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    The Problem With Celebrity Travel Shows? The Celebrities.

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    What used to be meaningfully informative programming, delivered by personable but only tangentially notable hosts, is gradually being swallowed up.In the resplendent green of Costa Rica, a peak reaches toward the clouds. Eugene Levy gazes up at it in awe. “That’s a volcano,” his host explains, adding that it last erupted about 10 years ago. Levy looks unsettled. “I was hoping it would be more dormant,” he says. The understated delivery is classic Levy, but it feels different, less endearing, in this context. The premise of Apple TV+’s “The Reluctant Traveler” is that the celebrity actor hasn’t liked to travel in the past, but is now pushing himself out of his comfort zone with televised trips to places like Finland, Italy and Japan. With that, he joins an increasingly established subgenre: the celebrity travel show. Netflix has “Down to Earth With Zac Efron.” TBS had Conan O’Brien’s “Conan Without Borders.” CNN had “Stanley Tucci: Searching for Italy,” which was both a celebrity travel show and a celebrity food show — another thriving subgenre, with entries from Selena Gomez, Amy Schumer, Jon Favreau and Paris Hilton.The idea behind these programs is the same as ever: You settle in and watch your host learn about new places. It’s just that, in these shows, it’s the host’s very celebrity that inevitably becomes the star around which everything revolves. Consider Levy and that Costa Rican peak: You’re offered one moment to admire a beautiful scene before the active volcano becomes the setup for celebrity quipping. The shows’ stars can rarely help drawing attention this way, whether it’s with solemn head-nodding or relentless cleverness. O’Brien, traveling in Armenia, is so shameless in his pursuit of laughs that he almost seems to embarrass his Armenian-American assistant. Stanley Tucci, eating cantucci in Florence, has to remark that “anything that ends in ‘tucci,’ I like.” The celebrity travelogue doubles as proof of just how hard it is for performers to subordinate themselves to their surroundings.The point of featuring celebrities seems obvious enough; in a crowded TV market, a familiar host can lure people to watch a new show. The trade-off, of course, is that the format and subject matter — whether travel or food or, say, home renovation — will find itself drifting toward the formal demands of a reality show, sacrificing its capacity to inform to its host’s own shtick or charisma. The things we see must serve the narratives and characters of the stars, providing opportunities to play to or against their images, drawing out their particular moods or charms. A result is a suffocating and often superficial take on how fascinating or delicious everything is. Eventually you come to suspect that each show would feel functionally identical no matter where you sent the celebrity — that Stanley Tucci could tour America’s bowling alleys, or Zac Efron could sample Midwestern diners, or vice versa, without much changing. This is happening across the TV world: What used to be meaningfully informative programming, delivered by personable but only tangentially notable hosts, is gradually being swallowed up by celebrity.I still remember the first time I traveled abroad, and the feeling I had emerging from the Paris-Nord train station to behold one of the world’s most beautiful cities. It made me feel alien and bracingly helpless. I was an outsider. That was the whole point of my being there. That decentered feeling never really went away, neither on that trip nor on later ones. I wouldn’t want it to.Celebrity travel shows tend to evoke something close to the opposite of that feeling. This is not to say that you can’t learn anything from them. It’s just that the celebrity at the center will generally steal the spotlight from the locale itself. Levy, interestingly enough, seems to exhibit some self-awareness about this phenomenon; per his show’s premise, he seems, at times, to progress from fear of travel to an embrace of travel’s helplessness. In southern Utah, he spends time with his guide in the quiet of night, discussing the stars and the spirituality of the desert. It’s a striking contrast to your typical celebrity fare, in that it seems to capture Levy giving himself over to the unfamiliar in a strikingly vulnerable way.But it’s fleeting. The show has Levy spending a lot of time at luxury hotels, where fame affords him deferential treatment. Earlier in the Utah episode, he spends breakfast chatting with a chef (who is making one very elevated pancake) about whether he’s ever cooked for Brad Pitt or George Clooney. Much of the series revolves around this kind of celebrity-centric riffing. The show’s entire premise, after all, revolves around Levy’s own experiences and hang-ups, not the curiosities of a viewer or a would-be traveler. Offered “crocodile schnitzel” at Kruger National Park in South Africa, Levy tells his guide, “I’m going to enjoy watching you eat that,” and quips that he’ll just take a