forging a Blood Oath One Bead At a Time

Text by Ben Arnon and Erika Alexander

Photos by Ben Arnon

Blackness in America is a tangled web, often woven from shallow narratives and clichéd stereotypes.  Yet, in Tremé, New Orleans’ Black Masking Indians defy those labels. This story follows Big Chief Darryl Montana and his Yellow Pocahontas Black Masking Indian Tribe through 2017 Carnival, known to many as Mardi Gras. Darryl is preparing to pass the torch and retire his family’s legendary crown.

After nearly a century since the tribe’s founding, Darryl and his tribal brothers dedicate themselves to supporting their community, maintaining new rituals and creating a unique form of beadwork and garment construction. Aided by colorful art and painstaking craftsmanship of ceremonial robes and regalia, the men pass on their history through generational inheritance, from father to son. In this mostly man’s world, members sacrifice time and money to earn their place in the tribal family.

While some may find this type of patriarchy too old school, it’s clear that this continuity has benefits. The tribes’ stability and annual presence strengthens and comforts a vanishing community of color in the Crescent City. Tremé is a historic community torn apart by floods, government negligence and rapid gentrification.

In this fight to stay vital, the tribes continue to thrive, by supporting one another, guarding their tribal secrets, and creating an alluring African brotherhood and mystery. But the essential elements for their continued success and survival are crystal clear: honor, character, tradition, and loyalty to family.

Simple? Maybe, but their recipe stands as inspiration and a road map for other American, minority communities on the verge of extinction.

“I’ve been doing this all my life and I just have some other stuff I want to do.”

Seated in the workroom located on the second floor of his two-story house in New Orleans East, Darryl Montana, 62 years old and a fourth-generation Black masking Indian, works feverishly on his suit with needle and thread. It’s three days prior to Carnival Day, known worldwide as Mardi Gras.

Darryl is the Big Chief of the Yellow Pocahontas Black Masking Indian Tribe, a role he inherited from his father, Big Chief Allison “Tootie” Montana. Tootie, a legendary tribal chief and innovator within the New Orleans community, is present at all times. His power and influence is so far-reaching that he became known as the Chief of Chiefs. Devoted to his father and tribe, Darryl knows well the weight of being chief.

Big Chief Darryl Montana prepares his suit on the steps of his mother’s house, having made this walk previously 48 times. Dedicated fans eagerly wait for him. © 2017 Ben Arnon

“I started helping my dad when I was six years old, but I made my first suit at age 10,” Darryl explains. “That’s 52 years ago. So I’ve been involved in it for 52 years, but I’ve dressed for 48 years.”

“A lot of friends who don’t want to see me stop tell me, ‘You’re a young man. You’re just 62 years old. You’ve got at least 20 more years.’ But I mean, I’ve been doing this all my life and I just have some other stuff I want to do.”

A statue of Allison “Tootie” Montana sits in Congo Square within Louis Armstrong Park in New Orleans. © 2017 Ben Arnon

Tremé is the oldest black neighborhood in America. The famous neighborhood dates to 1812 and is considered to be the birthplace of jazz music. But for a week every year during Carnival, Black Masking Indians command the spotlight. Strutting, chests out. Self-styled in ornate, handmade garments. Each member swallowed up, buried in an explosion of color. Every suit unique with intricately designed bead work. The final caged cape trimmed-out in feathers and topped off with a gigantic headpiece, some weighing hundreds of pounds. The Black Indians shimmer and strut. The pace slow, it’s their terms. Their show. They rule the streets.

“I’m glad people recognize Tootie because he put a lot of effort into making those suits and trying to come out on Carnival day. He worked hard to keep the culture going.” Darryl Montana’s mother, widow Joyce Montana. © 2017 Ben Arnon

“The dramatic part comes when the chiefs meet.”

After dressing for 48 years this will be Darryl’s final. Opting to break with family tradition, he has chosen a non-family member to bear the title of Big Chief. His successor’s name is Shaka Zulu.

The New Orleans Black Indian tradition of “masking” is an on-going, African-American tradition that is unique to New Orleans. It dates to the 1860s. Darryl’s family has been involved since the beginning. He is the fourth generation and his grandchildren are the sixth. Choosing a successor from outside of the family was not an easy decision for Darryl.

Darryl Montana sits at home in front of several suits he created during previous years. © 2017 Ben Arnon

Darryl recalls memories from his childhood and stories passed along to him by his father.

“My grandfather was Alfred Montana, and he was involved in the tradition as well. I think I remember him.  My daddy first started out as a skeleton. This had to be somewhere around 1945. Then, around 1947, he decided that he wanted to dress as an Indian.  It was like two weeks before carnival. He went by his daddy’s house and he told his daddy he wanted to dress and his daddy said, ‘Well you know you only have two weeks left, and the suits that we making now, that’s a year round process.’ And my daddy said, ‘Well I got help.’ It was a decent little suit he made.”

Allison “Tootie” Montana ultimately dressed on Carnival Day for 52 years, longer than anyone else ever has. Darryl was dressed alongside his father for 40 of those years.

“Folks from other tribes or other parts of the city would ask me if I was dressing and with who,” Darryl recalls. “I would tell them, ‘What kind of question is that? I’m dressing with my daddy.”

Darryl Montana works on his Carnival suit in his workroom. He estimates that it takes over 5,000 hours per year to complete and he spends thousands of dollars on materials. The work is tedious and solitary. Darryl wears a special pair of magnifying glasses handed down to him from his father.  © 2017 Ben Arnon

Many traditions of the Black Masking Indian tribes in New Orleans are shrouded in secrecy and mystery. Casual observers who stumble upon Black Masking Indians on Carnival Day may hear them mistakenly referred to as Mardi Gras Indians. Visitors see theater and entertainment, but natives and family know the tremendous sacrifice and painstaking labor involved to create the artistic achievement so proudly displayed on Carnival Day. Each Indian who masks during Carnival has likely spent thousands of dollars creating their suit. All hand-made, Darryl estimates his suits take over 5,000 hours or ten months to design, sew, and build. `

Darryl Montana sews beads onto his suit.  © 2017 Ben Arnon

Darryl explains the hierarchy and street strategy of a Black Masking Indian tribe:

Rank – Spyboy, Flagboy, Wildman, Trailer Chief, Big Chief.

