Up on this southern plane through swamp and meadow land.

Like thunder, lightning, wind and rain.

Me, Mary and Stallion.

The rain.

Viewing a map of Opelousas and a taco.

Pop.

The most remarkable features in their geography are the prairies.

Here you behold those vast herds of cattle which offered subsistence to the natives and to the inhabitants of the city of New Orleans.

It is certainly one of the most agreeable views in nature to behold from a point of elevation.

Thousands of horses and cows of all sizes, scattered over the interminable mead, intermingled in wild confusion and when we estimate the extent of ground that must forever remain covered with grass.

It is no extravagant declaration to call this one on the meadows of America.

William Darby.

1803.

May this vast meadow of America, along with liberal grazing laws, allowed ranching to flourish in south Louisiana in the 18th and 19th centuries.

The attack upon an Opelousas trading post was established as early as the 1730s.

Early Europeans traveled from New Orleans with slaves to tend to these posts on their return.

It was the slave who was left behind to form business and personal relationships with the Native American cattle and horse traders in the region.

Even before the Acadians arrived and transformed the cattle industry, these slaves became the first bashers or ranchers in the territory before the Civil War.

An estimated 70,000 cattle roamed all large, no fences, confining them.

They graze all year round on the 2.5 million acres of prairie grass.

Even people without land found opportunity in the cattle business and.

Horses were valued for their use in herding.

Horsemen led the cattle to graze, moving with the seasons to follow the grass of.

Since all cattle roam together.

Branding took the place of fences separating one owner's cattle from his neighbors.

Horsemanship became a way of life.

Symbolically, horses have historically signified social status and wealth, while also marking man's capacity to control other animals, domesticating them for his needs.

Conquerors are often memorialized in equestrian statues and paintings.

For the plantation, slave and overseer on horseback represented power and dominance.

The horse, a means of escape for many of Louisiana's black men.

Horses can still be associated with freedom and independence, work and respect, and on the vagaries of the prairies, everybody was on horseback.

Oral histories, public records, and branding books identify the early ranchers in the Ithaca and Opelousas areas as Indians, women and genre couleur.

Libra, or free people of color.

Together, these people formed what is called the Creole population.

This is the birth of some of America's first cowboys French, Black and Indian.

Today, only a few ranches remain on Louisiana's vanishing prairie.

Yet, despite the passing of time, many Creole descendants maintain small farmsteads and a love affair with their horses.

Who?

My dad, and usually about four black camels, would take care at home ranch pretty much year round when he needed cowboys to bring to the ranch to stay there.

That was going to be their life from that moment forward.

They would go to the Opelousas area and bring the whole family back and load up all the belongings and come back to gain.

They generally always came from down east.

It originally started with probably the Caesar family and came from there.

So maybe it was just hard economic times and they needed a job and it was just good.

Cowboys for their own.

My dad, whose real name was Herbert Anderson, known all his life, is Pete, was, ranch foreman for more years than I can count.

As a kid growing up, I remember when we got our first television set, I watched, The Lone Ranger and Roy Rogers and all that.

Cavendish got that gun.

And then, of course, I was right there where there were people really living the cowboy life, although they weren't chasing rustlers and assholes or cheering cigars.

The cattle were rough.

The horses were pretty rough.

And I guess you'd say the men rough, too, because they had to be to do some of the things I did.

Cowboy life is filled with difficulties.

For Marsh cowboys, the most dangerous undertaking was crossing water on their way to winter grazing.

In.

The.

We would hello to a bunch of men and a bunch of saddles.

And a little old wooden skiff, and we'd be overloaded.

No lifejackets.

Half the crew couldn't swim.

We all had on the boat just hours.

The first black cowboys I remember were Louisiana bat Caesar and of course, his son, Joseph Mane Caesar.

And then Luciano's brother, Victorian Vic Caesar and Vic had a son that rode at the ranch that we called Chuck Caesar.

I think his real name was John.

And then under the nose there was Floyd Clifton, who was known as man oh man, oh, could rope really well when he was young.

He could read any horse on the place.

He was the one they primarily went to when they needed to break.

Bad Colt.

He was one tough cowboy.

He was, excellent with, any of the tools that the Cowboys used, he could flip whips.

He and other black cowboys, they would take a horse, mane and tail, and they would, in and out, sorted by color.

And they could make horse hair range with it.

They made a lot of their own equipment.

They would repair tack, fix bridles, saddles, do all kinds of leather work.

They were all real good with a rope, unless it was some really wild cattle or a really huge herd.

Vic Caesar, who was always the lead rat.

Or when we would bring the big herds of cattle, he would pretty much handle the front of the herd by himself.

By most accounts, one of the best cowboys was Cyprian Caesar, a free man of color who became a prominent landowner, ranching many head of cattle.

A small settlement east of swallow was named after him.

Lost Brian Noir, meaning Black Cyprian Colt.

His descendants are still active horsemen today.

I've been involved in Hollywood since I was born 72 years.

I've been racing for at least 46 other ways, so I've been my house all my life.

You know, you know it.

I knew this is an event.

And there was my daddy's cousin that daddy and my daddy was to run this over here in Metro Swallow.

We started that about 14 years ago.

I was the only track they got in Louisiana.

Know your races, which is.

Em their best cowboys.

But now as I get older, now, you know I don't cowboy like I used to, you know, because I can't move as fast as I used to.

Everything I do now, I do it slow and it lasts longer.

And you see that as well.

I was a bully.

And then he changed my life.

He made her do it.

And if I get better grades that he was going to give me a horse.

So I got my stuff together and I got my horse.

And then I came back.

I was still in every year.

That was he.

I just come show him all my grades and then you see if I drop him, he take the boys back and I kept them over.

Because, I see my papa doing it and we all want to do it.

I got a couple more.

They want to do it.

Where?

We just need the legs.

Our legs need to be longer.

My name is Kevin, and I live in Austin, and, seven years old, you know, Andrew gave me a dope, and he's going to give me a pony.

My name is Andre Jacobs.

I'm 12.

Okay.

Andrew gave my my my grandpa, a horse with the buggy.

We try to put it up for, for age, and now we.

Oh, he just gave me another from our roping career.

His name is.

Whoa oh.

He's a black and white paint, and, we intern for eight.

Motocross wasn't a very good.

Me and him.

We watched awards for which was of our history is our African American import for the moment.

And, I think yes, they come in and, you know, he's had a Creole.

What does all we got to say keep the love cadence in a black.

I love how this is all crossbreed.

I mean the Indian black white.

They all they all messed up.

You know, that's why you see some yellow one, some black one, some white one, some b9 one, some whatever.

Okay, so, Jim.

Yeah, he's a bull.

He's a, he's he's in.

We do it every two weeks.

Title rain.

And if it rain and we drink beer and eat peanut.

You know, we know that he just imagine a horse pulling a bicycle and we're going to have it with advice if you don't know where that horse is.

Yeah, that's what it is.

Is that like we call it a bite?

Just like a bicycle, I guess for, riding the south is the first thing you get to learn the horse because it's horse pulls a little different.

Way.

What's the.

You got to have horse.

Since you got to be horse inclined, I think having the feel the driver in the hearts of becoming one to be able to sit in that book because your mind at keel is in your face, this all your mind.