vodka-tonic. In Lisbon, his guide tells him the Portuguese people like to explore the world, and asks if Levy does, too. The actor says that “adventure is my middle name,” and that world exploration is “in my nature,” but he’s then seen confessing his deceit to the camera: “That’s where acting comes in. You know, when you can hide ineptitude on a scale like that, give me an Oscar.” He is traveling as a character in his own travel series, all while ostensibly trying to break free from that character’s limitations and experience new places — which he can never quite do, because the show is ultimately about the character, not the places.Travel stories have often benefited from a guide, from Matsuo Bashō’s “The Narrow Road to the Deep North” in the 17th century to Peter Matthiessen’s “The Snow Leopard” or Pico Iyer’s “The Lady and the Monk” in the 20th to Anthony Bourdain’s “No Reservations” and “Parts Unknown” in the 21st. (Bourdain became a celebrity, but he had a curiosity and humility, an authenticity in his travels that could make him feel like he wasn’t.) These figures serve as proxies and narrators and cultural synthesizers, both standing in for us and offering us their impressions. When we come to trust them, it’s often precisely because they know how to step out of the way and help us engage with the places they’re exploring. The same goes for any other topic. We know names like “Julia Child” and “Bob Ross” because of how compellingly those people served their subjects, not because of their pre-existing star power. And, I suppose, because nobody at the time thought to develop “Learning to Paint With Mr. T.”I’m inclined to say the ideal travel show would merely be a video montage with someone reading a guidebook over it. The less narrative basis, the better. “Rick Steves’ Europe” and “Big City, Little Budget,” with Oneika Raymond, may be two series that come closest to that ideal, in that they’re basically video guidebooks. The hosts subordinate themselves to the places they visit. They aim to show people why to travel, and what it’s like — not to entertain them along the way.Not so today. In one episode of “The Reluctant Traveler,” Levy visits the Maldives, where he meets a local who seems eager to dispense some wisdom. “You really need to connect — remove your shoes, feel the sand,” he tells Levy, as the camera shows his bare feet and Levy’s footwear. You get the distinct feeling he’s saying this, in part, because it’s what Levy wants to hear. Still: Point taken. To center the place, you must decenter yourself. In travel, as in all things, fame is a distraction.Source photograph (Levy): Maarten De Boer/Contour by Getty Images.Nicholas Cannariato is a writer living in Chicago. He last wrote about common birds for the magazine. More

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      Bourdain Documentary’s Use of A.I. to Mimic Voice Draws Questions

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      The documentary “Roadrunner” by Morgan Neville uses 45 seconds of a voice that sounds like Bourdain, generated with artificial intelligence. Is it ethical?The new documentary about Anthony Bourdain’s life, “Roadrunner,” is one hour and 58 minutes long — much of which is filled with footage of the star throughout the decades of his career as a celebrity chef, journalist and television personality.But on the film’s opening weekend, 45 seconds of it is drawing much of the public’s attention.The focus is on a few sentences of what an unknowing audience member would believe to be recorded audio of Bourdain, who died by suicide in 2018. In reality, the voice is generated by artificial intelligence: Bourdain’s own words, turned into speech by a software company who had been given several hours of audio that could teach a machine how to mimic his tone, cadence and inflection.One of the machine-generated quotes is from an email Bourdain wrote to a friend, David Choe.“You are successful, and I am successful,” Bourdain’s voice says, “and I’m wondering: Are you happy?”The film’s director, Morgan Neville, explained the technique in an interview with The New Yorker’s Helen Rosner, who asked how the filmmakers could possibly have obtained a recording of Bourdain reading an email he sent to a friend. Neville said the technology is so convincing that audience members likely won’t recognize which of the other quotes are artificial, adding, “We can have a documentary-ethics panel about it later.”The time for such a panel appears to be now. Social media has erupted with opinions on the issue — some find it creepy and distasteful, others are unbothered.And documentary experts who frequently consider ethical questions in nonfiction films are sharply divided. Some filmmakers and academics see the use of the audio without disclosing it to the audience as a violation of trust and as a slippery slope when it comes to the use of so-called deepfake videos, which include digitally manipulated material that appears to be authentic footage.The director Morgan Neville said in a statement on Friday about the use of A.I. that “it was a modern storytelling technique that I used in a few places where I thought it was important to make Tony’s words come alive.”Bryan Bedder/Getty Images for Tribeca Festival“It wasn’t necessary,” said Thelma Vickroy, chair of the Department of Cinema and Television Arts at Columbia College Chicago. “How does the audience benefit? They’re inferring that this is something he said when he was alive.”Others don’t see it as problematic, considering that the audio pulls from Bourdain’s words, as well as an inevitable use of evolving technology to give voice to someone who is no longer around.