“We’re basically playing a war game. The object of the game is to get to the other chief, but only a chief from the opposing tribe can meet the chief. A spyboy from the opposing tribe cannot meet a chief, so we go through this whole ceremony where the spyboys meet, they meet and greet and show love, and then they move to the side. Then the flagboy walks up and meets the flagboy from the other tribe. They do their thing, they meet and greet, show love, and then they split up.”

“The dramatic part comes when the chiefs meet.”

A spyboy from a Black Masking Indian tribe patrols the street in front of Joyce Montana’s house on Carnival Day, February 28, 2017. © 2017 Ben Arnon

A flagboy and chief from an uptown tribe await a showdown with another tribe on St. Bernard Avenue in New Orleans on Carnival Day, February 28, 2017. Uptown tribes are known for their use of glue and 2-D designs. Downtown tribes are known for their sewing skills and 3-D designs. The Yellow Pocahontas tribe is a downtown tribe. © 2017 Ben Arnon

“Tootie took it from a physical battle…and he made it into the power of the needle and thread.”

Tootie, a New Orleans cultural icon, was exalted to the title of Chief of Chiefs during his reign. His tribe – the Yellow Pocahontas tribe, which will be 100 years old in 2019 – is the only tribe in New Orleans that spawned eight other tribes. Darryl names the tribes:

“It’s the Wild Apache, whose chief was Ray Blasio and then another guy who masked under Ray who was with us as a spyboy.  His name was Franklin Davis. We called him Winnie. He had one arm. And them two, they basically ran the Wild Apache. We have Trouble Nation, the Monogram Hunters, FiYiYi, the Creole Osceolas, the Seventh Ward Creole Hunters, and Black Feather.”

Sabrina, Darryl’s wife, explains Tootie’s impact on the culture of masking, moving the focus from occasional violence towards artistic accomplishment and competition:

“Tootie took it from a physical battle – the different tribes would fight – and he made it into the power of the needle and thread. He changed that whole conversation because it was all about being pretty.

The Yellow Pocahontas were always known for their work. Not just the neatness of it, but the creativity of it. And the strength of their tribe.”

A young spyboy, right, attempts to battle with an opposing tribe’s Wildman, left. © 2017 Ben Arnon

From a practical perspective, it did not make sense to spend countless hours, dollars, and effort throughout the entire year on a suit only to see it damaged when you finally wore it on Carnival Day. Transitioning from physical battles to artistic battles helped Black Masking Indians such as Allison “Tootie” Montana and Darryl Montana become recognized globally as master artisans whose work is worthy of permanent collection status in prestigious museums. Tootie’s work received a National Endowment for the Arts award for crafts in 1984.

A Black Masking Indian from a different tribe stops by Joyce Montana’s house to pay his respects to her and her late husband, Allison “Tootie” Montana. This type of visit from other tribes honoring Tootie occurs all day long each year on Carnival Day© 2017 Ben Arnon

Big Chief Tootie retired from masking in 1997 but he made a comeback in 2004 following pressure from his fans. In 2005, on St. Joseph’s Night, which takes place annually on March 19th and is the second time during the season when Indians wear their suits, New Orleans police shut down the annual celebration on the pretense that no parade permit had been obtained. Police violence erupted that night.

On June 27, 2005, Tootie spoke at a City Council hearing called to address the St. Joseph’s Night attacks.  Flanked by chiefs from many other Black masking Indian tribes, Tootie recounted the police brutality his tribe and others had encountered during the years. Tootie looked directly at the City Council and top police officials and proclaimed “I want this to stop!” In a dramatic scene, once Tootie finished speaking, he collapsed on the floor of the City Council chambers, suffering a fatal heart attack.

Two months later Hurricane Katrina struck New Orleans. Darryl and Sabrina Montana spent the next year in Texas before returning to the Crescent City. The tradition of ‘masking’ has also been linked to a tradition of resistance.”

It is important to discuss what we mean when we talk about the people from whom the tradition of Black Indian masking hails.

Though many of the depictions on Black Masking Indian suits show Native Americans, such as the Choctaw and Natchez tribes, the true roots of this unique tradition are among black people in Louisiana who came from places such as Haiti and the African continent.

In addition to the longstanding free black community in New Orleans, there were free people of color who had previously been enslaved. Although some historians believe that Black Masking Indians were influenced by Buffalo Bill’s Wild West show at the centennial celebrations in New Orleans, but people involved in the masking culture dispute this, calling this bad information.

The tradition of “masking” has also been linked to a tradition of resistance. Some historians describe masking as an implicit civil rights protest aimed at white elites and at the segregation that was rampant in the post-Reconstruction era.

Shaka Zulu has been picked by Darryl Montana to become the next Big Chief of the Yellow Pocahontas Black Masking Indian Tribe. © 2017 Ben Arnon

“I had to look outside of family.”

This is Darryl’s final year dressing on Carnival Day. Picking a successor was not easy for him. 

“I have seven grandsons and I know my daddy was concerned about keeping this in the family. But for a long time I looked and a lot of the family wasn’t even involved as far as dressing. They would help participate with the work, but it didn’t work out that they continued to dress. So I had to look outside of family and Shaka Zulu was one person that I had kind of beamed in on.

At first he didn’t want to have a chief position. But I felt like he was very equipped and had paid his dues. I guess as time went on, he decided that’s what he wanted to do, and he was a good choice as far as the history part. I feel Shaka’s more equipped than I am because he goes back deep.”

