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I expect them to increase their dividend payouts in the years to come... so BUYING NOW means you could be picking up shares at an amazing price. [LOGO OST]( At times, our affiliate partners reach out to the Editors at Open Source Trades with special opportunities for our readers. The message below is one we think you should take a close, serious look at.   A retro favourite is being reimagined in the coronavirus era, giving us new ways to experience film, music, theatre and comedy, writes Clare Thorp. W When Annilese Miskimmon got the job as the new artistic director of the English National Opera, her remit was to broaden opera’s appeal and come up with new ways for audiences to experience it. She just never expected she’d have to do it quite so quickly. Miskimmon joined the company this spring, just as the UK went into lockdown to stop the spread of the coronavirus. In March, the ENO had just opened a new production of Mozart’s The Marriage of Figaro when they were forced to halt performances in London’s Coliseum, and cancel not just that run – but their entire season. Theatres were closed indefinitely, and the outlook for 2020 seemed bleak. But Miskimmon had an idea. On a Zoom call with her new colleagues – most of whom she’s still never met in person – she suggested a drive-in opera. “Everyone stopped for a minute, then immediately they went into talking about how we can make it happen,” she says. West African okra stew gave rise to Louisiana gumbo along the trans-Atlantic slave route. One Louisianian travelled to Benin to discover its origins. F Fried cheese was the last thing I thought I'd see going into a traditional West African dish, but especially into an okra stew. It was just one of several ingredients that surprised me as a Louisiana-born Cajun who cut his teeth on gumbo, a pillar of southern Louisiana cuisine that's made up of seafood or meat cooked in a roux – but never with cheese. The origins of Louisiana gumbo can be traced to West Africa, during a time when enslaved Africans brought okra (or gombo as it is known in regional tongues) with them to the Caribbean and the US South, including where I'm from, the port city of New Orleans. But what changed from the stew that originated in the coastal cities of West Africa and ultimately became the flagship stew of Cajuns (an ethnic group of Acadian descent) and Creoles (people of mixed European, African, Caribbean and Native American ancestry)? I wanted to see how West African okra stew was made, so I travelled to Benin. In the capital city of Cotonou, I met up with Jean-Paul Houndagnon, a mild-mannered Beninese national who invited me to Dantokpa Market, the largest open-air market in West Africa, to gather the ingredients needed for the dish. He asserted that his mother, Augustine, would happily host us in her home to cook everything, and I couldn't have been more delighted to accept such a generous invitation. Before arriving at the food area of Dantokpa, we made our way through the market's alleyways and crevices, replete with locals selling everything from clothing, fabrics and electronics to metal pots, firewood and toys. Augustine had already created a shopping list, and Jean-Paul helped me locate the vendors that were selling them. Jean-Paul and Augustine Houndagnon haggle for mackerel at Dantokpa Market (Credit: Jody Ray) Jean-Paul and Augustine Houndagnon haggle for mackerel at Dantokpa Market (Credit: Jody Ray) "Never pay the first price, Jody!" he instructed. Augustine and Jean-Paul moved through the market like experts, pointing at each ingredient they knew we would need, quickly haggling with sellers then bagging up the groceries that wound up in my arms. Finally, we crammed into a taxi back to Augustine's home, ready to prepare what I had flown across the Atlantic for – a taste of "gumbo" in the very place it originated. The ingredients in Beninese okra stew were wildly different from those common to the traditional Cajun seafood gumbo that I'm accustomed to, which includes large peeled shrimp; white fish fillets, such as catfish, grouper, snapper or sole; crab meat; and okra. Instead, the stew we were making included elements like fried cheese, dried shrimp and cow skin for added flavour and texture. Cheese is fried in oil before being added to okra stew (Credit: Sabena Jane Blackbird/Alamy) Cheese is fried in oil before being added to okra stew (Credit: Sabena Jane Blackbird/Alamy) Nevertheless, as we began to cook, I started to understand how West African okra stew evolved into the deep brown gumbo everyone in Louisiana, and much of the US, knows. Louisiana gumbo carries on the essence of West African okra stew in that it provides a bowl of well-seasoned fish and seafood, meat and vegetables encased