“Of all the ethical concerns one can have about a documentary, this seems rather trivial,” said Gordon Quinn, a longtime documentarian known for executive producing titles like “Hoop Dreams” and “Minding the Gap.” “It’s 2021, and these technologies are out there.”Using archival footage and interviews with Bourdain’s closest friends and colleagues, Neville looks at how Bourdain became a worldwide figure and explores his devastating death at the age of 61. The film, “Roadrunner: A Film About Anthony Bourdain,” has received positive reviews: A film critic for The New York Times wrote, “With immense perceptiveness, Neville shows us both the empath and the narcissist” in Bourdain.In a statement about the use of A.I., Neville said on Friday that the filmmaking team received permission from Bourdain’s estate and literary agent.“There were a few sentences that Tony wrote that he never spoke aloud,” Neville said in the statement. “It was a modern storytelling technique that I used in a few places where I thought it was important to make Tony’s words come alive.”Ottavia Busia, the chef’s second wife, with whom he shared a daughter, appeared to criticize the decision in a Twitter post, writing that she would not have given the filmmakers permission to use the A.I. version of his voice.A spokeswoman for the film did not immediately respond to a request for comment on who gave the filmmakers permission.Experts point to historical re-enactments and voice-over actors reading documents as examples of documentary filmmaking techniques that are widely used to provide a more emotional experience for audience members.For example, the documentarian Ken Burns hires actors to voice long-dead historical figures. And the 1988 documentary “The Thin Blue Line,” by Errol Morris, generated controversy among film critics when it re-enacted the events surrounding the murder of a Texas police officer; the film received numerous awards but was left out of Oscar nominations.But in those cases, it was clear to the audience that what they were seeing and hearing was not authentic. Some experts said they thought Neville would be ethically in the clear if he had somehow disclosed the use of artificial intelligence in the film.“If viewers begin doubting the veracity of what they’ve heard, then they’ll question everything about the film they’re viewing,” said Mark Jonathan Harris, an Academy Award-winning documentary filmmaker.Quinn compared the technique to one that the director Steve James used in a 2014 documentary about the Chicago film critic Roger Ebert, who, when the film was made, could not speak after losing part of his jaw in cancer surgery. In some cases, the filmmakers used an actor to communicate Ebert’s own words from his memoir, or they relied on a computer that spoke for him when he typed his thoughts into it. But unlike in “Roadrunner,” it was clear in the context of the film that it was not Ebert’s real voice.To some, part of the discomfort about the use of artificial intelligence is the fear that deepfake videos may become increasingly pervasive. Right now, viewers tend to automatically believe in the veracity of audio and video, but if audiences begin to have good reason to question that, it could give people plausible deniability to disavow authentic footage, said Hilke Schellmann, a filmmaker and assistant professor of journalism at New York University who is writing a book on A.I.Three years after Bourdain’s death, the film seeks to help viewers understand both his virtues and vulnerabilities, and, as Neville puts it, “reconcile these two sides of Tony.”To Andrea Swift, chair of the filmmaking department at the New York Film Academy, the use of A.I. in these few snippets of footage has overtaken a deeper appreciation of the film and Bourdain’s life.“I wish it hadn’t been done,” she said, “because then we could focus on Bourdain.”Christina Morales contributed reporting. More

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      Anthony Bourdain Documentary ‘Roadrunner’ Seeks to Understand His Death, Career and Struggles

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      “Roadrunner” takes an intimate look at Mr. Bourdain’s career and his struggles, using archival footage and interviews from members of his inner circle.In 2016, Anthony Bourdain sat back in a leather coach to talk to a therapist in Buenos Aires, Argentina. It was the first time he had gone to a session since his parents sent him to one after catching him with drugs as a teenager. He put on his reading glasses, and went through a list he called “all of my ailments and problems.” More