Shaka Zulu, left, and Darryl Montana, right, at their final practice before Carnival Day at the Basin Street Lounge in New Orleans on February 26, 2017. © 2017 Ben Arnon

Darryl’s wife, Sabrina, adds,

“Shaka is grounded. From a child, he was raised in a very African-centered home. And he has the character and personality of a chief.  He has the calmness that’s needed because the chief maintains the order.”

“It’s like I’m going into another life now. It’s their responsibility to keep this thing going.”

Darryl pauses, overcome with emotion.

“Last Sunday at practice, I teared up. It’s like I’m going into another life now, you know. From what I was used to doing all my life. I don’t want to be in and out, in and out, you know. I want to leave and when I walk away, like I’m about to do, I want to walk away into the sunset. . .I feel like with my daddy, he basically was the role model for all of us, and he didn’t drop the ball so I could not drop the ball. Now once I give it to the next person, it’s on them. It’s their responsibility to keep this thing going.”

Shaka Zulu stands with his tribe’s Wildman, flagboy, and spyboy on the street in front of Joyce Montana’s house on Carnival Day, February 28, 2017. © 2017 Ben Arnon

“I didn’t want to carry the burden of the Yellow Pocahontas history.”

Shaka Zulu comes from a masking tradition. The men in his family have all been stilt dancers in the parades. He began masking about 17 years ago. Shaka Zulu reflects on his new role as chief of the Yellow Pocahontas tribe.

“What fascinated me about Yellow Pocahontas was, one, I saw many chiefs that I had been watching for a while, but I can’t just respect you as a chief. I have to respect you as a man first.

Darryl Montana was the first example of what I saw and was attracted to in terms of how he carried himself as a man. He’s always had class. He was always demonstrating good leadership. It was no question that I wanted to be a part of that particular masking tradition, but the next thing was how do you get in, because it’s normally passed down, somebody has to make you a chief.

I asked him about masking one time, and the first thing he did was he said, ‘I have to talk to your wife.’  He mentioned, ‘her time and her money, which is your money, is going to go into this, so I can’t just go by what you say, because it’s a family tradition. It’s a family commitment, so I can’t just talk to you.’

I thought this is going to be a very interesting journey. . .that was very attractive to me.”

The first few years of masking, I quickly understood that this is a heavy, heavy thing.  I was wondering, ‘How long can I do this?’ Darryl will tell you I never wanted to become the chief because I didn’t want to carry the burden of the Yellow Pocahontas history. Their thing is the big crowns, and being a perfectionist, and sticking to the tradition that was set, and I was wondering if I had the stamina.

But as Chief started wearing down, he began looking for who could actually carry that role. I’ve been there the longest period of time in terms of consecutive years, so that’s one part of it. But the other part was that he was looking at good people more so than anything. You can teach people how to sew, but you can’t train them to be good people.

It’s what’s in the heart.”

The Queen of the Monogram Hunters Indian tribe. © 2017 Ben Arnon

“In African tradition, we’ve worn feathers for thousands of years.”

Shaka Zulu explains a common misconception surrounding Black Masking Indians:

“When we say paying homage, we’re speaking of paying homage to the indigenous black people who were here [in Louisiana] prior to the slave trade. With the transatlantic slave trade, you got Africans that came to Louisiana. When they fought, they ran off into the Maroons with the indigenous black people. The way that we paid homage to the indigenous for helping us during that period – because they would hide us from the masters – was to create a tradition that we call the Masking Indians.

The misconception came later when people start discovering, ‘Wow, there’s people wearing feathers in the streets that are black.’ Immediately, they assume that we were mimicking what we typically call Native Americans, but we were paying homage to the indigenous black people. You can’t hide people if you don’t look like them. We share that culture through how we create our suits.

If you look at our style of beading versus the Native American style of beading, you see a distinct difference.  Our style of beading came from the people that came from Africa by way of Haiti, or the Caribbean, but Africa is the origin. When those people came to what we call Congo Square today, we started really learning and mixing some of the indigenous with some of those particular cultures.  In African tradition, we’ve worn feathers for thousands of years, so it wasn’t because of the Native Americans. It’s just that feathers have been a part of our culture for many years.”

“Once you put a mask on, you’re not a person anymore.”

Carnival Day arrives.  The Black Masking Indian tribes take to the streets of the Tremé neighborhood. The weather is unusually warm – eighty degrees with blistering hot sun. This does not bode well for the Yellow Pocahontas tribe who wear suits that routinely weigh over 100 pounds. Shaka Zulu explains to me that if it is eighty degrees outside, inside his suit he is enduring temperatures well above 100 degrees.

Darryl Montana arrives in front of his mother’s house in the Tremé neighborhood of New Orleans on Carnival Day, February 28, 2017. His triple-layered crownpiece is so big it requires a Uhaul truck to transport it. © 2017 Ben Arnon

On Carnival day, the Black Masking Indians’ suits transform them. Shaka Zulu describes the experience as a sort of out-of-body experience he explains as incorporeal.

“A lot of people look at this as sewing a suit for a whole year, but for us it’s really an experience. You had ups and downs that year, you had financial issues that year, you may have had a death in the family that year…You’re wearing all of that. You’re wearing all of that with the spirit of what it is that you’re doing out of resistance anyway, so you combine those two forces, and you’ve got a very powerful moment, a very powerful spiritual realm. What carries you is the excitement and the enjoyment of people really appreciating you taking that time and energy for them.”

In the Yoruba tradition of Nigeria, their culture required beading.

“Their thing was was prayer beads,” explains Shaka Zulu. “So the whole year-long process of hand sewing those suits was like a prayer. Eventually, that prayer becomes this temple that you put on and transform into this entity, because when we say masking, it’s an African tradition. Once you put a mask on, you’re not a person anymore. You become the energy or the entity of what it is that you’re masking.”