in a thickened sauce and is served with a carbohydrate. In Louisiana, it's rice. In West Africa, it's fufu, a sticky bread made from cassava used to scoop the contents from the bowl. Louisiana gumbo's essential ingredient The first mention of gumbo in American cookbooks was in 1802, well after European colonisers and other settlers encountered Indigenous people. In the US South, Indigenous tribes were growing corn and sassafras, and each of these found its way into gumbo, adding both flavour and texture. Nearly every gumbo in Louisiana is made with ground sassafras, or filé powder, and most would argue it's not a real Louisiana gumbo without it. But Louisiana's gumbo is also distinct in that it starts with a roux, a French thickening technique made by cooking a mixture of flour and butter or other fat (in gumbo's case, it's cooked to an almost chocolate colour). The introduction of the roux to Louisiana gumbo stems from the Acadians (Cajun ancestors), French colonists who were ultimately exiled from French-Canada in the mid-1700s, eventually settling in Louisiana. According to Marcelle Bienvenu, author of Stir the Pot: A History of Cajun Cuisine, Acadian culinary traditions in Louisiana were adapted over time and were "eventually incorporated into Indigenous American as well as African American traditions". However, as if things weren't already complicated, not all Louisiana gumbos are the same. "The major difference between Creole and Cajun food is in the type of roux used as the base for the classic sauces, stews, soups and many other savoury dishes. A typical Creole roux is made from butter and flour (as in France), while a Cajun roux is usually made with lard or oil and flour," explained Cajun chef Terri Wuerthner in an article for The Spruce Eats. She continued, "Creole gumbo has a tomato base and is more of a soup, while Cajun gumbo has a roux base and is more of a stew." Copious amounts of okra are used in West African okra stew (Credit: Hemant Jain/EyeEm/Getty Images) Copious amounts of okra are used in West African okra stew (Credit: Hemant Jain/EyeEm/Getty Images) Back in Benin, there was no roux at all. Instead, sliced okra that was cooked down into a thick green sauce became the based to which we added mackerel, salted fish, a paste made from grinding chilli and dried shrimp, and strips of boiled cow skin, mixing in blocks of cheese that had been pan-fried in palm oil over a fire. The ultra-thickness from the okra is key as the stew is eaten by hand, using a piece of fufu as a utensil. While Louisiana gumbo also includes slices of okra, in the West African version, the okra becomes the sauce itself, enveloping each ingredient. Cooking a traditional West African gumbo can take hours if you're going it alone. West Africans use fresh ingredients that require the fish to be gutted and filleted, cow skin to be shaved and boiled, huge portions of okra to be sliced, crab to be cleaned for their meat, and dried shrimp and chillies to be ground by hand. In the US, many gumbo ingredients can be bought ready-to-go, cutting down on the labour-intensive preparations. In Louisiana, we claim gumbo as a symbol of what makes us different from every other state in the US. But the thing about it is that it's particularly West African. While there might be small variations between what you'll find in Ghana, Nigeria, Togo or Benin, this stew (along with fufu and jollof) binds West Africans together. West African okra stew is one of the parents of Louisiana gumbo, their connection having stretched across oceans and seas. And while attached to a brutal history, what remains is a culinary delight that continues to evolve. Okra stew simmering over a fire at Augustine's home (Credit: Jody Ray) Okra stew simmering over a fire at Augustine's home (Credit: Jody Ray) Impromptu Dantokpa market okra stew By Augustine and Jean-Paul Houndagnon (serves 6-8) Ingredients 5-10 whole mackerel 10-15 crabs two 355ml bottles of palm oil salt 5 salted fish 1 very large bowl, or about 100 pieces of okra, plus more as needed 225-275g dried shrimp (8-10oz) dried shrimp 1 green chilli 1 red chilli 2 onions 2 tomatoes 4 large pieces cow skin, cut up into strips (optional) 10 large chunks (about 5cm x 5cm) of curded cheese herbs and spices (such as chillies, coriander, basil or anything else you'd want to add for flavour; there is no official rule) fufu Method Step 1 Remove the fish meat from the body of the fish and the crab meat from the shells. Place into a bowl to the side. Step 2 Create a fish stock by boiling the discarded fish and crab shells in a stockpot with a one bottle of palm oil and cover with water, constantly stirring. Season with salt. Step 3 Cut the salted fish into bite-sized pieces. Step 4 Slice the okra. Step 5 Grind the dried shrimp and chillies