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      ‘Roadrunner: A Film About Anthony Bourdain’ Review: Salt, Sugar and No Fat

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      Morgan Neville’s sharp and vividly compelling documentary tries to pin down a brilliant, troubled man.There’s scarcely a dry eye in the frame at the conclusion of Morgan Neville’s vivid, jam-packed documentary, “Roadrunner: A Film About Anthony Bourdain,” but this isn’t a hagiography. Bourdain, who died almost exactly three years ago at the age of 61, was many things — chef, sensualist, addict, world traveler — any one of which could have served as the movie’s lodestar. Yet it was as a writer that he found renown, and it is around his words that “Roadrunner” constructs its ominous, uneasy shape.Those words, punchy and aromatic, spill from Bourdain’s books, his television shows and multiple public appearances as Neville wrangles a personality, and archive footage, that’s almost too much for one film to corral. Having attained in midlife a fame he distrusted and a title — celebrity chef — he despised, Bourdain wavered between euphoric family man and fretful workaholic. Though free of heroin and cocaine since the late 1980s, he was also without the punishing restaurant routines he had relied on to stave off his demons.With immense perceptiveness, Neville shows us both the empath and the narcissist: The man who refused to turn the suffering he saw in war zones into a bland televisual package, and the one who would betray longtime colleagues to please a new lover.“You know, something was missing in me, some part of me wanted to be a dope fiend,” he confesses in one clip. That dark awareness looms over interviews crammed with frisky anecdotes and fond remembrances, helping explain a death that seemed to many inexplicable. The once miserable, angry child had grown into a brilliant man who suspected his talent and his pain were inextricably linked. “Roadrunner” recognizes that he was probably right.Roadrunner: A Film About Anthony BourdainRated R for raw profanity. Running time: 1 hour 58 minutes. In theaters. More

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      How Do You Write an Anthony Bourdain Book Without Anthony Bourdain?

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      After the author and TV personality’s death, his longtime assistant was left to finish his last book, a world travel guide.In March 2017, Anthony Bourdain had an idea for a book, but no time to write it. Since he started traveling and eating on camera with the Food Network’s “A Cook’s Tour” in 2000, the chef, frequent dropper of f-bombs and insatiable eater of delicious things had spent the majority of his time in the field, most recently for his CNN show “Parts Unknown.” Mr. Bourdain and his team decided he would carve out some time to write in the summer of 2018, when he would have a few rare continuous weeks at home during a break in filming. That, of course, never happened, as Mr. Bourdain died by suicide in June 2018.Nevertheless, next week, almost three years after his death, and after a pandemic that almost completely shut down international travel, Ecco will publish “World Travel: An Irreverent Guide” by Mr. Bourdain and his longtime assistant (or “lieutenant” as he often referred to her), Laurie Woolever.“To me, there was no question that the book would go on,” Ms. Woolever said in a recent video call from her home in Queens. “As long as I had the blessing of his estate, which I did, I wanted to finish it as a way to serve his legacy.”“World Travel” is built out of a somewhat amorphous vision, an “atlas of the world as seen through his eyes,” as Ms. Woolever writes in the book’s introduction. It is the second book, after 2016’s “Appetites,” that includes Ms. Woolever’s name on the cover just under Mr. Bourdain’s, albeit smaller. It speaks to the power of Mr. Bourdain’s legacy and the singularity of his point of view that his name still sits so boldly on the book’s cover despite the fact that he contributed not a single new written word to its 469 pages.Laurie Woolever outside Gray’s Papaya on Manhattan’s Upper West Side, which makes an appearance in “World Travel.”Karsten Moran for The New York TimesThe book is built to read like a travel guide, even if it would be a stretch to use it as one. It covers 43 countries, with Mr. Bourdain’s recommendations for restaurants, hotels and other attractions in each one drawn mostly from his various TV shows. In between, Ms. Woolever, who was archivist, fact checker and editor on the book, as well as its co-author, has inserted context and, for each destination, a section on airports, public transportation and taxi costs. Occasionally she adds in her own recommendations based on her travels and knowledge of Mr. Bourdain’s favorite off-camera spots: one particularly charming section includes a delivery request that Mr. Bourdain emailed to Ms. Woolever, for Pastrami Queen, a kosher deli on New York’s Upper East Side.The book comes at a pivotal moment in travel, just after the Centers for Disease Control and Prevention