Big Chief Darryl Montana and Shaka Zulu express concern that older members of the masking culture can no longer afford to mask since materials, such as the feathers they use, are becoming increasingly expensive. Many of the customs and traditions inherent in the culture are passed down to future generations through word-of-mouth. A young masking Indian like this child, who gazes through pink feathers, is essential towards maintaining a strong tradition of masking and helping the culture avoid becoming extinct or exploited. © 2017 Ben Arnon

Editor’s note: Although it is more common in Louisiana to refer to the last day of the Carnival season as Mardi Gras, this article defers to the terminology of the Black Masking Indians who were interviewed in using “Carnival Day.”

It is the editor’s understanding that the quoted passages referring to the Black Masking Indians’ ancestors as “indigenous” are using the term in a nonstandard way, in order to refer to non-Native American people of color who settled in New Orleans prior to the slave trade.  For more on this subject, see the website of the New Orleans Black Indian Alliance and this article on free people of color from LSU Libraries.

The Ghosts of Colfax

By Nick Pittman

Like many small towns, Colfax, Louisiana has its own supernatural tall tale: in the middle of the town—the seat of Grant Parish—a well of water actually spewed fire, the result of an underground pocket of water mixing with natural gas. For years, it burned near the parish courthouse, even earning the small town, which today consists of about a thousand residents, a mention in Ripley’s Believe It or Not!.

Then, in the early 1950s, according to LeeAnna Keith’s book The Colfax Massacre, the flow of water and fire abruptly stopped. Some say the cause and date of the cessation was construction of a new courthouse in 1959, but Keith tells of local lore that puts it on the very same day the state of Louisiana erected a historic marker – the third marker of its kind to go up in the state – commemorating what happened on the spot on Easter Sunday, April 13, 1873.

On what was supposed to be a holy day, white militias representing disgruntled white Democrats and those still holding onto the goals of the Confederacy ended a multiple week occupancy of the courthouse by blacks supporting the Republican party. Freed blacks had hunkered down in a bid to control the parish government and escape the violence following the previous year’s gubernatorial election. In and around Colfax, once powerful white Democrats – already agitated by a black Republican majority and a Republican and former Union colonel claiming victory as governor–were at their boiling point.  After the courthouse fell to the Democrats–made up of members of the White League, The Ku Klux Klan and the similar Knights of the White Camellia-the unarmed blacks were executed. With a body count well over 100, it is said to be the single bloodiest event in the turbulent post-Civil War era known as Reconstruction–which is no small feat.

If Keith’s research is correct, the day the state-sanctioned historic marker was staked into the spot, the fiery well sputtered out, as if the fallen freedmen crawled from the mass graves they dug themselves to blot out the light so it could not shine on a marker that seems to celebrate such a dark event. After all, this is a state-sanctioned marker–one that went through the state’s review process and is similar to the benign markers denoting where a city was founded or the location of a hamlet’s first church. It is a marker whose removal may be contingent upon the consent of the group that purchased it.

Further adding to the injustice of the event, the marker’s wording is cause for alarm, given the history and context behind it.  It reads, “On this site occurred the Colfax Riot in which three white men and 150 negroes were slain. This event on April 13, 1873, marked the end of carpetbag misrule in the South.” The monument’s description of what happened here as a “riot”–not the more accurate “massacre”– seems to downplay the viciousness of the event. For a casual observer, it also seems to celebrate the perpetrators as heroes who brought down a misguided government. The intent of this monument becomes a little clearer when compared to another found in the nearby town cemetery. In that yard –the kind of resting place most of the fallen in the massacre were not afforded—a devastatingly worded obelisk, worn and weathered by age but still readable, props up the trio of slain whites as heroes of the white supremacy. Yes, it says “white supremacy”.

Colfax, some 229 miles and a world away from New Orleans, offers a different perspective on how we consider our history. As the protests and counter-protests went back and forth in the Crescent City and legislators in Baton Rouge debated bills to save the four Confederate monuments, Colfax residents continued walking past their relic of a shameful history without questioning it.

What led to the event at Colfax and its aftermath is quite complicated—rival governments acting under the assumption of power in both Colfax and New Orleans (Louisiana’s capital at the time) plus a rift between those who saw an unchecked crime spree while others saw legitimate means to staking out a role in government. Furthermore, these events were set during a time in our nation’s history when laws and order were long forgotten concepts when it came to race and politics. The marker itself is a bit of a riddle but what it stands for provides a simple and clear argument against monuments like those in New Orleans and across the South–debate has started about at least three other Confederate monuments in the Pelican State alone. 

Knowing the history of Colfax shows that it and by extension others like it are not simply commemorating what one man on the wrong side of history did, but instead are monuments to violence, oppression, and attempts at thwarting democracy.

The Second Civil War

It can be argued that Reconstruction – which followed the devastation of the Civil War and was to be a time of rebuilding and reconciliation between the country’s two distinct halves –  was the most violent and turbulent time in our nation’s history. Although it did not reach the body count of the Civil War, it – unlike that conflict – was fought by civilians and former soldiers alike in the streets and homes of the South, a war waged directly against the citizenry. These battles on the home front did not happen in a vacuum.

One key argument against abolition before the Civil War was the fear of what would happen to society if slavery were ended and freedmen were to enter white-dominated society. During Reconstruction, whites were enraged as former slaves not only voted but held public office at nearly every level in government. 

This cocktail of hatred and fear only added to the complicated mess of classism, politics, and unionism versus secessionism. Now, the violence and disarray of the Civil War left the battlefield and came to Main Street. Uniforms were no more; instead, skin color and party affiliation now determined one’s enemy.