And just focusing on that horse.

Because if he's dumb, you got to be able to lift him.

Think so?

He can stay on his feet.

If you drop the line.

And we we didn't have some bad falls already.

I mean, you won't fly.

Was that sharp?

Hit the ground ballet.

Barely.

And you really play straight.

You it ain't going around that go to.

A refill of.

I'm busy.

I'm big for your for pinewood.

You in the woods.

He's a nice ride.

You can get out and you see all your family but everybody's family.

Pinewood I don't care.

I'm going to be white.

Black Mesa in it.

Everybody get it home.

If I do work, you find out what is a drill, right?

But it's a physical.

The Piney Woods Trail Ride is just one of many annual Creole trail rides found on South Louisiana's landscape.

On just about any given weekend.

Other trail rides include the 20 year old Big Eight and the new New Step Riders, both shown here.

Trail rides are the largest gatherings of Le Monde Creole.

The Creole community.

There.

But New York, New York is your pal along only I speak better at Creole than I do in English.

So we have a deep culture, real deep.

Well, I'm a resident of forks, Louisiana and a member of the Big Trail Lovers Association, and the whole purpose of the trail ride organization is to preserve the black cowboy culture.

I guess a cowboy is anyone who depends upon the equine, for, for a purpose.

Many rides attract up to 3000 friends, family, and social riding clubs emblazoned on T-shirts and horse trainers.

Many riders display images of their own towns and horse clubs.

My name is Carl Jason.

I'm from Opelousas, Louisiana.

Being a club, we get to do a lot more, just being around everybody, a whole bunch of horses, just everybody having fun, loving it.

Also cooking.

Everyone's cooking.

This is backbone.

Stew comes from Butch at home and so on my way to a country butcher store today.

Oh, yeah, it's pretty good.

Look like you done went down because they had a lot more than they while on the ride.

Deejays provide the music, saving the lives.

Zydeco music for the dance.

When they return.

80 year old Frank Malveaux, better known as Bread Man from Church Point, Louisiana, is one of those deejays from.

Yeah, he's doing on Twitter.

One time.

Let me see my I go, hey, come over, bring the truck.

Came in very, very handy for me as I grew older, the strength left.

I don't know, where did he go, Ed, but his own.

But, I can sit and play my music without any problem and not having to unload and load up the answer, much like I used to do.

All I do is start my generator.

Redman and riders devotedly follow most of the trail rides, as seen here in the first annual New Stout Trailer race.

We are Leon Ville Prairie, Laura.

That's what they call it all people call it prairie long Prairie.

Laura is home to the legendary King of Zydeco, Clifton Schneider.

Zydeco music is tightly associated with trail rides.

Some zydeco musicians embrace their Creole cowboy culture, like the late Buju Chavis and, you know, Delta Force and sing and their Creole French.

Well, you know, a lot of people, they'll look at me and going out of state, you know, you don't see too many black cowboys.

And then they'll come and hear me play first.

They have a black guy wearing Western clothes, playing an accordion, and then when he open his mouth, he's singing French.

They've always said the best thing for the inside of a man is the outside of a horse.

When you turn him out, let him run loose and run free is just a beautiful thing.

After the leisurely parade around the community for 3 to 4 hours, the riders return to base camp to be met by a community, spectators and live zydeco music.

Hello and welcome everyone.

I'm James Smith, publisher of Country Roads magazine and host of LP's Art rocks.

Joining you for tea, yellow, A Louisiana Horror Story.

We've just seen the first act of this wonderful documentary by filmmaker and producer Connie Castillo.

You're going to meet Connie and our other special guest in just a moment.

Gigolo is a term that refers to a horse moving at a slow gallop.

But we're going to be moving at a quick pace during this intermission because we have many things to share with you.

Most importantly, this is LP B's membership drive, and that means that you have the opportunity to not only support the programs you love, but we will thank you with some special commemorative gifts that are selected especially for this broadcast.

As LP B celebrates 50 years on the air.

There is no better time to become a member than right now.

The number is on your screen.

Call or text.

Give to 888769 5000.

Join online at lpb.org or simply scan the QR code that's on your screen.

So let's take a look at the special thank you gifts that we have for you when you become a member right now.

Become a member right now to support LPB as Louisiana Storyteller.

Your membership lets us know you value public broadcasting in Louisiana for $15 a month.

Receive the T Kolo combo that includes the signed hardcover book Louisiana Trail Riders by photographer Jeremiah Aries and a DVD of the film You Are watching T Alo A Louisiana Horror Story.

This Director's Cut DVD includes 20 extra minutes of bonus footage not included in this broadcast for $10 a month.

Receive the signed book, Louisiana Trail Riders The book chronicles African American trail riding clubs whose roots are in the Creole culture or for just $8 a month, choose the DVD of the Director's cut of T Glo at every level, receive visions, LPB B's monthly program guide, and Passport, the streaming service for the best of LPB and PBS.

I'd now like to introduce you to Te Gallo, filmmaker Connie Castillo and Louisiana Trail Riders photographer Jeremiah Aris.

We are delighted that you could both join us here today.

Thank you.

Thank you very much.

Okay, Connie, your film was named documentary of the Year by Louisiana Endowment for the Humanities when it premiered.

Congratulations for that.

Thank you.

Tell us a little more about why you wanted to share this story.

Well, many of my movies come are derived from my academic, studies, but this one was a little different.

I grew up in Breaux Bridge, and, as a little girl, I just remember seeing black cowboys riding around through town.

And then as I got older, I started to see these other traditions happening, like country Mardi Gras that takes place on horseback, the turn white.

So it just piqued my interest.

It's like, what?

What's with all the horses?

And, so I started digging into it.

And as you can see, when the film opens, it really puts it in a historic context.

So it explains why we do have this leftover, playfulness with horses, even though we might not use them as much as they used to to work.

You know, round up cattle and all that.

And all of those connections, all of those connections between LaTanya Lee, the cowboy tradition, the zydeco music there is hope.

They all have a common heritage that they do.

And, and then the jockeys as well.

You know, I'm from Saint Martin Parish, and as you see, Calvin Burrell is from Catahoula.

So, you know, having a famous jockey in your own backyard was kind of cool too.

That is really cool.

It has.

That's a story that has to be told.

Yes.

Jeremiah.

Your coffee table book, Louisiana Trail Riders, is a thank you gift.

Signed copy is not no less.

That's very kind of you.

And we're offering copies of that book to members when they join today.

Tell us a little bit about how you began documenting the trail Riders.

Well, it really began by chance.

I was just out in the country and I was on a Sunday afternoon.

I was on my motorcycle, and I saw a group of trail riders coming down the road.

Didn't really know what to expect.

They occupied both lane to the two lane country road, and I pulled over.

And as luck would have it, I happened to have a camera with me, and I made a few pictures.

And at the, end of the procession, the gentleman invited me along, that they invited me to join them and continue making pictures.

And that's really what started a four year long project photographing these trail riding clubs and the, the, the, the pictorial story that you tell in this book is something just has to be seen to be believed.

You've captured that aspect of Louisiana's Cajun culture that I just think a lot of people are not familiar.