has said that Americans who are vaccinated can travel internationally, and as closed borders between countries are slowly and fitfully reopening. The timing is fortuitous, though not intentional: The book was originally scheduled to publish in the fall of 2020 and Ms. Woolever said the publication was delayed because of production issues, not the coronavirus.Edward Ash-Milby, the lifestyle book buyer at Barnes & Noble, said in an email that the bookstore chain has put in an order similar in size to that for past best sellers by Mr. Bourdain: “We’ve ordered it for all 600-plus stores and we are all very excited about it.”After the travel book market took a major hit over the past year, Mr. Ash-Milby said in his email that he has started to see it coming back in the United States, especially when it comes to domestic travel. “World Travel,” he said, was perfectly positioned to take advantage of American readers’ pent-up wanderlust for places further afield. “I love the publication date of Anthony Bourdain’s ‘World Travel,’” he wrote. “It feels perfectly timed to meet the imagination of today’s travelers who are primed to explore.”Mr. Bourdain never professed to being a fan of travel guides and, before this book, he had never really expressed much interest in writing one. In an interview during South by Southwest in 2016, he admitted that he rarely read them: “I like atmospherics,” he said. “I don’t want a list of the best hotels or restaurants; I want to read fiction set in the place where you get a real sense of what that place is like.”Despite this, Ms. Woolever said there was also an understanding between the two of them that a guide could be exactly what his fans wanted. “I would like to think that even if someone has seen every episode, even if they’ve read every book, there is the possibility of fresh discovery with this book,” she said.The choice of what to include — which Singaporean hawker stalls, Spanish tapas restaurants or American dive bars made the list — mostly came out of one hourlong, recorded conversation in the spring of 2018 between Ms. Woolever and Mr. Bourdain held at Mr. Bourdain’s Manhattan high-rise apartment, which he had, according to Ms. Woolever, decorated to mimic one of his favorite hotels, Los Angeles’s Chateau Marmont.“I prepared ahead of time for this meeting with Tony by making a list of every place he had been,” Ms. Woolever said. Then, as Mr. Bourdain chain-smoked and free-associated, she took notes. “He would just, off the top of his head, say ‘We’ve got to include this market stall, and this place with the chicken,’” she recalled. “He had a pretty astonishing level of recall for somebody who had done so much.”“World Travel” contains essays by Mr. Bourdain’s friends, colleagues and family, but no new contributions from him.EccoIn that quiet summer of 2018, Mr. Bourdain was planning to go through the curated list of countries and cities and write new, original essays about them. From his work on television it isn’t hard to imagine what they could have been: an effusive, profanity-laced ode to the decadent and delicate noodle soups of Vietnam perhaps, or an examination of why he loved old colonial hotels in the tropics so much despite their often problematic histories.The conversation, meant to be the first of many brainstorming sessions, became Ms. Woolever’s only blueprint. Facing all of the unwritten essays, she reached out to Mr. Bourdain’s friends, family members and former colleagues to fill that space: His younger brother, Christopher Bourdain, writes about traveling to the Jersey Shore and Uruguay for episodes of “Parts Unknown” and “No Reservations”; the record producer Steve Albini provides a lengthy list of his favorite where-would-Bourdain-eat spots in Chicago; the Toronto restaurateur Jen Agg recounts how the stunt that made her restaurant famous (a “bone luge” shot, in which bourbon is poured down a hollowed out veal bone) was concocted for an episode of “The Layover,” the relatively short-lived Travel Channel show that was, before this book, the closest Mr. Bourdain ever came to making a “how to” guide.“It’s a hard and lonely thing to co-author a book about the wonders of world travel when your writing partner, that very traveler, is no longer traveling that world,” Ms. Woolever admits in the book’s introduction.Ms. Woolever first worked with Mr. Bourdain in 2002, when her former employer, the chef Mario Batali, recommended her as a recipe tester and editor for “Anthony Bourdain’s Les Halles Cookbook.” She became his assistant in 2009 after working as, among other things, an editor and a private chef. As Ms. Woolever recounts it, Mr. Bourdain happened to be looking for an assistant at the precise time that she had a child and was looking to do something new. “It was such a lucky coincidence of timing for both of us,” she said.Ms. Woolever knew Mr. Bourdain well after so many years, and it was that closeness that helped her get through some of the hard decisions in putting together the book, she said.Much of that decision-making process involved talking to others: members of his close circle of confidantes, his