“There has never been a more violent period here than the Civil War era,” says Keith, a label she uses to include clashes between pro-slavery and anti-slavery forces going back to events such as Bleeding Kansas in the mid-1850s, the war itself, and through the end of Reconstruction in 1877.

Reconstruction was also hindered by the missteps of the federal government and the angst of former slave owners, Confederates, and Democrats in regard to that government. Making matters worse, conflicts over control of  the nation seemed to begin at the top and work their way down. Most historians regard this time as one replete with fraudulent elections and corruption in all levels of government. Even the way that government operated on federal level was in flux.

“Reconstruction was a big fight about what government can do and should do,” says Keith.  “It was a revolutionary period,  in that the various branches of the government surged in power: first the executive, swelled up by the war with hundreds of thousands in arms and dispersed in war postures throughout the country; Congress had a Radical Republican supermajority committed to facilitating the rapid rise of former slaves to the status of equals, an unheard of event; later the judiciary, as in U.S. v. Cruikshank and a number of similar cases, reversing the revolutionary trends on race while [also] allowing the Reconstruction-era acts (passed by Congress) to hugely empower the government, especially vis a vis organized labor.”

As the Civil War drew to a close, politicians were left with the question of what to do with the South as it now looked to rejoin the Union. In Louisiana, that question needed answering before Appomattox Court House. In fact – as portions of the state fell to Union control early in the war – federally sponsored elections were held as early as 1862. Gov. Michael Hahn, a Unionist who had lived in New Orleans since 1840, took office in 1864, a year and a month before generals Robert E. Lee and Ulysses S. Grant shook hands at in Wilmer McLean’s parlor. Despite a new constitution, Louisiana was denied re-entry into the Union until 1868. In many ways, Louisiana put on a face that seemed ready to turn away from the old days of the Cotton Belt – or Sugar Cane Kingdom in the southern part of the state – and move toward the future.

The new constitution, after all, granted more freedoms to African Americans but stopped short of issuing them voting rights.  In reality, Louisiana was only masking the truth, which came out on July 30, 1866 in New Orleans. Radical Republicans – who drew their political base from those who opposed secession, called the unflattering term scalawag, if not worse – reconvened the constitutional convention in what was known as the Mechanics Institute –  a hall for members of nationwide union – near Canal Street. (During the war, the Union set up New Orleans as the capital as the Confederates moved their capital north and west as the Union soldiers advanced.) Joined by freedmen, the Republicans hoped to give voting rights to African Americans as they amended the new constitution. Whites, Democrats, the police force and former Confederates saw this as an attempt by Republicans to cement their political power as black voters supported Republican candidates – after all Abraham Lincoln was a Republican.

As blacks marched behind the American flag to the Institute, whites led by the mayor of New Orleans attempted to stop them. Violence erupted in the streets and the Republicans and blacks fled to the Institute, where the mob gunned them down in the hall and from outside through the windows. In all, more than 200 were injured and around 50 were killed (there are sources that put the number of slain above 200, but that number likely combines the slain and wounded). The Mechanics Institute Riot – coupled with violence in Tennessee – caught national headlines and was a deciding factor in the elections that soon followed. Lincoln and his successor Andrew Johnson’s lenient postbellum policies would never happen as Radical Republicans – who favored strict control over the South – swept into office fueled by the nation’s idea that violence like that in the streets of New Orleans proved the South was not in full surrender and needed to be under closer scrutiny.   

With their majority power and ability to override Johnson’s veto, the Radicals passed the Reconstruction Acts, one of which divided the South into military districts. Military governors were given powers to appoint and remove elected officials from office. The once powerful white Democrats – now under the control of Union generals they fought on battlefields – lashed out against white Republicans and freedmen.

By 1868, the federal government and Radical Republicans required Louisiana to rewrite its constitution and guarantee African Americans equal rights, including the right to vote. Black voting power was suddenly powerful – especially, in theory, in Colfax, which had a slim African American majority. Before long, freedmen won local elections and a quarter of the 137 state legislators were black. The headlines that announced this change in political power prompted angry whites to organize and take bloody action.  Groups like the Ku Klux Klan and the White League – the militarized arm of the Democratic Party – flourished and committed unspeakable crimes with little regard for their consequences.

This would happen across Louisiana and around the country. In the Red River Parish town of Coushatta, the White League abducted six white Republican officials and demanded they resign from office and leave the state. After being exiled, they were executed by a band of whites. The White League then killed the possible witnesses – the purported body count ranges between four and 20 innocent, black witnesses. Horrifically, one victim’s arms and legs were broken before he was burned alive. No one was brought to trial.

Like its metropolitan counterparts, New Orleans to the south and Coushatta to the northwest, Colfax was familiar with seesawing political struggles. Here, the violent fires of Reconstruction would burn the brightest.

A Parish Divided

In terms of Louisiana parish names, Grant Parish sticks out. Many parishes draw their moniker from the state’s mixed heritage –  French, Spanish or Native American words or names serve as eponyms for many parishes, meaning a child is likely able to pronounce Tangipahoa – an Indian word relating to corn – before they can say the word “parish” itself. There are also homages to American history – Washington, Jefferson, Madison, and Livingston parishes honor figures from our nation’s formative years. Confederates such as Gov. Henry Watkins Allen, Gen. PGT Beauregard and President Jefferson Davis also live on as arguably problematic parish names.

On the other side, there are three honoring men who were significant to the Union’s cause:  Cameron Parish, named for Simon Cameron, who served Lincoln as secretary of war for the early part of the war; Lincoln himself; and Grant Parish, named during the former general’s time in the White House, during Reconstruction – a presidency viewed by historians as one of the worst. Schuyler M. Colfax, Grant’s vice president, gave his name to the parish’s seat, which was once a 14,000 acre plantation.