Yeah, I'm not native Louisiana, and so it wasn't familiar to me.

But I also realized that that wasn't familiar to many of the people that were native to Louisiana.

And I started showing the photographs to friends and other people that I knew.

It was a world that was completely unfamiliar to them.

And I realized it felt like a really important story that needed to be told, and hopefully, and a kind of depth that I could do over many years of, working and writing with the same groups.

Yeah, sometimes week after week.

So but what a great opportunity to share that, that this program has as well.

And another great opportunity that comes as part of this program is the fact that we have a challenge tonight, for anybody who chooses to subscribe that comes courtesy of viewer Torres Nigam is challenging all viewers tonight, only to donate and she will match dollar for dollar to the first $1,500 called in during this program only.

So in effect, that makes the donation that you give tonight worth twice as much to LPB.

So take advantage of that opportunity while it exists now, LP Valley is also celebrating 50 years as Louisiana's storyteller for half a century of telling stories like this in 2025.

And it's an honor for LPB to showcase the work of independent filmmakers, including Connie.

And in addition to producing original documentaries like Te Gallo and the others that so many people come to know and to understand their culture better, as through their membership and support of LPB, you can support the programs you love on LPB and now is a great time.

In fact, it might just be the best time.

So let's take another look at the gift options that we have for you tonight.

Become a member right now to support LPB as Louisiana Storyteller.

Your membership lets us know you value public broadcasting in Louisiana for $15 a month, receive the T Kolo combo that includes the signed hardcover book Louisiana Trail Riders by photographer Jeremiah Aries and a DVD of the film you are watching.

T hello, A Louisiana Horror Story.

This Director's Cut DVD includes 20 extra minutes of bonus footage not included in this broadcast for $10 a month.

Receive the signed book, Louisiana Trail Riders.

The book chronicles African American trail riding clubs whose roots are in the Creole culture or for just $8 a month, choose the DVD of the Director's cut of T Glo at every level.

Receive visions LPB is monthly program guide and Passport, the streaming service for the best of LPB and PBS.

Kony, you just shown us in this film a history of horses and cattle on the Louisiana prairies, and an introduction to trail riders.

This is why cultural storytelling is so important to support, right?

I agree, yeah.

So I love, being a folklorist and telling these kinds of stories.

But yes, I mean, just look at the Bush tracks, right?

We're going to see that those are no longer around.

So some of these traditions, it's very important to document while they're happening, while they're happening.

And yes, your film does that so very well.

Thank you Jeremiah.

While Connie shares this story through film, it's also wonderful to see the way that that appreciation and your artistry translates into the physical photographs as well.

Talk a bit about why you feel like that matters.

Thank you.

The photographs, show us something that's really not, it's not a public procession that we see in the town right at clubs.

This is something that they do for themselves.

They don't do it for an audience like so many of, Mardi Gras, cultures and so many of the public, facing activities.

This is really something for the clubs themselves, something that really wouldn't be seen otherwise.

And so to be able to put a lens on that, to be able to share something about their story, their families and their generational connection to this tradition feels really important.

The film is Te Gallo, and the story with the book is Louisiana Trail Riders.

And these are the sorts of stories that you can only find on LPB, which is why it's so important for us to support the program and and the the artistry that it is able to share about Louisiana's cultural traditions.

So now let's take another look at those thank you gifts that are available to us today, and then we'll get back to the show.

Become a member right now to support LPB as Louisiana Storyteller, your membership lets us know you value public broadcasting in Louisiana for $15 a month, receive the T Kolo combo that includes the signed hardcover book Louisiana Trail Riders by photographer Jeremiah Aries and a DVD of the film you are watching.

T Allow a Louisiana Horror Story.

This Director's Cut DVD includes 20 extra minutes of bonus footage not included in this broadcast for $10 a month.

Receive the signed book, Louisiana Trail Riders.

The book chronicles African American trail riding clubs whose roots are in the Creole culture or for just $8 a month, choose the DVD of the Director's cut of T Glo at every level, receive visions, LPB Monthly Program Guide, and Passport, the streaming service for the best of LPB and PBS.

The Acadians exiled from Maritime Canada eventually made their way to South Louisiana in 1765.

Isolated by geography, they maintain their language and culture while influenced by other ethnic groups in the region to become Cajun.

One of the first Cajun names to appear among the official brands was Broussard.

Ten generations have been in the cattle business and the Broussard family from Joseph Beausoleil.

We're direct descendant of Joseph, mostly Broussard.

Joseph Beausoleil, Broussard's grandfather, was in the cattle business in France and raised cattle in Canada.

So when when they moved to Louisiana, it was nothing new for him to be in the cattle business.

The Fleur de la flour, France.

And this particular brand was my great grandfather's brand.

It progressed to this time size brand heavy metal, and then my father made it even heavier.

And then I took it to this step, made with stainless steel.

Last a lifetime.

And this brand I just got, a little over a month ago.

And it's the still the Fleur de.

But it's electric gray.

Settling in the Upper and Opelousas areas, the migrating Acadians were encouraged by the colonial government through the Doe to receive compact to pursue cattle herding.

It was a skill the Acadians perfected in Acadia.

This encouragement is seen by some as the start of the American cattle industry.

This is the copy of the original edition, but starting the cattle industry of this nation explains how it came into being.

The eight families that were starting the cattle industry, half of them eight were brutalized.

I knew all about ranching.

Yeah.

As a young boy, I help herd cattle and work cattle and learn how to vaccinate them and attend to.

Louisiana has good cowboys.

Most most of the Cowboys I know his father was involved in the cattle business, and they grew up as a young children riding horseback and helping to dad is just like I did and my father did.

They learn to like, ride and horseback and work in cattle.

Hey, we enjoyed doing it.

In the.

In this area, they got to be some of the most famous jockeys, living side by side and shaped by their geography.

Creoles and Cajuns share much language, food, music, and a strong connection to land and animals.

Another thing they share is a deep seated love of playing.

Naturally, horses are part of that.

The term noire was brought to the field played by Marshall.

Lang got on, who was, major in Napoleon's army.

They kept on having this as an entertainment.

Then the turn war was kind of abandoned to it are the activities of Busch track really was what took over the the touring war?

And in 52, they became a part of the Cotton Festival and along with the Cotton Festival, each ring started to represent enemies of cotton instead of animals.

Jean Job, we'd like you to tune in to KBI and 92.5, listening to the 2010 turn one year and field plant, Louisiana on a gorgeous day in Ville Platte.

86 degrees, humidity only 30% right?

Now.

Let's see that Brown.

Now you don't.

Ladies and gentlemen, good afternoon.

We welcome you to the running.

The Louisiana turnover for this year.

The year in 2010.

We have a beautiful weather.

We have a beautiful field, and we have a beautiful crowd.

So everything is, looking exactly like they should.

And after this is all over with, we're going to be crowning a new king.

Well, I grew up listening to my grandmother, and my dad is talking about my grandfather.

He had Rhonda Turner are, in fact, he was the winner and he was a horse trader.

My daddy was two and I was interested in horses, and that's how I got interested in two in law.

I started writing in 1952, and in 1967 I won the championship.

I kept running until my son was in college, and he was interested in running too, so that's when I could run.