into a paste. Step 6 Dice the onions and tomatoes. Step 7 Shave the hairs off the cow skin (if using) and boil in water for 10 minutes. Cut into strips once softened, season generously with salt. Step 8 Fry the cheese curds for approximately 5 minutes, until they harden and become crispy around the edges. Step 9 Sauté the fish and crab meat for a couple of minutes, or simply add to the simmering stockpot of the fish stock. Skim the scum that rises to the surface and discard. Cook at a slight simmer for 1 hour. Step 10 Add the okra to the pot and simmer it down until it liquifies and becomes gelatinous. To save time, you could mash the okra with a mortar and pestle before adding it to the stock. Add enough okra to turn the watery stock into a soup-like broth. (The more you add, the thicker it will become.) Step 11 Add the second bottle of palm oil into the broth. This emulsifies with the okra and creates a creamier and less bitter sauce. Step 12 Add the dried shrimp and chilli paste and stir. Add the onions and tomato. Add in the salted fish. Season the stew with salt to taste. Cook for another hour, or longer, until the okra has completely cooked down into a thick, green sauce. Step 13 Add the cow skin (if using) and cheese for a final 10 minutes. If you add the cheese too early in this process, it will melt into the stew. Step 14 Allow to cool and ladle into individual bowls. Serve with fufu. More like this: - The most outrageous film ever made? - The end of a US icon? - The film that exposed our misogynistic culture Within weeks the ENO had announced Drive & Live, a production of Puccini’s La Bohème in the grounds of London’s Alexandra Palace, running across eight days from 19 September. The audience will watch from the safety of their cars and listen on individual Bluetooth speakers as singers and orchestra members put on a socially distanced performance unlike any they’ve done before. “It’s going to be a completely original take on La Bohème, an immersive experience where the audience will feel part of a larger story,” Miskimmon tells BBC Culture. “It’s both exciting and challenging. It’s given a whole energy to both the company and the creatives working on it.” The ENO believes their new version of La Bohème is Europe’s first drive-in opera The ENO believes their new version of La Bohème is Europe’s first drive-in opera It’s not the only form of culture embracing the drive-through right now. Comedy, gigs, drag shows, music festivals and even raves are using the model – which by nature promotes social distancing – to keep their shows, sometimes literally, on the road. But while pulling up in your hatchback for a night at the opera might be a novel experience (ENO says their production is the first of its kind in Europe), drive-in entertainment is decidedly retro. The first patented drive-in cinemas appeared in the United States in 1930s (devised by car salesman Richard Hollingshead because his mother couldn’t get comfortable in standard cinema seats), and grew alongside America’s booming car culture (by 1958, there were 4,063 in the US) before starting their decline in the late 1970s as other forms of family entertainment – like VHS – took over. A local art-house cinema in Alaska put one of their projectors in a car park to create a pop-up drive-through As of October 2019, numbers had dropped to 305 drive-in theatres in the US, and they existed mainly as a symbol of nostalgia. For many, especially outside of the US, the drive-in has only ever existed on screen. Hollywood itself has romanticised the drive-in – from Sandy and Danny’s disastrous date in Grease to Brad Pitt’s character living in a trailer adjacent to one in last year’s Once Upon a Time… in Hollywood. In Quentin Tarantino’s Once Upon a Time… in Hollywood, a tribute to the final years of Hollywood’s golden age, Brad Pitt’s character lives next to a drive-in cinema In Quentin Tarantino’s Once Upon a Time… in Hollywood, a tribute to the final years of Hollywood’s golden age, Brad Pitt’s character lives next to a drive-in cinema But due to the pandemic, and people seeking safer ways to experience entertainment, drive-ins are looking less like the past and increasingly like the future – at least the short-term one. New screens are popping up, ticket sales are booming, and some countries are getting their first ever taste of the experience. Drive-in distancing Drive-ins as a solution to health crises is not without precedent. Before a polio vaccine became available in 1955, drive-in movie theatres in the US would sell themselves as “a great place to be flu and polio protected”. During the Sars outbreak of 2003, China saw an increase in car sales as people avoided public transport – which was mirrored by a growth in drive-in cinemas, a new concept in the country. Now, drive-ins