production team and past fixers who offered updated information on old spots Mr. Bourdain might have visited. “I never want to speak for Tony, but if I had to speculate — and I think we all agreed — I think he would want these things that had been set in motion to go on,” she said. She ran decade-old “No Reservations” picks by past collaborators to make sure they were still good. She pored over transcripts of past shows and spent days contacting chefs in the French countryside or along the Mozambique coast to make sure they were still operating.Anthony Bourdain filming “Parts Unknown” in Butte, Mont., in 2015. CNNThat fact-checking process took on a new level of intensity, of course, with the onset of the coronavirus pandemic, as restaurants globally were hit hard. “I did check to see that all the listed venues were still open just before the window closed to any new edits,” she told me. She knows of just one establishment — Cold Tea bar in Toronto — that has closed since, but doesn’t regret its inclusion in the book. “I am happy to have its listing remain in the text, because Tony loved it, and I hope that the business owners may be able to resurrect it in the future,” she said.Over the course of the book, Ms. Woolever never makes the claim that the guide is comprehensive — and the end result does feel incomplete and unbalanced. The countries of Ghana, Ireland and Lebanon get three pages apiece; the United States gets nearly 100. There is a chapter on Macau, but nothing on Indonesia or Thailand. These are somewhat predictable shortcomings, dependent as the book is on voice-over transcripts spanning decades and the impossible task of stringing them together across time.Some of the inclusions feel at odds with Mr. Bourdain’s avoid-the-tourists approach to travel, as well. In the Tokyo section, recommendations include the Park Hyatt hotel (made famous by “Lost in Translation,”); Sukiyabashi Jiro, the restaurant at the center of the documentary “Jiro Dreams of Sushi”; the bizarre kitsch-fest that is the Robot Restaurant; and a bar in the tourist-clogged Golden Gai neighborhood. These may be all appealing attractions to a first-timer in Tokyo, but there is nothing in that selection that you wouldn’t find at the top of an algorithm-generated TripAdvisor list.When I asked Ms. Woolever about these recommendations, she agreed they were perhaps obvious choices, but said Mr. Bourdain wanted to include them because of how much they meant to him, after so many visits to the city. “He wasn’t always (or, arguably, ever) about cool for cool’s sake, or obscurity as its own reward,” she said in an email.If it’s a guide they are after though, travelers may be left wanting. In Cambodia, you get recommendations for three hotels, two markets for dining and a suggestion to check out the temples of Angkor Wat, the country’s most famous attraction by a long shot. It isn’t exactly the list of hole-in-the-wall spots with no addresses that fans of Mr. Bourdain may be hoping for. What those fans will find though is Mr. Bourdain’s word-for-word rant against American military involvement in Cambodia (“Once you’ve been to Cambodia, you’ll never stop wanting to beat Henry Kissinger to death with your bare hands.”) Having those passages — the no-holds-barred monologues that were a hallmark of his television shows — in one place might be the book’s greatest strength.Over the decades that Mr. Bourdain spent traveling the world, there was a lot of talk of the “Bourdain Effect”: how a culinary gem, previously only frequented by those in the know, could be “ruined” by being included in his show. When I asked Ms. Woolever whether she thought this book could amplify that effect, she emphasized that most business owners knew what they were in for when approached by producers. “People call it the ‘Bourdain Effect,’ but Tony didn’t invent it,” she said. “It’s something that business owners have to weigh out for themselves.”As I read the book, I was thinking of a different Bourdain Effect, one that feels more vital than ever right now, as travel begins to take its first baby steps back after a year of lockdowns. Seeing so much of Anthony Bourdain’s work in one place and being able to compare his impressions country-by-country in a tightly packed medium, makes it easier to see what he stood for. A traveling philosophy emerges: his utter disdain for stereotypes, his undying commitment to challenging his own preconceptions, his humility in the face of generosity.Because of tragic circumstances following its inception, “World Travel” may feel more like an anthology of greatest hits than a new, original guidebook. But read cover to cover, country by country, it is an enduring embodiment of Anthony Bourdain’s love for the whole world and a reminder of how to stack our priorities the next time we’re able to follow in his footsteps.Follow New York Times Travel on Instagram, Twitter and Facebook. And sign up for our weekly Travel Dispatch newsletter to receive expert tips on traveling smarter and inspiration for your next vacation. Dreaming up a future getaway or just armchair traveling? Check out our 52 Places list for 2021. More