Admittedly, Grant Parish was created during Reconstruction to gerrymander districts so to give power to the Republicans – in hindsight, it was a recipe for trouble. Cut from Rapides Parish, it consisted of both wooded areas and vast amounts of plantation land, which factored into producing the black majority it still possesses to this day. In the 1870s, the black majority is said to have been slight – about 200 voters – leading to tight political races. To offset their opponent’s numbers statewide, White League and similar groups threatened Republican voters – white and black – in an attempt to scare them away from the polling place (it also did not help that ballots were not cast in secrecy at this time). When threats didn’t work, they beat them. When beatings didn’t work, they killed them. Historians assert that during this time and until the secret ballot, election day in Louisiana was one of the most violent days of the year. It was so dangerous for black voters, Keith writes that the 1872 statewide election saw them march to and from the polls in military formation, under armed protection.

In 1872, the intimidation of the Democrats paid off and the party had a shot at taking the governor’s race.  In that election, Republican William Pitt Kellogg – a colonel in the Union army – faced Democrat John McEnery (who drew power from Fusionist Democrats – a marriage of Democrats and anti-Grant Republicans) at the polls. The results – which gave the victory to Kellogg – were hotly contested. Sitting governor Henry Clay Warmoth, a Republican, crossed party lines and sided with McEnery, throwing behind him the weight of the State Returning Board, which he controlled. A Republican faction called the Custom House Gang dissented and gave it to Kellogg. In response, Warmoth called a special session at the Mechanics Institute, which was ruled unlawful by a federal judge and led to Warmoth’s impeachment. He was replaced by P.B.S. Pinchback, the first African American governor in the nation – an ascension that caused further pandemonium at the hands of Democrats. Ultimately, both Kellog and McEnery would take the oath of office and begin serving as governor in two separate partisan governments.

The friction grew until in September, five months after Colfax, the White League gathered to oust Kellogg from office. Soon, the Battle of Liberty Place had started, claiming the lives of nearly 30 from both the White League and their New Orleans police force enemies and putting the Democrats briefly in control before President Grant – who sided with Kellogg despite Congress’s support of McEnery – sent federal troops to restore Kellogg to power. Before Liberty Place, however, there was Colfax.

The violence at Colfax’s court house was set in motion by Louisiana’s dueling governments. Republicans and Fusionist Democrats asked their respective leaders in New Orleans to support their choices for local government. Republicans picked Daniel Shaw for sheriff and R. C. Register, an African American, for parish judge. Democrats supported Alphonse Cazabat, born in France but a Confederate veteran, as judge and Christopher Columbus Nash, also a Confederate veteran, as sheri. For the first two months of 1873, Cazabat and Nash occupied the respective roles. In March, the Republicans discovered the courthouse was empty and broke in through a window. During the next few weeks, Shaw and Register were in power through their occupancy.

According to an eye-witness account given by John I. McCain some 54 years later (and later retold in a 2003 article for The Atlantic by Richard Rubin), this occupancy was a time of lawlessness at the hands of the black Republicans. McCain claimed that Democrats were ousted by force by an armed mob which then kicked off a reign of terror. McCain recalled some 300 armed African Americans arriving in Colfax early the same morning that whites came to take back the courthouse. McCain says the blacks “made play of their weapons” and threw out threats of killing all white men and taking their women and girls. In her book, Keith includes similar accounts of whites stirred by lascivious rumors about the blacks’ plans for white females. After the outnumbered whites disbanded, some fled their homes, which were later looted. In one home, McCain recalls that the Republicans found a casket containing the body of a child awaiting shipment to be buried in a family plot.  He says it was mockingly thrown into the family’s yard, nearly ejecting the corpse. McCain also made allegations of rape and other crimes.

Primary sources and secondary accounts of this time are dominated by the point of view of the massacre’s perpetrators. Though Keith includes details about the violence whites committed before the showdown at the courthouse, there are few testimonials refuting white claims of rape and terror at the hands of the black occupants. However, former mayor of Colfax Connie Youngblood told The Atlantic, “That (the coffin story) never happened.” 

McCain says that even as whites rallied any help they could, Nash continued to ask blacks for peaceful reconciliation. Following the shooting death of a black bystander, the two sides could not reach peace.

On Easter morning, April 13, the white militias from Grant and other parishes surrounded the court house.  With the help of a small cannon, supposedly manned by one a former Union soldier from New York, the white militias scared off many of the court house occupants. (Some accounts say those who fled were gunned down.) Those who remained exchanged fire with the whites before a captured black was forced to set fire to the building. From inside, a white flag made of either a page of a book or from a shirt signaled their surrender. The battle of Colfax was over and the massacre was set to begin.

The whites sent James Hadnot and four other men to confront those who remained inside. In the Democrat version of the story, Hadnot and his men were met with gunfire. In Redemption: The Last Battle of the Civil War, Nicholas Lemann refutes this account with the claim that blacks were stacking their weapons in surrender and an overly excited white accidentally shot Hadnot from behind. After the shooting of Hadnot – whose name is on the cemetery monument – whites stormed the courthouse, beating, stabbing and shooting those inside and those who attempted to escape. Charles Lane’s The Day Freedom Died adds that whites marched captured blacks in pairs and shot them execution style in the back of the head.

The Atlantic’s account quotes a master’s thesis by Manie White Johnson that says the families of the fallen Republicans were allowed to bury their dead. However, most went unclaimed and were instead pitched into the trenches the Republicans dug around the court house, noting “’buried as it were in the graves dug with their own hands.'” Others were said to have been thrown into the Red River.

Because of the removal of the bodies and the mass burials, numbers of the fallen vary. Lane puts the number at 62 while a military report sent to Congress identified 81 killed black men by name, in addition to unidentified bodies, leaving a total of 105. Youngblood tells of another alarming event that may add to the body count. “The next day the whites went to the blacks and said that if they had participated in the riot and if they stepped forward now, they would be granted pardons. So, a bunch of the blacks came forward—I don’t know how many, maybe 100 —and the whites shot them instead.”