are providing a global solution to an entertainment industry in crisis. Cornish surf magazine Wavelength launched a season of drive-in films overlooking Watergate Bay; it included live performances from local choir The Fisherman’s Friends Cornish surf magazine Wavelength launched a season of drive-in films overlooking Watergate Bay; it included live performances from local choir The Fisherman’s Friends The UK, which only had three drive-in cinemas before the pandemic began, and none of them permanent, now has 40 sites offering a drive-in movie experience, including a cliff top in Cornwall. More drive-in cinemas are opening in Russia and Germany, and ticket sales are booming in South Korea. In Brazil, a football stadium has transformed into a drive-in. Some are more haphazard than others. In Alaska, one of the few US states not to have a permanent drive-in, a local art-house cinema put one of their projectors in a car park to create a pop-up drive-through, complete with mountain backdrop. In 2020, drive-in cinemas have been opened across Germany, including one in front of the former Phoenix-West blast furnace plant in Dortmund-Hörde, Germany In 2020, drive-in cinemas have been opened across Germany, including one in front of the former Phoenix-West blast furnace plant in Dortmund-Hörde, Germany Sarajevo and Lebanon are getting their first drive-ins, and new sites are opening in Nigeria. In Iran, drive-in cinemas were stamped out in 1979, partly to stop unmarried couples using them as a place to meet, but a new one has opened in Tehran, with the first screening a Persian language documentary called Exodus about cotton farmers protesting against the authorities. In Lithuania, an airport – disused due to cancelled flights – became a pop-up drive-in as part of a film festival, showing a series of international releases in keeping with the setting. With many of this year’s planned blockbusters like Mulan and Tenet pushed back or going straight to streaming services, many drive-ins have doubled down on the nostalgia vibe, showing old classics (Ghostbusters topped the US box office over Independence Day weekend in July – largely down to a drive-in audience). The drive-in is being subverted in all sorts of ways – not least in the art world Others are taking the chance to do something new. In New Jersey, filmmaker Ayana Stafford-Morris opened the Newark Moonlight Cinema in July, with a focus on African-American filmmakers and actors. “My drive to see this through stems from my love of films, my frustration with the current, assumed definition of cult classic films, and the pressures we are all feeling confined by Covid,” she tells BBC Culture. There’s a hunger for new titles too, and the drive-in boom has given an unexpected boost to some titles. Indie horror The Wretched made $1.7million at drive-in theatres in the US and – thanks to a lack of other releases – topped the domestic box office for five weeks running, putting it in a select group with Titanic, Black Panther, The Sixth Sense and Avatar. Sundance favourite The Relic, a horror starring Emily Mortimer, also topped the weekend box office three weeks into its release. The Museum Boijmans van Beuningen ran a drive-through museum in a convention centre in Rotterdam during August; its exhibition sold out The Museum Boijmans van Beuningen ran a drive-through museum in a convention centre in Rotterdam during August; its exhibition sold out For such a classic concept, the drive-in is being subverted in all sorts of ways – not least in the art world. In Rotterdam, the Museum Boijmans Van Beuningen – currently closed for refurbishment – teamed up with convention centre Ahoy to run a drive-through museum during August in the 10,000 sq m arena. Thirty cars could drive in at a time (entrance was restricted to electric vehicles only, but there were ones available to loan for those who needed them) and see more than 50 works – including five new commissions and others specially adapted for the new setting. “At the beginning, I was afraid it could have been seen as a gimmick but as the process unfolded, and the car became the solution and not the starting point, it became very interesting,” co-curator Francesco Stocchi tells BBC Culture. “We were confronted with this giant space, but in a car it’s a similar scale to a human inside a museum space. You find all sorts of imaginative solutions, and there were a number of liberating actions I could take that you usually cannot have, like blowing a video up to 11m on a billboard.” Featuring works from the museum collection and installations by contemporary artists, the Boijmans drive-through exhibition explored the boundary between humanity and nature Featuring works from the museum collection and installations by contemporary artists, the Boijmans