All posts by REB

Proyecto Locos Redux

This morning I met with Deborah and Ramon at Pepe’s Cafe. We want to get our short edit of the Locos documentary mailed off to some of our friends down in San Miguel. We all have too many commitments to make it down for the Locos Parade this year. It’s later this month. But we don’t want the people who were so kind and helpful to us last year to think we’ve forgotten them.

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We also talked some about an idea Ramon has for a new visit to San Miguel to chronicle the Dia de los Muertos celebration down there. When he would speak of this before, I would find myself wondering what new angle could be added to a subject already heavily analyzed. An added problematic layer was the fact that most of the lavish celebrations are further down in Mexico: Oaxaca and Michoacán. But Ramon has fallen in love with San Miguel. And so have Deborah and I. So, we do have a selfish agenda — we want to be able to return. One of the positive notes is that we have forged some good contacts with many people in that city. And the more I thought about it all, the more plausible it seemed. Ramon was somewhat instrumental in bringing this holiday into San Antonio. In 1978 he was commissioned to create a painting to commemorate the Dia de los Muertos. At the time there was scant evidence of people celebrating the Day of the Dead. Ramon began staging Dia de los Muertos shows at his gallery, as did other galleries. I suggested that we focus on the artistic side to the celebration. Ramon has already talked about creating San Antonio and San Miguel as “sister cities in the arts.” Both cities are famous for their active art communities. In fact, there is quite a bit of travel back and forth by the artists of San Antonio and San Miguel. We could interview artists from both cities who make works which feature and acknowledge the Day of the Dead. Also, we could investigate the ways in which the American interpretation of the holiday has made it’s way back to Mexico and influenced how they celebrate the day.

I’m looking for a fresh angle on things. A good hook. We’ll see. The three of us are still in that thinking out-loud phase. Trying to give vague ideas shape … shape enough to generate the sweet rhetoric that puffs up the corpus of a good grant proposal.

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Early afternoon I dropped by Urban-15 to work some on the Josiah Festival.

Urban-15 is housed in an old church building on S. Presa. The basement space is always in flux. I believe George once intended it to become some sort of occasional coffee house artsy hangout.

But because he has several projects going on, the space is becoming this sort of ad hoc creative space. This is where he created his Somos video mural for the Alameda Museo. Herman helped out quite a bit on the editing of that piece. And now Herman’s editing a Katrina documentary in the space. I’ve a little work station for the Josiah project. Amanda (who is always involved in several projects) has moved her computer down from another part of the building. George was refurbishing a hundred year old snare drum down there last week. Something always seems to be playing on one of the two rear projection screens.

It’s a chaotic, but very pleasant place.

I told George that we needed some sort of image to send out with the press release for the Josiah Festival. He suggested that we have one of the submitted films projected, and some of the Urban-15 folks can be watching it. After George wandered off to attend to some other project, I arranged a couple of chairs in front of one of the screens. I placed a table between them piled with all our DVD submissions. I was thinking a low shot up at the screen with maybe George and Amanda in the foreground, watching and commenting — a mountain of DVDs between them.

George returned and set up a digital SLR on a tripod. He was having some problems with it. It seems he’d dropped it the other day. Actually, he said he was carrying a bunch of stuff, and the camera and a portable hard drive fell. He could only grab one of them. True to a technophilic multi-media artist, he automatically grabbed the device holding the most complicated digital files — the camera’s just a tool, replaceable, but the drive holds information, and probably the result of a lot of hard work.

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He had me and Amanda posed in the shot. A bad idea, there. I’m talking about me. Amanda’s a beautiful girl and should be in the shot. So as George was fiddling with the rubberband holding his Olympus camera together, I suggested I use my little point and shoot digital Nikon. And he could switch places with me. He’s much more photogenic than myself.

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But because the light in the basement is a bit dim, I has having a hard time getting a good exposure. I couldn’t use the flash or it’d wash out the image on the screen. I pulled in some ancient Smith Victor scoop light on a stand which was parked in a far corner. It helped a bit. I think I have a usable photo. I need to desaturate it and see how it looks in black and white. But it might suffice for the newspapers.

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Tomorrow and Sunday I’m meeting up with Russ to watch Christy and her dancers rehearse for the impending video we’ll be shooting around Canyon Lake this month.

I sure am busy. When can I return to work on my newest short story, “Joachim Phelps’ Demitasse Nightmare”? I haven’t even got to that crucial scene where he must choose his biscotti — macadamia nut or double dutch chocolate.

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What an ordeal my life has become.

Mark di Suvero’s Surprise Colonoscopy

I’m caught up with all the back-dated entries of my desert drives.