I'm still involved with the tournament.

My job is the electric timekeeper.

I've been doing that ever since I quit competing.

Many barbecue pitch going with what's going on with you?

Well, I was just sitting here admiring the beautiful animals.

Is that right?

Yeah.

Have some beautiful, horseflesh out there, Barbara.

Rod is actually a prayer, so I just I just volunteered, and I just ask the Lord.

Bless the horses, bless the riders.

And it's that all show good sportsmanship, good horsemanship.

Why don't you go there with them?

I'm the ringmaster.

For the last few years.

And the ringmaster basically, they'll hand him the lance.

Y'all.

After the rider completes his round and he'll bring it back to me, we'll take the count of how many rings we have, and we'll just hand it in to the Scorekeepers.

You got seven rings, three, three rounds of trying to stamp seven rings.

Each rider will be introduced and they'll take a lap around the track.

Most of the riders are a lot of ride on their own lances, but any lance that a rider's gonna use, he has to bring them back right here.

And anybody has the opportunity to use that particular lance.

It's good enough for me.

It's good for somebody else.

This year I'm riding with Just Green.

Last year from, I borrowed from my buddy.

It's a little lighter.

Not like, but it's closer to what I like in my hands when I hold it.

It's real agile.

I can I can control it real good.

It's not so heavy that it wants to go down all the time.

This one's been doing good for me.

So far.

So mystic.

We're kind of superstitious.

I don't I don't like to break tradition with that.

I don't want to come off for practice.

I wore my horse up the same way every time.

So from their standpoint, if you're consistent with them, they'll always perform consistently.

So I try and be consistent for my horse.

Ox now coach, teacher at a high school in Opelousas.

And, it's just something I grew up having an interest in.

We hunt, we fish, we ride horses.

It's kind of almost living off the land, of my family.

So my cousin grew up doing it.

So it's, something I've always had an interest in.

And some of my friends, we all got old enough at the same time.

And, so we all just kind of took on doing it.

Goodness.

Seven, seven, seven and the times in order 1308 1313 1307.

Yup.

Oh, it's going to be a dandy event right here.

And for those of you listening out there, it is not too late to get here.

Try to bring your kids out here to enjoy and watch these great animals.

I got four of my little boys are seven and six right now, trying to teach them how to respect animals.

And it just to me, it helps you to become a better person in life.

You know, teach you how to respect people.

Oh, yeah.

It's amazing.

You come over here tomorrow after this is all done with.

It's just a big empty pasture with a couple of light poles.

That's it for the 2010 turn.

The spirit of Mardi Gras is one of playful irony, where the social order of things is turned on its head, a time where boundaries of daily life dissolve if only for a day.

A time to remember, to reconnect to ancestors, to a shared heritage, and to each other.

On the spot I don't know.

Ramming speed.

Mardi Gras saga do do do do $1.10 more.

Yeah, stop us and blah blah.

Stop on Monday.

My shoddy day off Comanche sad.

But what about today?

I don't recall a mardi Gras song though.

Does anybody grow?

And you hear it all day long.

If you don't know the word, you'll learn it.

That mob.

I'll get your pie to captain.

Use this flag to signal the Mardi Gras is time to charge into the house.

And every year the flag comes back and it's passed on to whoever the next captain is.

Oh, my.

You know you have a dog appetite for your stuff.

La la la la buzzard.

Monday, March.

It depends on the matter.

The captain's in charge, and you have to keep the order.

Keep the peace.

That's long.

That's the magic grade.

The grandma moon party.

My mother, grandmother.

It's hard to tell where Mardi Gras started.

It's been there all the time.

But as long as there's been anyone.

And.

Excuse me, any Europeans in Louisiana if there's been a mardi Gras out here.

But, of course it come from Europe much longer than that.

And parts of it pre-Christian.

It's hooked in with the Catholic calendar.

You know, it's a weird Mardi Gras day, and we're about the, you know, on the verge of starting lent, which is a 14 day period of, sacrifice.

So the sacrifice today is going to be the chickens and the horses.

The horses have to give a big sacrifice.

They got to make the round.

And I hope they're smarter than the Mardi Gras crowd, because it's going well before they're good horsemen.

But the horses, sometimes they're smarter than the riders.

The captains going to have to ask.

They ask politely if they can come and then they act on politely.

They ride down on the farmstead and the farmer gives them a chicken and they they'll chase the chicken all out in the field and all that catch.

That's part of the fun.

I want to come back to what?

I said, you just see the young, the younger people still doing it.

We have some guys that run this 50 years old.

We have, you know, the guys who live by the age so they can come around centered in the community.

Mardi Gras is typically closed to outsiders, but the sheer spectacle of revelers on horseback draws audiences from beyond Louisiana.

However, the one aspect of Louisiana's horseplay that has harnessed the most attention is horse racing.

Over 70,000 professional races have been won by Cajun and Creole jockeys through the years.

This is my bobblehead, super saver and my my bird.

Okay, bull.

Real.

This comes from Churchill Downs.

This has Calvin on it.

Super saver their Kentucky Derby winner.

And here we have a Kentucky Oaks class autographed.

This is a Breeders Cup hat.

This is at Mammoth Pork.

And he's got I'm also of course he autographed as food came for the Christmas parade.

My name is Diane Burrell I'm married to Carol Burrell, brother to Calvin Burrell.

And Carol Burrell from Catahoula cow is my little brother.

Coming from such a small place, from a family who had hardly anything work for everything they got is a dream come true.

He keeps saying unbelievable.

Well, it is.

Yeah.

His dad was a sugar cane.

Former, Calvin drove the tractor, pulled the potatoes.

Everyone did their share and went to school and came home and worked.

Or didn't go to school and worked you with more.

You know what?

The ride hurts.

You know, that's how I guess that's what you like.

Because you always used to ride the Lord.

Charlie would call.

Charlie used to run back and forth in the back.

The.

You know, black cowboy engine with the heart.

We used to ride the pig.

Some don't.

Oh, yeah.

And the goats.

Oh, yeah.

Okay.

Come and ride then.

The cow.

Yeah.

You ride that tight.

You know you got.

You got a tire on the thigh.

Used to ride on there like a horse.

When we get to the track.

When you couldn't, you know, when you were small, watching the races, you know.

And that's what you wanted to do, right?

That's all you get in the house to.

You rode the surface.

Oh, yeah.

On each end.

Oh, you were bad.

You like that.

So that's the main thing that he wanted to do.

He had told us, he says, Diane, I want you to come to the Derby.

I said, why?

He said, well, he said, I'm going to win the Derby for family.

I. You know, we never went there before.

You know, I feel like I came.

Calvin called is the morning on the way back.

Says I have something better than that going to the white House.

I said, what white House?

Where he says, The white House.

I'm going meet the Queen and had dinner with the president.

I'm so blessed.

I know it's unbelievable.

I got a beautiful wife and mom and dad to love me.

I got fam and all my family loves me, so they're very happy for me.

I could die tomorrow and I'm happy.

I mean, I, I did more than I ever can, you know, like I said, my dream was to ride derby, much less win three out of four.

They are in the gate and they're off on that Kentucky Derby.

And Saturday is right there on the far outside.