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      How to Pretend You’re in New Orleans Tonight

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      While your travel plans may be on hold, you can pretend you’re somewhere new for the night. Around the World at Home invites you to channel the spirit of a new place each week with recommendations on how to explore the culture, all from the comfort of your home.Over the course of the decade since I first visited, I have often imagined myself at home in New Orleans. I think of the syncopated shuffle of a snare drum, the simple pleasure of an afternoon walk with a to-go beer in hand and the candy-colored shotgun houses that sink into the ground at odd angles. And so it wasn’t a huge surprise when, at the beginning of 2021, I found myself packing up my life and moving to the Crescent City for a few months. Why not be somewhere I love at this difficult time, I thought? Why not live in my daydreams for a little while?From left: Bike paraders on Frenchmen Street the week before Mardi Gras; a shotgun house; the Pete Fountain jazz funeral second line paraded during Jazz Fest in 2016.From left: Emily Kask for The New York Times; Sebastian Modak; Bryan Tarnowski for The New York TimesNew Orleans is above all else resilient. Mardi Gras parades were canceled this year, though it didn’t stop New Orleanians from finding ways to celebrate (nothing ever will). In recent months, brass bands have taken to street corners in front of masked, socially distant spectators instead of packed night clubs. Strangers still chat you up about the Saints from their front porches. My visions of this city may still be filtered through the fuzzy lens of a visitor, but I know I’ll be pretending I’m still there long after I’m gone. Here are a few ways you can, too.A brass band plays on Frenchman Street the week before Mardi Gras.Emily Kask for The New York TimesTurn up that radioNew Orleans music is a collage of sounds: it’s the birthplace of jazz, of the frenetic dance music known as bounce, popularized by superstars like Big Freedia, the call-and-response songs of Mardi Gras Indians, and so much more. For an overview of the sounds of this loud, percussive city there is no better place to start than the wonderfully eclectic WWOZ, a community-supported radio station that has been on the air since 1980. Luckily, you can listen to it from anywhere online. It’s only a matter of time before you start getting to know the various D.J.s and tuning in for your favorites.From left: musicians Big Freedia, Rebirth Brass Band and Kermit RuffinsFrom left: Bennett Raglin/Getty Images; Bryan Tarnowski for The New York Times; L. Kasimu Harris for The New York TimesPut on a curated playlist“New Orleans is not a periphery music scene,” Soul Sister, who has hosted a show on WWOZ for more than 25 years, told me. “New Orleans is the reason for it all.” Soul Sister was one of a handful of local experts I consulted in putting together a playlist that will send you straight to New Orleans. Among her recommendations are a bounce classic by DJ Jubilee and the music of Rebirth Brass Band, which brings her back to afternoons spent celebrating on the street: “It reminds me of the energy and freedom of being at the second line parades on Sundays, dancing through all the neighborhoods nonstop for three or four hours,” she said.On this playlist, you will also find some classics — the rollicking piano of Professor Longhair, for example, starts it off — recommended by Keith Spera who writes about music for the Times-Picayune/New Orleans Advocate. By the end of the playlist, you will undoubtedly agree with Mr. Spera’s assessment of New Orleans music: “There is no singular style of ‘New Orleans music’ — is it jazz? Rhythm & blues? Funk? Bounce? — but you know it when you hear it.”The Mosquito Supper Club is a Cajun restaurant in the Uptown neighborhood of New Orleans. Denny CulbertExpand your cookbook collectionJust like its music, New Orleans food contains multitudes: Creole, Cajun, African, Vietnamese and other flavors collide like nowhere else. A fine place to start is with the Dooky Chase Cookbook, the collected recipes of Leah Chase, who died in 2019, of Dooky Chase’s Restaurant, an institution that has hosted civil rights leaders, presidents and countless regulars at its location in Treme, the neighborhood where jazz was born. Next, tap into the Cajun influence on the city with “Mosquito Supper Club: Cajun Recipes from a Disappearing Bayou,” by Melissa M. Martin who oversees a restaurant of the same name in the Uptown neighborhood of New Orleans. Ms. Martin recommends making her grandmother’s oyster soup. “I can picture her stirring a pot on Bayou Petit Caillou and seasoning a broth with salty Louisiana oysters, Creole tomatoes and salted pork,” Ms. Martin said. “The marriage of three ingredients transports me to the tiny fishing village I call home, where salt was and still is always in the air.”From left: Velma Marie’s oyster soup; President George W. Bush with Leah Chase at Dooky Chase’s Restaurant in 2007; Linda Green’s ya-ka-mein.From left: Denny