I’m back to Houston-like stickiness here in San Antonio. The only time I’m cool is when I’m driving around with my truck A/C blasting away. When I step out, my glasses fog up. That’s my validation that this nasty humidity isn’t just in my mind. I need to buy some more fans. I could fire up the old window unit, but that causes my electric bill to reach dizzying heights. Besides, it’s not really powerful enough to cool down this whole apartment, and I end up closing off the bedroom and sleeping on my sofa. It’s like I’m stuffed in a gigantic wet sock.

With the Meet the Maker film screening out of the way (though I still need to find out who is going to reimburse me for all the dosh I shoveled out), it is time to get serious about the Josiah Youth Media Festival. The submission deadline has come and gone. It was a postmark deadline of June 1st, so I’m not really expecting any more. The good news is we got a shit load of stuff. I logged them Tuesday. Now I need to line up the judges and schedule blocks of time to view all the works.

Also, I need to begin moving on the 48 Hour Film Project by late next week.

This stuff keeps coming at me.

Me and Russ met with Christy the other day. We have our dates for shooting. But I might not be able to get the old clawfoot bathtub which belongs to one of my neighbors. Christy wants it for a prop. And I agree, I think it’s an important addition. I’ve not given up, but if the folks don’t return to town by Saturday, we might have to rethink that scene. And so, if any of my readers (local, that is) have an old bathtub (not installed in your home) we could borrow, give me a shout.

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When I was logging DVD submissions at Urban-15, George Cisneros mentioned that he had managed to get one of his old public art works resuscitated. It’s the video installation in the front windows of the International Center on S. St. Mary’s downtown near the Aztec Theatre. The video wall is titled “In Light of Passing Measures.” It was installed back in 1995. And for the entire time I’ve lived in San Antonio, it has been dead. The funds allocated for the upkeep seemed to have evaporated. But I passed by tonight, and it was running. There were no parking places in the vicinity. But maybe late one night next week I’ll cycle over and watch it.

This is one of my gripes with public art. (Though my biggest gripe is that so much of it is pure crap, apparently chosen because it’s inoffensive abstractions, such as Mark di Suvero’s huge assemblages.) There is something so wildly irresponsible about a city forking over funds for a work of art, and not following through with it’s up-keep. There is a wonderful sculpture near Mission Espada. It’s in a little park, and I often sit beside it on one of Carlos Cortez’s faux bois concrete benches. The metal on the work is rusting away. It’s very sad. So, bravo to George on getting his work back to it’s original health.

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I stopped by my landlady’s place to pay my rent. She invited me in and began to bring me up to speed on the state of her health. She’s maybe 70, and up until a year ago she’d be out with her son and her daughter-in-law mowing the lawn here. Too cheap, I suppose, to hire someone. Hell, she has at least a dozen rental properties. And she was filling trash bags and ripping up weeds by their roots. Basically doing twice the work of her strapping son. But she’s slowing down. And so this afternoon I learned more than I cared to about angioplasty, colonoscopy, and some species of herniated esophagus.

But she’s feisty, and I suspect will outlive many of those around her. Who, I should point out, will finally be spared her graphic and minute explications of megadoses of laxatives and the insertion of a fiber-optic camera into various orifices.

Luckily I had a valid excuse to escape. I was meeting Alston for a late matinee screening of “Away From Her.”

I’d read about the director, actress turned filmmaker, Sarah Polley, in a recent issue of Movie Maker magazine (Drew, our film commissioner, somehow managed to get a bunch of San Antonio film folks free subscriptions).

The article was very positive about the film, but if one of the leads hadn’t been Julie Christie, I might well have forgotten all about it. For a first feature film, it’s very impressive — a young director, not yet 30, working with themes of aging and Alzheimer’s with such an apparent sense of ease, was an eye-opener. She adapted one of Alice Munro’s short stories, and made it warm and personable. That’s no small accomplishment. The structure was a bit clunky (perhaps that’s a carry-over from Munro), but the pacing and the photography was perfect. The acting was stellar. It’s not a life-changing film, and I wouldn’t recommend it to everyone, but it’s is nonetheless an impressive piece of filmmaking. And Julie Christie, as beautiful (if not more so) as ever, gives such an outstanding performance as a woman who finds her sense of self slipping away, that I was rather taken aback by costar Gordon Pinsent who actually managed to outshine Julie Christie. Quite an achievement, that.

I’ll close with two random photos.

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Blister Beetles and Chicken Mole

Monday night I arrived back home from my trips to Big Bend. And after five days and 1,950 miles of driving a zippy little car, I’m back to the pickup truck. I decided to head to the supermarket for supplies before it shut down for the night. I hopped up into the roomy behemoth and turned the key. Nothing. Shit. The battery seemed fine. I had a dome light. Head lights. And as I reached down and popped the hood latch, it occurred to me that I had forgotten that some cars have these things called a clutch. My truck’s just fine, as long as I remember that it has a standard transmission. It’s amazing how quickly we can relearn behavior.