Great Hunter is launching a bird.

He's moving wide as they approach the top of the stretch, and it's straight sets without heels mode on the flat, and Calvin Burrell saving round every step of the way.

But it's hard spun to catch as they come off the turn about 40 yards from the wire.

I knew I was going to win and I kind of caught my head, you know, and not paying attention to the race and and the ground was shaking.

I never forget telling my wife that the ground just shook.

Shook shows when I stood up.

It shook, you know?

And then finally I called my head, you know, I'm looking at what a fool.

I mean, I had goosebumps.

This is probably the greatest moment of my life.

Some sight to win the number two.

It's fun.

But Calvin, you won over 4000 races.

But this is your first Kentucky Derby.

What are your feelings?

I just want to take my body and get in the air.

I wish my mama and daddy was here.

This is the most greatest moment of my life.

It's going to be a great feeling for that eighth of a mile to go, knowing you're going to win the Kentucky Derby.

A childhood dream for Calvin throughout all the glory for Calvin Burrell, the Louisiana Cajun found a home in Kentucky.

You know, my mother always taught me the shot.

If we're on the racetrack is on the fence, you know, and you're going to live and die by the effort.

And they're off in the Kentucky Derby.

Regal Ransom and pioneer of the Nile.

I'm very aggressive.

You know, when I get on the horse, I rhyme a race to win on the side of the track and puzzle right there to counter the inside coming on through.

That is.

Oh, my, that bird that was coming on to take the lead as they come down to the finish.

Finish.

Spectacular spectacular upset Martin.

This bird has won the Kentucky and a possible result here.

My man bird and Calvin Burrell with a huge upset.

The second biggest upset in Derby history.

Calvin oh my God I love this lady.

It won the Oaks and the dirty.

You just said I love you to my mom and daddy who are no longer with us.

Oh, you are here.

Oh no.

She can only be here to see what I got in my life.

Are you ready for the stuff?

Yes.

And for us in the Kentucky Derby.

My say, Calvin Brown.

It helpful to know my horses, you know.

And I love to get on my horses in the morning and you get them, you know, like a mind and a friend.

It helps and it is super saver of late Roman summer, saver of Calvin Burrell.

He flammable Calvin Burrell riding on the big brown.

Calvin Burrell strikes again.

He looked as if he had tears in his eyes when he came on the track on Super Saver.

And they played my old Kentucky home.

No jockey in the history of horse racing has ever won three of four derbies consecutively.

What is your secret?

We got to get jealous of it.

You know, when I first started, I was about 7 or 8 years old.

And Bush tracks and the Bush track.

Yeah.

I mean, it made me if you if you can ride in the bush, track him you you can ride anywhere, you know, because anything goes in the bush.

So you had to be aggressive, you know, you had to, you know, lay it on the line and do things like you can't do in a recognized right.

But and you know, if you need it, is there.

Welcome back to the studios at Louisiana Public Broadcasting.

I'm James Fox Smith, host of LP's rocks and publisher of Country Roads magazine.

Delighted to be with you for this presentation of Te Gallo A Louisiana Horror Story.

This documentary is from award winning filmmaker Connie Castillo, and we'll speak with Ken with Connie, as well as another special guest we have with us tonight, the photographer Jeremiah Arias, in just a moment.

But first, we want to remind you that this is viewers like you.

This is your opportunity to make possible broadcasts like this.

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You are the ones who keep LPB on the air, and there is no better time than right now to show how much you value LPB.

You can do that by becoming a member right now.

Make your generous pledge of support by calling or texting.

Give to 888769 5000 by joining online at LPB dawg.

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In addition to the gift of quality programing your support makes possible, LPB always offers a little land up as well.

So let's take a look.

Become a member right now to support LPB as Louisiana Storyteller, your membership lets us know you value public broadcasting in Louisiana for $15 a month, receive the T Kolo combo that includes the signed hardcover book Louisiana Trail Riders by photographer Jeremiah Aries and a DVD of the film You Are watching, Teke Alo A Louisiana Horror Story.

This Director's Cut DVD includes 20 extra minutes of bonus footage not included in this broadcast for $10 a month.

Receive the signed book Louisiana Trail Riders.

The book chronicles African American trail riding clubs whose roots are in the Creole culture or for just $8 a month, choose the DVD of the Director's cut of T Glo at every level, receive visions, LPB Monthly Program Guide, and Passport, the streaming service for the best of LPB and PBS.

I'd now like to reintroduce you to Te Gallo film maker Connie Casteel, who is also a master instructor of Moving Image Arts at the University of Louisiana at Lafayette and Louisiana Trail Riders photographer Jeremiah Aris, who is a professor of art at LSU.

So we're in great company.

Connie, you are brilliantly sharing the many ways that horses are woven into some of the most prominent and really famous traditions that Louisiana has.

Talk a little bit about the ways that you found out that the horse is really woven through and is a kind of connecting ingredient in all those pieces, right?

What we find is, you know, Cajuns and Creoles share a lot culturally.

Foodways, of course.

Music, a traditional music, indigenous music and horseback riding is yet another way that we have similarities.

The Cajuns and the Creoles.

And it's just a beautiful expression of their culture and their their values.

As Jeremy was saying earlier, it's truly family traditions.

These trail rides, the turn wire and jockeys as well.

You know, you'll see many families kind of having, successful jockeys through the years.

So, yeah, it's pretty amazing.

Acadiana in the Carolina prairies have created some of the most successful and greatest jockeys in the United States.

And that comes a lot out of these traditions.

Does.

Absolutely.

The Busch tracks really, you know, is what started all of that, all of that.

And, just the playfulness, you know, once you didn't really need them for work so much.

Of course we're going to have fun with them.

That's what we do.

Louisiana.

That's what we do.

Jeremiah, we're delighted that your book, Louisiana Trail Ride, this is a thank you gift.

Signed copies, not in no less.

There is a fantastic and beautiful coffee table volume.

Is this one of your favorite series?

Obviously, you've been a photographer all throughout your career.

Tell us, is this a favorite project of yours, and have you stayed in touch with any of those riders?

It was so much fun to work on.

I enjoyed it immensely.

It was absolutely a favorite to work on, and I have been able to stay in touch with a number of the riders whenever the work has been exhibited.

It's been an opportunity to bring people from that community to do public programing and the most recent sort of large scale exhibition, actually.

And, Shreveport ended and a trail ride of 150 folks going through town and ending up at the gallery and, street party with zydeco music.

And that was, representing, 75 different riding clubs there.

So it's been wonderful to still be a part of that community.

What a what a sight to see that would have been.

Well, this we are celebrating an anniversary and very important milestone tonight as well in Louisiana.

And LPB is celebrating 50 years of the station being Louisiana's storytelling, resource.

And so we are here with great pride, with an opportunity that we all have to support that right now.

This evening we have a challenge available to us.

Courtesy of supporter and subscriber Torres Nagin.

Torres is challenging all viewers to donate tonight, and she will match dollar for dollar.

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So in effect, that really is an opportunity to make your donation to LPB tonight with twice as much as it would typically be.

So really take advantage of that opportunity and donate tonight to support this program and everything that LPB does.

Now, LPB has never just been about the programs either.

