We all have that friend. A friend we should probably call more often. One who is always there for us, but we don’t see often enough. A friend who we can pick up where we left off with, no matter how much time has elapsed between conversations. A friend whose company always leaves you satisfied and wondering: Why didn’t we do this sooner? Buffa’s Bar and Restaurant is that friend. An outpost in the Marigny neighborhood on Esplanade Avenue, divided from the French Quarter by a neutral ground (which is New Orleanian for “street median”). A few blocks away, the classic dive bar Port of Call draws tourists and locals in a line that stretches around the block for their potent drinks and hearty burgers.

Beignets & More is the kind of place you want everyone to know about – and you don’t want anyone to know about. Tucked between a defunct Cineplex and an Off-Track Betting location in a strip mall in Chalmette, a downriver suburb of New Orleans, it is a family-run gem of Vietnamese cuisine. But the name is a cloaking device of sorts: The beignets, which are made fresh daily, seem like an afterthought. Until recently, we’d never even had them. In all the years we’ve taken the short drive to this nondescript restaurant, we have always stayed on the “More” side of the menu.

It was Mardi Gras morning 2012, and my Hubig’s Pie was missing. On Lundi Gras (AKA “Fat Monday,” which has evolved to include traditions of its own), I had hidden it away – apple I believe, but I can’t quite recall – to serve as my breakfast before a full day of parading, revelry and maybe a little debauchery. For those not in the know, a Hubig’s is a deep-fried hand pie, with flavors like apple, lemon, peach and chocolate. They were sold by the Simon Hubig Pie Company, founded in Fort Worth in 1922 by an immigrant from the Basque region of Spain. The company then went on to open bakeries in several cities in the southeast, including New Orleans.

New Orleans is the last communal city in America. Our seasons are Mardi Gras, festivals, football, second lines and crawfish, and we share them together. And it is no accident that our Carnival season and our festival season are bridged by crawfish season: the ultimate act of communal eating. From late January to early June, give or take, folding tables covered in newspaper are laden with bright red crustaceans, corn, potatoes and smoked sausage, staples of the boil. We stand around the table, peeling and pinching the tails to extract the spicy meat, sucking the heads to taste the boil liquor, drinking ice cold beer, listening to music and telling stories.

In the spring of 2017, the Bywater Bakery opened its doors and became something of an “instant institution.” Part casual restaurant and part impromptu community center, the cafe space hummed with perpetual activity. Deadline-racked freelancers posted up with their laptops, soon to be covered in butter-rich pastry flakes. Neighborhood regulars would crowd tables for a lingering lunch visit over salads or sandwiches. On many busy mornings, New Orleans jazz luminaries (the late-Henry Butler, Tom McDermott, John Boutte, Jon Cleary) might wander in to make use of the dining room’s upright piano, filing the space with impromptu performance and the occasional singalong.

Scan the back bar at the Erin Rose, and you’ll see a jumble of memorabilia that indicates a drinking hole that knows its lane. Layers of “historic” decor plaster the smoke-stained walls from rail to ceiling. A 1970s-vintage Evel Knievel poster hangs above a bobblehead figurine of legendary local clarinetist Pete Fountain. Behind a set of glass shelves holding the barkeep’s basics – thick-sided rocks glasses for double shots or the occasional Sazerac, a staggered lineup of beer bottles that act as a three-dimensional menu – every square inch of vertical surface is covered with in-joke bric-a-brac of various eras. A huge backlit sign from the 50s that reads “PRESCRIPTIONS.” A laser-printed WuTang logo. Hundreds of patches from law enforcement departments from across the globe.