Keith writes of locals discovering human bones in the area as the years passed. Her number is based on local historians’ accounts, including that of a doctor who participated in the event. The doctor puts it at 167 but Keith backs it down from that as “he may have been bragging.” She also acknowledges killings – like Youngblood – away from the site and settles at 150, the largest of credible and researched numbers.

After the bodies were taken away, buried or dumped, the news of Colfax spread across the state. The story made national news and an illustration of a black family dragging a fallen loved one in a makeshift cart away from the scene ran in Harper’s Weekly, a well-known political magazine. Yet, over time, the story of Colfax faded away and is barely mentioned in history books, including Louisiana history books. Its legacy lives on in effects that would be felt through the days of Jim Crow and the Civil Rights struggle.

Eric Foner, a Civil War and Reconstruction historian, wrote that it was the bloodiest single incident of racial carnage in the period and testified the lengths that Democrats would go to fight for their power. It had a chilling effect on blacks in Louisiana both legally and psychologically, showing that “in any large confrontation, they stood at a fatal disadvantage.” For many years, they would have to take whatever treatment whites sent their way. In his writing, Foner quotes black Reconstruction legislator John G. Lewis as saying “The organization against them is too strong…They attempted [armed self-defense] in Colfax. The result was that on Easter Sunday of 1873 when the sun went down that night, it went down on the corpses of two hundred and eighty negroes.”

Unlike Coushatta, Colfax’s massacre did result in criminal charges. Oddly, this only empowered its participants and those like them. In U.S. v. Cruikshank, 100 white participants in the massacre were indicted under the Federal Enforcement and Ku Klux Klan Acts, which allowed for federal prosecution of murder and intimidation aimed to suppress civil rights and voting rights. However, these laws were ruled unconstitutional by the Supreme Court. Keith, via e-mail, saysthat this is one possible origin of the language on the marker, as white supremacists in Louisiana took it as the end of Reconstruction – or carpetbag misrule.

  The White League and the Klan were now free to harass blacks out of their newly-won voting rights and usher in a return to white Democrat controlled governments in the South. “These whites-only governments passed segregation laws – and more importantly, facilitated black economic subjugation by the abuse of criminal justice and the underfunding of education for African Americans,” says Keith.

A Resting Place

In the end, there should be a marker on the lawn of Colfax’s courthouse. Absolutely. Removing it is another slight to those lost their lives there and those still buried beneath it. It just should not be this one. Something happened at that spot, but it was not what is described on the current marker.

In New Orleans, as the monuments to Jefferson Davis, PGT Beauregard, Robert E. Lee and Liberty Place came down, cries arose of Orwellian re-writes of history. Those with a knack for trivia reminisced about Beauregard’s contributions to the city’s streetcar system, New Orleans’ claim as Davis’ final home and final resting place, and Lee’s time serving his country in the city, along with his notable military strategy. Yet, Colfax’s monument pulls the mask off this sophistry in its own way. Here, history was re-written a long time ago. Here, men are honored for the wrong reasons – like Lee and Beauregard in their dress grays – and not for any action other than their work on the battlefield or in a state house against the United States.  In the wake of their fall, New Orleans Mayor Mitch Landrieu spoke about telling both sides of history. He could have easily been standing on the lawn in Colfax.

In Colfax, the marker is wrong because it does not tell the complete history. Even in the words it choses—notably “riot” instead of “massacre”— it presents only the victors’ side. This technique is not limited to Colfax, as the Gettysburg Complier – a site maintained by students at the Civil War Institute of Gettysburg College –  explains that this type of rhetoric is frequently used to shift responsibility for the killings from the white perpetrators to the black victims. Keith explains that the better label would be a battle followed by a massacre, as “an estimated 48 of the victims were taken prisoner and shot.”

To further understand this difference, Colfax can be compared to an event in the Texas Revolution. Called “The Other Alamo,” this event took place after a battle. Following the capture of some 400 Texan Revolutionaries, the Mexicans executed most of them. As it happened in the town of Goliad, it is called the Goliad Massacre. Unlike Colfax, this event inspired Texan soldiers to fight and cries of “Remember Goliad!” could be heard alongside cries of “Remember the Alamo!” at the final battle for Texas independence. Despite the Texan army’s resistance to the rule of the Mexican government, it is never referred to as the Goliad Riot.

The Colfax marker also seems to celebrate the event and its perpetrators as bringing an end to “Carpetbag misrule.” The term carpetbagger was a derogatory pejorative describing northerners who came to the South to gain wealth or political power after the Civil War, many carrying their belongings in luggage that was either made from or looked to be made of carpeting material. Admittedly, there is an argument to be made against the carpetbaggers. Many of them exploited the South for profit – at the worst by directly scamming southerners out of money. Others simply entered southern politics and gained political office. Elected carpetbagger officials like Warmoth used their power to make money – he quintupled the state’s printing budget (he owned part of the newspaper that had the contract for printing), sold state bonds, took bribes, and used the State Returning Board to control elections.  By the end of his four years in office, he managed to make $1 million despite having a salary of only $8,000 a year.

This, however, is likely not the misrule of which the marker speaks. Reconstruction didn’t end until 1877, following a backroom deal to hand the disputed presidential election of 1876 to Republican Rutherford B. Hayes in exchange for the removal of federal troops from the South. Once this happened, Republican governments collapsed and officials left office, fearing violence from the White League. In essence, the South lost the Civil War but won Reconstruction.

What the marker calls misrule likely refers to is the power gained by blacks who elected Republicans – some from the North – as leaders. Or it could be the 1950s’ view of contemporary blacks holding power in Grant Parish. It could also relate to the role Colfax played in ushering in Jim Crow. Another interpretation is that Colfax had a reverse effect on the nation to events such as the Mechanics Institute Riot. Whereas at the start of Reconstruction, northerners were shocked by the violence in the South and thought intervention was the answer, by this time they were weary of the continued bloodshed and just wanted it to end by any means.   