It's been about people, about purpose, and this film is a perfect example of that.

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The wheels raffle is back, and the grand prize is a 2026 Toyota Camry Hybrid.

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For $15 a month, receive the T Alo combo that includes the signed hardcover book Louisiana Trail Riders by photographer Jeremiah Aries and a DVD of the film you are watching, Teke Alo A Louisiana Horror Story.

This Director's Cut DVD includes 20 extra minutes of bonus footage not included in this broadcast for $10 a month, receive the signed book, Louisiana Trail Riders.

The book chronicles African American trail riding clubs whose roots are in the Creole culture or for just $8 a month, choose the DVD of the Director's cut of T Gallo.

Okay, permit me to brag on both of our guests tonight.

Just a little bit.

Again, Connie, we've mentioned that Gallo previously won the documentary film of the year award from the Louisiana Endowment for the Humanities.

Now, just this past year, another one of your films is being recognized and awarded as well.

That's ancestral artistry.

Tell us just a little bit about that project.

Right.

It's a documentary that, we were asked to make by the Louisiana Architecture Foundation.

And so is bringing the band back together.

Charles Rashad is co-director, Allison Rubel and, who?

Artist, editor and producer.

And it's about, the influence of Africans and people of color on Louisiana's architecture.

So we follow, three craftsmen of mason, a blacksmith and a plasterer, and then we kind of learn about how it is that you have all these, this lineage of Creole families in the trades that got passed on, you know, generation after generation.

Oh, that's fascinating.

That's a story I can't wait to hear.

And we're going to be able to see it in the future.

It's going to be screened, of course, right here on Louisiana Public Broadcasting.

So look forward to that one.

Now, Jeremiah, your awards include the 2018 Michael P Smith Award for Documentary Photography from the LA.

It's the Louisiana Endowment for the Humanities, doesn't it?

And a lot of that work appears, of course, in your book, Louisiana Trail Riders.

Can you talk a little bit about that, both that that project and what that award meant to you?

Well, the project was, for years a labor of love, something I was so grateful to have been able to do, and really to be able to feature that take Louisiana's culture and show it on a national scale.

To be able to exhibit these photographs around the country has been a real honor.

And, I'm grateful to be able to share this book with the audience.

And.

Exactly.

And if you choose to be part of the, the, the station tonight by becoming a, a supporting member, then, opportunities to have that book, Louisiana Trail riders on your coffee table is going to be is going to be yours as well.

Now, we know more than ever that viewers turn to LPB to see award winning stories that serve as a historical archive.

And now, more than ever, we are asking all of you watching to show us that you value this work.

So, please take advantage of the thank you gifts that are available to us tonight.

We're going to have a quick look at them now and then get back to see it's another chapter of this wonderful program.

Become a member right now to support LPB as Louisiana Storyteller.

Your membership lets us know you value public broadcasting in Louisiana for $15 a month.

Receive the T Alo combo that includes the signed hardcover book Louisiana Trail Riders by photographer Jeremiah Aries and a DVD of the film you are watching T Cholo, a Louisiana Horror Story.

This Director's Cut DVD includes 20 extra minutes of bonus footage not included in this broadcast.

For $10 a month.

Receive the signed book Louisiana Trail Riders.

The book chronicles African American trail riding clubs whose roots are in the Creole culture or for just $8 a month, choose the DVD of the Director's cut of T Glo at every level, receive visions LP B's monthly program guide and passport.

The streaming service for the best of LPB and PBS.

For over a hundred years, rural south Louisiana was dotted with unsanctioned, unrecognized racing tracks.

These match tracks served as a breeding ground for world class jockeys.

Each.

There was nothing that I would have done.

I mean, I quit all sports, I quit baseball with football.

I quit everything to to to ride racehorse.

And I spent the summer at Mr.

BBA bears his name house.

And right next to the, Busch track called changing down.

A friend of mine has been my friend since then.

Calvin Borel.

We we we rode every weekend together.

We're both 11 years old.

And the road every race together, we rode, every Sunday and every match race track that was open.

It was just a pure fun and enjoyment of horse racing, period.

There was no business side of it, if you will.

It was just racing.

And I just thank God every day that I was a part of it, because I cherish those days, some of the finest days of my life.

I also started from Louisiana, like all of us Cajun guys and Katina Downs, three quarter pole, anything, any race, any horse, any time, anything.

When it was, there was no stewards, no one to, to patrol the races.

So a lot going on.

And I think that's that that defines who we are now as Cajun riders and made us a lot tougher.

So that was our hour.

Every day we got a passion.

That's how we grew.

Passion for it.

We didn't watch many sports.

Obviously football players, basketball players were not idols.

Our idols were Randy and Marilyn.

Eddie DeLuise, that was Irish.

They were from our part of the country and they went out in the world and made it.

So that was we kind of patterned ourselves into those guys.

There, you know?

But rugby up around, we really, really close as kids or whatever.

My first race on the bus track was at Acadia, Hannah Downs, Maryland.

Godfrey, everybody from Louisiana know them.

I told you, he said, well, I got a horse for you to ride for the first time was they find you some tag, I gather type from a few people and around the house and stuff like that.

And and as far as the danger is, just.

You never know what you're going to get on the bus track.

You never know who's going to be right next to you.

You might have Robbie or Mark Guidry or Shane Sellers, but then you might have some time declare you don't even know they have ever wrote a race before.

You.

All over the country, people like Louisiana riders, because not just to say that we came off a line on the bush tracks, but I mean, we did.

And people, people see that.

That's why I think there's a lot of good riders that come.

They we go elsewhere in the DAP, like very quick because we used to like crazy riding.

You know, you get there, on a Sunday morning, you, you hustled, went around asking people, begging people to ride their horses for $2.

Maybe I get $2.

I might even get stiffer, you know?

So you learn.

You learn so much as a horseman, you know, because we, you know, we we rap horses, we play many, many, many stalls there was able to ride, you know.

And are you ready to ride after, you know, clean 100 stalls?

But, you know, it was all learning process and it made you a horseman, you know, and instead of just arriving, we rode a can grow a lot, can grow raceways, blowjobs.

Broussard's, Derby downs.

We go to Claymores, down the track in, in Henderson, at Pat's Lake Charles.

Euless.

We went all over.

Was crazy.

It was fun.

Crazy.

Never, never a moment without a whole bunch of crazy excitement.

I'm a cow, man.

And a real cowboy doesn't have to be born a cowboy.

There's cowboys today that are rodeo cowboys.

It born from the city, right?

A bull like a tick.

But it's a different kind of cowboy than what I am.

I was born riding calves.

Papa always had cattle.

But believe me, you put two God boys together.

One can tell the other one real quick.

I'm the real deal.

I should have wore my hat.

In 1967 or 68, I retired from farming because I wasn't very good farmer and we bought a set of racing gates.

I inhaled, seven horses and they were set right up between these two oak trees.

And I named it Lindsay Downs.

My papa was Lindsay Brown him up.

No way up.

For the rain.

No, no, no.

All right.

Wait.

Let me get it.

Probably would.

Wait.

Let me grab you.

Okay.

I'm ready.

I said go.

My brother Coon was an old jockey from LA.