Culbert; Evan Vucci/Associated Press; via Linda GreenCook up some noodle soup, Nola style“It is New Orleans’ best kept secret,” the chef Linda Green, better known as Ms. Linda, told me when I asked about her specialty. Festival and second line crowds come to her for ya-ka-mein, a salty beef noodle soup often eaten as a late-night snack or a next-morning cure (hence its “Old Sober” moniker). The dish’s origins are mysterious: a product of cultural exchange involving, depending on who you ask, Black soldiers returning from the Korean War or Chinese railroad workers arriving in the 1800s. Ms. Linda’s family recipe is also a mystery (she credits the globe-trotting chef Anthony Bourdain for encouraging her to keep it secret). But she has shared versions of her recipe, so you can try your hand at it at home. “That will get you pretty close to the real thing,” she said with a wink I could almost hear over the phone.First Street, in the Garden District, is lined with ornate mansions that are still lived in today. The pink Italianate mansion, above, is the Carroll-Crawford House.Sebastian ModakWalk it offNew Orleans is a city full of history and it can be hard to know what you are looking at without some guidance. You can feel like you are on your own personal walking tour thanks to Free Tours by Foot, which has transferred their expertise to YouTube. You can now stroll the grandiose Garden District, pull away the sensationalism around New Orleans’ Voodoo traditions and take a deep dive into jazz history in Treme. “New Orleans is full of painful history, and it’s also known as one of the most fun cities in the world,” Andrew Farrier, one of the tour guides, said. “I think it’s useful for all of us to know how those two things can live so close to each other.”From left: the Bywater, the Sazerac and the Brandy Crusta — all New Orleans inventions.From left: Drew Stubbs; Craig Lee for The New York Times; Melina Hammer for The New York TimesFix a drinkContrary to so many pop culture depictions of the city, New Orleans’ drinking scene extends far beyond the vortex of debauchery that is Bourbon Street. There are the classic New Orleans inventions, of course, like the Sazerac, but for something a little different, turn to one of the city’s most revered mixologists. Chris Hannah, of Jewel of the South, invented the Bywater as a New Orleanian spin on the Brooklyn. “Among the ingredient substitutions I swapped rum for rye as a cheeky nod to our age-old saying, ‘New Orleans is the northernmost tip of the Caribbean’,” Mr. Hannah said.Chris Hannah, making a cocktail behind the bar, is a revered mixologist and the co-owner of Jewel of the South. L. Kasimu Harris for The New York TimesHave a little partyWhile it’s impossible to fully channel the spirit of a New Orleans dive bar at home, combine the playlist above with your quarantine pod and a “set-up” and you might just get close. What is a set-up, you ask? It’s a staple dive bar order that will get you a half-pint of your liquor of choice, a mixer and a stack of plastic cups. It’s also an often-overlooked part of New Orleans drinking culture, according to Deniseea Taylor, a cocktail enthusiast who goes by the Cocktail Goddess. “When you find a bar with a set-up, you are truly in Nola,” Ms. Taylor said. “First time I experienced a set-up, it was paired with a $5 fish plate, a match made in heaven.”From left: a still from Lily Keber’s documentary “Buckjumping”; the cover of Sarah M. Broom’s book “The Yellow House”; Jurnee Smollett and Samuel L. Jackson in the 1997 film, “Eve’s Bayou.”Mairzy Doats Productions (far left); Trimark Pictures (far right)Wind down with a story or twoIt should come as no surprise that New Orleans, with its triumphant and tragic history, its syncretic culture and its pervasive love of fun, is a place of stories. There is a wide canon of literature to choose from. For something recent, pick up “The Yellow House,” a memoir by Sarah M. Broom, which the Times book critic Dwight Garner called “forceful, rolling and many-chambered.” Going further back in time, try “Coming Through Slaughter,” a fictionalized rendition of the life of jazz pioneer Buddy Bolden by Michael Ondaatje.If you are in the mood for a documentary, Clint Bowie, artistic director of the New Orleans Film Festival, recommends Lily Keber’s “Buckjumping,” which spotlights the city’s dancers. For something fictional, Mr. Bowie points to “Eve’s Bayou” directed by Kasi Lemmons. It’s hard to forget New Orleans is a city built on a swamp when you feel the crushing humidity or lose your footing on ruptured streets, and this movie will take you farther into that ethereal environment. “Set in the Louisiana bayou country in the ’60s, we could think of no better film to spark Southern Gothic daydreams about a visit to the Spanish moss-draped Louisiana swamps,” Mr. Bowie said.Glimpses of south Louisiana’s swampy flora can be found in New Orleans’ Audubon Park.Sebastian ModakHow are you going to channel the spirit of New Orleans in your home? Share your ideas in the comments.To keep up with upcoming articles in this series, sign up for our At Home newsletter. More