Keith poses a simpler answer, “ Jim Crow southerners were gasbags?” 

Now that the monuments have been removed in New Orleans, what is to be done with others like them across the state? Unfortunately, in the case of Colfax, there is no clear answer.

  Lynne Coxwell, director of research at the Louisiana Office of Tourism, which administers the historic marker program, states that removing one of the hundreds of markers across the state falls somewhere along a “weird, weird line.”

  “We don’t remove them. … It depends. We administer this program,” she says from her Baton Rouge office. “We do not purchase them. They are bought by individuals or companies or whatever. We don’t necessarily own them.”

According to the inscription at the bottom of the Colfax marker, it was erected by Department of Commerce and Industry in 1950, while Louisiana was still under Jim Crow (Keith’s book has it going up in 1951, but it may have been ordered in 1950). This would put the call for removal in the hands of Louisiana’s Economic Development’s Board of Commerce & Industry, a committee that represents major economic groups and includes gubernatorial appointees representing both the lieutenant governor and governor. Questions sent to some members of the current board were not returned.

With the board’s consent, removing it or changing it would be easier, involving a simple fact check and bypassing much of the usual application process.

Another obstacle is the cost of replacing the monument. When originally purchased, the marker cost only $100, under $1,000 in today’s dollars. Today, it would cost between $1,900 and $2,260.

But says Coxwell, “Certainly if its incorrect, we wouldn’t want that to be there.”

If the board has the mindset of Terry Ralph Brown, an independent who represents Colfax’s district in the Louisiana House of Representatives, the marker isn’t going anywhere.

A discussion of the marker with Brown, who is from Colfax, veers into a discussion of his childhood without indoor plumbing and pulling himself up by his bootstraps, the burning of Atlanta, Abraham Lincoln’s blockade of New Orleans that caused starvation and disease, his Cherokee heritage and how his ancestry includes both a captain in the Confederacy and a sergeant in the Union, both of whom were at the siege of the Vicksburg, Mississippi. Brown is quick to recuse himself from the debate, stating he has no dog in the hunt, but stands behind leaving the marker – and the New Orleans monuments, which he voted to protect – firmly planted on Louisiana ground.

Between indictments of the Founding Fathers’ treatment of Native Americans and tales of his own visits to Holocaust Concentration Camps, Brown recalls hearing accounts of what led to battle for Colfax. He includes mentions of marauding and rape and says “there are two sides to the story and then there is a right side.”

Yet technically Brown sidesteps the debate over the veracity of the marker, saying that he values it as a part of history. Unlike those who rallied around the removal of Lee, Davis, and Beauregard, Brown values the Colfax marker’s worth even as its accuracy is up for debate.

“My deal is this it is a part of our history,” says Brown, calling from Baton Rouge during the legislative session. “And whether we like it or not, whether we like the wording on the makers or not, that is debatable. … But to take down something that is history … that it is up to the people of Grant Parish.” 

Adds Brown, “… I am not going to try to rewrite history. That marker is there. It is up to the judgement of the people to decide what actually went on.”

Although Brown warns of forgetting history just to be condemned to repeat it, at one point, he concedes that some history is contested, saying, “It is a controversial marker. Whether it is an accurate description or not remains to be seen.”

Colfax’s current mayor sees things a bit differently. When Ossie Clark took office he was only the second African American mayor of the town. His predecessor was the first. Although he is quick to brag about the progress Colfax has made, he readily admits that it still faces many issues – but they are far more hidden than in the past.

“You don’t see it as overtly as you would 40 years ago or 50 years ago,” says Clark, a pastor in a central Louisiana church. “Right now, you could look at things and say things are somewhat better but they could always improve and get better.”

Of the marker Clark says, “It has ever been a sore spot for a lot of people.” While he doesn’t consider its removal a pressing issue for the townspeople and there is no real movement to take it down, yearly memorials are held on the anniversary of the massacre.

Clark does share some of the thoughts that Brown holds on the value of history. However, in the interest of history, Clark wouldn’t mind a change being made.

“I would definitely like to see the wording change, being that it wasn’t really a riot,” says Clark. “Let’s face it: the historical facts are just what they are – the facts. That way, people can have a better understanding of what transpired during that particular time period, so it doesn’t make it seem like it was just an uprising. Well no, it was blatant killing that took place.

Ends Clark, “It really was a massacre in the greatest sense.”

Epilogue

Keith opens her book with an ode to the men who lost their lives in or around the Colfax Courthouse:

“Let the ghosts of Colfax have the first word. They do not rest in peace; their bones have been restless.”

Today she views the marking of the mass grave or graves as a priority. After all, visitors to the courthouse may never realize what they are treading on as they go about their legal business. She also favors moving the historical marker to a spot that is likely not a grave. During her research, she encountered locals who supported a supplemental marker and perhaps a visitors’ center. There was also talk of a National Parks Service commemoration on the massacre’s anniversary. Currently, it does not look like any of those ideas will be realized. Still she offers her own take on what Colfax’ marker should read:

“Colfax Massacre: On this site on April 13, 1873, black and white paramilitaries clashed in a battle over control of the Grant Parish courthouse and voting rights.  The remains of 69 African American men are buried here.”

In the end, will this help those ghosts to linger no more? Even if a new marker is erected, it doesn’t change what happened at the site. Possibly, it will change how we remember it. As evidenced in New Orleans and echoed in Brown’s views, any moves toward changing the nearly 70-year-old marker on the yard of the Grant Parish Courthouse will ruffle feathers and cause some to cry out that history is being re-written. Let them. History has already been re-written in Colfax; now it just needs to be corrected.