Let's see, 74, and he started jogging and catch weight.

Or the lighter?

The the jockey is what you wanted.

And in HBO's His son, he was also like he was a catchweight jockey.

Every Sunday afternoon I'd go to the races McMullen $0.50 or $1, sometimes three, and I missed a lot of baseball games in a pasture.

Going to make $1 million.

But I did.

I didn't know I read it, you know which one I like?

This beat up a dollar, made me make up my mind.

Sundays were where it was an adventure for us as little boys.

Daddy was the gate man, and the gate man is the most hated person in the track.

Because if you have 4 or 5 horses in a race, only one wins and it's the gate man's fault.

Every time there was a cascara or a fight, or just a general upheaval, they were always going to kill that.

So we were kind of used to it on a guy who's gonna have to fight again, but they never fight him.

He had a bullwhip and he'd crack it and they'd say, come on, I'm not with you.

You're mad.

Come on, let's go on.

Then they kicked the dirt.

So generally, we were pretty boy.

Pretty confident that, they weren't going to get killed.

Today, I watched my daddy smoke about a half a pack of cigarets in five minutes.

One time I was seven years old.

Just learn how to ride on a jockey saddle.

You know, the short stirrups man came up to me, said, come let him ride.

When he started working.

No cigarets.

I never saw a cigaret burn so fast.

Oh, you want to?

And I said, yeah, he didn't want me to.

I ended up riding.

I got a case, my shoes for a reason.

I'd like to buy horse.

Hello, my friends.

If you go on this and your racing is winning, when I raised three and later on, a loser is not is not real bad.

Tell me how to run.

I was.

I mean, my first chewing tobacco was right here.

We we snuck in Cecil's truck and it stole some red man or something.

We climbed on top of this bone, and we would chew it, and we would spit off the back and watch it rip.

And I remember getting sick at the loss at all.

Feel good?

I had to go home with two.

Brought me home.

Y'all probably knew, I don't know, it was, it was a fun way to grow up.

Yeah, the mother had to repair all this stuff.

I thought we some sort of some a some eight, ten years old.

And it was kind of a hat trick for little jockeys.

We had a lot of little jockeys come from this country.

Ron Lord, one, Randy Romero, Eddie Della, who's Margaret Calvin, the love.

Yeah, boys.

The same boys on Friday nights, we'd make a supper, a free supper, and, people would enter their horses, Cajun people, after they get a few drinks, their horses run fast, and the women are brilliant.

Somebody said this horse is better than the other one.

A lot of money changed hands.

We would sell Calcutta's on anything with a three horse race or more.

Okay.

The next heat is going to be heat number six.

We have five.

Horse was going a half a mile going to sell to first half.

I'd be all right, but I wasn't much or I'm gonna get fouled.

It'll be a dog, a dance or identity to get him ready.

Then I'm going to you know, I get a 1520 that wanted to be.

And I get to Iowa.

We got to get out of dance.

So and then we had a poker game going on and, Murray game going on.

Usually the women played Murray and the men played poker, but I got some big money.

It was not.

It was in French.

Just about everybody spoke French in them days.

Blacks and whites had rules, but it was not written.

If they said pitch, we.

That meant just as long as you had a job.

If you said no job, it meant no job.

It didn't run them with either.

A little, beer can with 2 or 3 rocks in them to rattle on a horse, to make it run faster.

Beer cans, chickens.

We've been through some a lot of lousy.

This was an open track.

It was the beginning of the end of the rails.

Rails means a set of wooden planks between each horse to where they don't run into each other.

It was the New Deal.

And from here, if they ran good enough or fast enough, they would go on to Evangeline Downs.

And head over to the casino.

Because the casino side of the property never, and I mean never close it open 24 seven every day of the year.

Well.

For all the.

Five.

You know, so, like Dame Anne-Marie's runner Pastor Steve is heading out for the early lead with Colonial Jones going with the crown.

You take the lead here.

Jones is right there.

Leading group up just a length and a half from the lead.

Shareef away behind that lead.

April 10th is sister.

Clock back to the dreamer.

For thine is the kingdom and the power and glory forever.

And God bless each and every one of you.

And there is, thank you to holy water up there.

Now, out of here, where people don't like.

Oh, yeah.

You started riding on their bus tracks when I was, I think 10 or 11 and, rode there till I was 16 and then got my, license at a mass and down at the recognized track.

You know, when I got there, that was a big deal, you know, big time.

I, rode 15 years in Chicago.

I rode four years in Saudi Arabia.

Then I came back to, Louisiana and, just stayed here.

I had family here and just didn't feel like traveling anymore.

It's a shame that, the the bus tracks are no more, because there was a lot of great, great Cajun riders that, came on the bus tracks, you know, before me.

And, I think I was probably one of the last ones to come off the bus tracks, you know, and ride, because after that, they started closing them all down.

Actually, me and Mark Guidry, we were kind of talking about maybe opening up a jockey school.

I haven't seen too many riders come out of those schools.

There's a lot of a lot of things that the church brought.

It didn't just bring, jockeys, it brought a mentality whether or not we'll see another generation of world class riders like Calvin Burrell and Hall of Famers Randy Romero, Eddie Della Hoosier Kent Desormeaux is unknown.

The threat of lawsuits and liability spooked track owners.

Bush tracks are parking lots and subdivisions now.

The mentality Bush tracks brought is gone.

Well, if you're in front of a Nintendo all day long and a TV all day long and you're not, you know, getting your hands dirty and not falling, scraping your knees, you should never get on the back of a horse.

I think the future of all riders from anywhere is in jeopardy because of waits for one with nutrition you to be a fine.

A 16 year old kid to do 112 pounds that just don't make them anymore.

Now, from that pool of riders that can make 112 pounds or what have you, you got to get the ones that that have that hard to get on them.

Basically time to give something back to the young kids that want to do that, want to be able to ride.

I mean, you have kids that grew up all around, racing.

I mean, their father is nothing but racing.

The family's nothing about racing.

The mother's nothing about racing.

She goes out there at 4:00 in the morning to work with the father.

The kids just.

They're, you know, he's going to gallop a few horses on the farm, but has nowhere to to go beyond to gallop and and beyond all that, you know, what's personally, I think that it would help out a whole lot if they would have somewhere to go, whether it be a Busch Track or whether it be, riding school, whatever the case may be, you know, to just to help them up a little bit, of what's coming, you know, get the basics, all that.

And so, yeah, thank you.

I wish you a good day.

When you was, how I couldn't see nothing that I don't know why.

It's like number two.

And.

Like, packed every night.

That's why we say so young.

And if you believe that I got a beach to sell you on the back.

For.

This was such a special film about uniquely Louisiana cultural traditions.

Thank you for joining us for T Gallo and Louisiana Horse Story.

I'm James Smith, publisher of Country Roads magazine and host of PBS Art rocks.

It's been my pleasure to present this documentary produced by Louisiana filmmaker Connie Castillo.

And this is your final opportunity during this broadcast to show your support for the compelling films and the Louisiana specific programing on LPB that you love and care for so much.

Call us now or text give to 888769 5000.

Join or renew your membership online@lpb.org, or simply scan the QR code that's on your screen now.