drive-through exhibition explored the boundary between humanity and nature The drive-in exhibition follows another in Toronto, Canada. The Immersive Van Gogh Exhibition – in which visitors move through 600,000 cubic feet of projections of the painter’s work – had been a year in the planning and due to open in May when coronavirus and lockdown put the show in jeopardy. “We had to make a critical decision as to whether we were going to stop doing what we were doing and lay off all the arts workers on the project, or if we were going to plough on through with it,” the show’s co-producer Corey Ross tells BBC Culture. “I really didn’t feel right about laying everyone off. So we needed to stop dwelling on what we couldn’t do and focus on what we could.” There’s a real sense that you’re floating through the artwork in the car – Corey Ross One day he was driving into the vast building – a former newspaper printing press – to check on the exhibition’s progress. “I realised if I could drive up the ramp then anyone could drive up the ramp,” he says. “That was the seed of the idea.” He called up 14 friends to bring their cars down to the building and test out how much they could see. When they were convinced it would work, the idea was announced to the public. The original plan was to have the drive-in open first for a short period, then revert to the original walk-in, but ongoing restrictions in Toronto meant their opening date had to be pushed back further. To honour all tickets sold, they took over another gallery next door, and since opening in early July the show has run simultaneously as both a drive-in and a socially distanced walk-in. Housed in the building that formerly held the Toronto Star’s printing presses, the Immersive Van Gogh exhibition projects the Dutch painter’s works onto walls and floors Housed in the building that formerly held the Toronto Star’s printing presses, the Immersive Van Gogh exhibition projects the Dutch painter’s works onto walls and floors “They’re exactly the same content but on the drive-in we’ve lowered the horizon and made some small modifications,” says Ross. “There’s a real sense that you’re floating through the artwork in the car. There’s one moment where things start to move in the animation of the show and every car always hits the brakes because they think they’re moving.” It’s proved so popular that the run has been extended until 12 October. But while Ross is pleased they’ve found a safe way for people to enjoy art – and keep all 100 of their staff employed – he’s not convinced it’s the future. “There’s a curiosity factor because people have never seen an art exhibition in a car. They’re coming to this because it’s cool and something different, but I don’t see it as a long-term thing,” he says. “I think the way we experience art may change in a lasting way, and safety in galleries will stay on the agenda, but in my mind it’s not going to change into us all experiencing art in cars from now on.” In May, films including Bonnie and Clyde and Rainy Day in New York were shown at a pop-up drive-in cinema at the Croatian Port of Gruz, the first of its kind in Dubrovnik In May, films including Bonnie and Clyde and Rainy Day in New York were shown at a pop-up drive-in cinema at the Croatian Port of Gruz, the first of its kind in Dubrovnik The ENO’s Annilese Miskimmon sees things differently – for opera, at least. For her, a drive-in show offers the chance to do something she was planning to do anyway – take live opera out of London and to places that don’t normally get to experience it. “We’ve had huge interest from right across the country to take it on tour. Drive and Live is something we’re investing in as a long-term vision for how opera can hit parts of the UK and different types of audience.” She believes times of crises have always been the catalyst for great moments in culture, and now is no different. “So many of the masterpieces that we take for granted only happened through really difficult situations. Now it’s time for our generation to take the difficult and really find things in it that enrich our audiences, and inspire going forward in a positive way.” As for the more traditional drive-in, as cinemas slowly reopen again, can they still hold our interest? One person confident in their future is filmmaker Spencer Folmar, who plans to open what he says will be the world’s largest drive-in in Florida. “I grew up going to drive-ins and those are some of my most fond childhood memories,” he tells BBC Culture. “I believe that the drive-in experience will be here to stay and continue to thrive because people are now remembering how wonderful it is.” Always a cult favourite, the story of the drive-in is getting an unexpected sequel in 2020. 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