It only takes a couple of moments, and whichever way you choose, your generous donation is going to have a positive impact on LPB.

All year long as we've been presenting the thank you gifts, you've seen sustaining membership levels.

Those are the small, monthly budget friendly donations that help LPB to plan for the future and even better.

You won't need and you'll remind us LPB is here for you.

So please be here for LPB in this, our 50th anniversary year.

So let's take a look at the thank you gift options that are available at the giving levels that are best for you.

Become a member right now to support LPB as Louisiana Storyteller.

Your membership lets us know you value public broadcasting in Louisiana for $15 a month.

Receive the T Kolo combo that includes the signed hardcover book Louisiana Trail Riders by photographer Jeremiah Aries and a DVD of the film you are watching.

T. Hello, a Louisiana Horror Story.

This Director's Cut DVD includes 20 extra minutes of bonus footage not included in this broadcast for $10 a month.

Receive the signed book, Louisiana Trail Writers.

The book chronicles African-American trail riding clubs whose roots are in the Creole culture.

Or for just $8 a month.

Choose the DVD of the Director's cut of T Glo at every level, receive visions LP B's monthly program guide, and Passport, the streaming service for the best of LPB and PBS.

So welcome back for one last visit to Gallo filmmaker Connie Castillo, who is also a master instructor of Moving Image Arts at the University of Louisiana, Lafayette and Louisiana Trail writers.

Photographer Jeremiah Aris, who is a professor of art at LSU.

We're in great company, Connie.

The end of this film is so poignant, very much in that we see a lot of the Bush tracks where so many of Louisiana's great jockeys and trail riders learned their craft are now gone.

So, you know, we see that loss of that tradition and then the fact that it's preserved in your film makes it all the more important.

So can you talk a little bit about the changes that are taking place that affect those traditions?

Right.

And that that's one of the nice things when you do make a documentary film about traditions, you never know how, sustainable these traditions might be in the future.

And what's really nice, even though this film came out in 2011, that this track story lives on through LP broadcasting, it does.

So it does keep, these people's stories alive and, kind of nostalgic in a way.

But as far as the jockeys themselves, other than, you know, just a family taking it very seriously and, and raising the children to ride, that's pretty much where it stands today.

Without the bush tracks.

That's where the tradition is held.

That's right.

Close to it is really through the trail riders as well.

Which is, I suppose, one of the strongest, places that you can still find that tradition being born out today.

Jeremiah.

That's a reminder, really.

I think that it's your book, Louisiana Trail Riders, offered tonight as a inside format, as a thank you gift.

But for members who choose to support this station tonight, both the film and your book show the enthusiasm that still exists from younger riders.

And really, particularly in such a digital and disconnected era, the connection and the cultural power that comes from preserving those traditions.

So can you talk a little bit about how the preservation of those traditions is really has a lot to do with preserving family and childhood as well.

The inter-generational component was such an important part of what I wanted to showcase.

In the photographs and in the work, you see children that are, photographs that kind of grow up over the project.

You see over the four, four and a half years I was working on it.

Some of the same characters, reappear in the book, and you see them a little older, a little more confident on the horses.

They have, just, a little bit more presence.

And I love being able to see that transformation and also just show that this is something that, predictable.

One day they'll likely hand off to, somebody within their own family.

Yeah.

To see that tradition survive and be passed from generation to generation is so important.

Important as well.

The work that we do tonight to support LPB and this kind of programing, both today and going into the future, this is a great opportunity.

We have to do that today, particularly with great gratitude to member Terese Nigam, who is challenging all viewers tonight to donate.

And she will match dollar for dollar to the tune of $1,500.

Cold enduring this program only.

So that's an opportunity for you to donate tonight.

Support the station, and that makes your donation worth twice its dollar amount to LPB.

So take advantage of that Alpha and support LPB with all of us.

Tonight, LPB is celebrating 50 years as Louisiana Storyteller in 2025 with all the media choices these days, we thank you, our viewers, for choosing the quality programs that only LPB can consistently deliver.

LPB is here for you, so please be here now for us.

We have gifts selected especially for you when you pledge your support during this broadcast.

So let's take a look.

Become a member right now to support LPB as Louisiana Storyteller.

Your membership lets us know you value public broadcasting in Louisiana for $15 a month.

Receive the T Kolo combo that includes the signed hardcover book Louisiana Trail Riders by photographer Jeremiah Aries and a DVD of the film you are watching, Allow a Louisiana Horror Story.

This Director's Cut DVD includes 20 extra minutes of bonus footage not included in this broadcast for $10 a month.

Receive the signed book Louisiana Trail Riders.

The book chronicles African American trail riding clubs whose roots are in the Creole culture or for just $8 a month, choose the DVD of the Director's cut of T Glo at every level, receive visions LPB is monthly program guide and Passport, the streaming service for the best of LPB and PBS.

Connie Jeremiah, we're so pleased that you were able to join us for this broadcast.

So either of you have any final reflections that you'd just like to leave our viewers with tonight?

I do, first of all, I want to thank LPB.

You know, you mentioned these awards that, the films have received and Jeremiah's book, but having my films shown on LPB is right up there.

It's a high watermark for me.

We make these films to be seen.

And you know, from the viewership that LPB reaches, it's so important that these stories get told, but also get see exactly how Bebe isn't going to do that.

That's right.

You know, Jeremiah, anything to add?

Yeah.

The photograph really.

It comes alive when it has somebody there in front of it to appreciate it.

When they're there, to see it, when they're there to then maybe talk about it afterwards.

And I'm just I'm grateful for the network to be able to, share this with a broader audience.

And I hope it becomes something that becomes a conversation piece with you and your family and your friends.

The way to do that is to take home a copy of that book and put it on your coffee table.

So we want to thank all of you watching who have chosen to become members during this broadcast.

So please join us now and show us you value this work by pledging your support to LPB right now.

Because after all, you are the public in Louisiana public broadcasting.

Thank you.

Let's take a last look at the commemorative thank you gifts that are available right now.

Become a member right now to support LPB as Louisiana Storyteller.

Your membership lets us know you value public broadcasting in Louisiana for $15 a month.

Receive the T Alo combo that includes the signed hardcover book Louisiana Trail Riders by photographer Jeremiah Aris and a DVD of the film You Are watching, Teke Alo A Louisiana Horror Story.

This Director's Cut DVD includes 20 extra minutes of bonus footage not included in this broadcast for $10 a month.

Receive the signed book Louisiana Trail Riders.

The book chronicles African American trail riding clubs whose roots are in the Creole culture or for just $8 a month, choose the DVD of the Director's cut of T Gallo at every level, receive visions LP, VBS monthly program Guide and Passport, the streaming service for the best of LPB and PBS.

I enjoy looking at it another way.

Character in there.

One of them.

You go back and look at these pictures.

Is that some of them was gold.

Okay.

Where I'm standing here is where they had the, three horse track.

It's a, cemetery.

Now, but them days are gone.

We never see that again.

Never see that again.

It's kind of sad looking at this, now that it's just off a pasture for my horses and longhorns.

It's just you can sort of still see where the old part of the old track is.

Landed at the top of our is a from.

Oh, Molly.

What are they that shop was move up.

See now that other the one they had a to some, shabby.