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On the drive back to Redford Saturday, Enrique was in the front passenger seat, Roberto sat in the back. Roberto made some comment that he had planted a palo verde in his front yard. He found the little trees attractive.

“Oh, they’re the worst things in the desert,” Enrique said with cautioning displeasure.

“But you gotta love that green bark,” Roberto relied.

“Have you ever found yourself in a thicket of palo verde? The spines will tear you to ribbons. They don’t offer shade. The leaves are just these spindly things. The worst thing is the symbiotic relationship they have with the blister beetles. If they get on you, it’s awful.”

“Some people like them as ornamentals,” Roberto said.

“Personally, I think they’re quite beautiful,” I added. “The palo verde, that is. Don’t know what the beetles look like.”

“Sure. Some people like how the leaves curl up at night.” Enrique shook his head and continued. “But once they’ve shown you that, their repertoire is exhausted. It’s the only trick they know. And once they get a foothold, they take over. That area behind Fort Leaton is all palo verde. A whole field of spines and blisters.”

“I thought those were salt cedars,” Roberto said. “I guess you hate those too.”

“Oh, no. I’ve started the Friends of the Salt Cedar Society. We’re fighting the negative propaganda.”

“I hear they’ve developed a new herbicide for dealing with the salt cedar problem.”

“Problem! When the farmers cut down all the cottonwoods all we have are the salt cedars to keep the river from washing away the farms. It’s a wonderful shade tree. You can barbecue with the wood. You can’t do that with palo verde. Your steak will taste like tar … and blister beetles. The panaderia in Ojinaga makes a magnificent bolillo. They fire the ovens with a combination of mesquite, cottonwood, and salt cedar.”

“Salt cedar is an alien species, I understand,” Roberto said.

“Yes. The tamarisk. They were brought to this country as an ornamental. Historically, they grow along the Nile in Egypt. For over a hundred thousand years the people there learned to live with the salt cedar. If they can do it, so can we. And all these people who want to kill them off, they don’t understand that they need to plant four cottonwood saplings for every salt cedar they eradicate, or else the banks will wash away.”

“I had a salt cedar on my land,” Roberto said softly. “I tried to cut it down, but it kept growing back.” He looked out the window as we passed the rolling hills around Ozona. “I got some of that new herbicide from a fellow in Marathon. They were still testing it.”

“How did it work,” I asked.

“Like a charm,” said Roberto.

“Oh, no,” Enrique gasped in that strange way he has where you don’t know if he’s genuinely distressed. “I need to recruit more members into the Friends of the Salt Cedar Society.”

“Sounds like a loosing battle,” I said. “You need a proactive stab into the very heart of the opposition. I suggest you rent a crop dusting plane, cram it full of salt cedar seeds, and fly up and down the river.”

“Like Johnny Appleseed,” Roberto mused. “An elegant plan.”

“I’d love to type up a press release for that,” I said. “And see how many freaked-out salt cedar hating locals show up with shotguns at the airport.”

Maybe Enrique’s right. We came to accept the tumbleweed (AKA Russian thistle) a long time ago. In fact, it would be hard to envision a western movie without a few blowing across the boardwalk in a rustic town.

The conversation drifted to other invasive alien species roaming around the La Junta region. Russian boar escaped from a ranch up near Casa Piedra some years back. They’ve thrived and worked their way down the Alamito Creek until they finally reached the Rio Grande and the lush farms of the Redford Valley. And Aoudad, more commonly known as Barbary Sheep, are frisking about in the Big Bend Ranch State State Park. They too are making their way into the Redford Valley.

On a positive note, these are tasty critters and you don’t need a license to take them down. According to Enrique, the locals are taking advantage of these new-comers to these parts. I can only hope that they are roasted over glowing tamarisk coals.

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When we dropped off Roberto at his little ranch on the outskirts of Presidio, Enrique phoned Ruby to see if we needed to pick anything up at the grocery store in town. He discovered that one of their dogs was in the midst of having puppies.

We hung out for an hour or so talking to Roberto. Perhaps Enrique didn’t want to deal with birthing no puppies.

And so we stood in the shade of the ramada where Roberto parks his pickup truck and leaned against the rails of his truck, facing inward to the bed … as men with trucks tend to do.

“There’s talk of putting a wall in Presidio,” Enrique said. He pointed to the river, about a hundred yards from us across a field.

Roberto told us that his wife (who was visiting friends up in Fort Davis) liked to take her morning walk along the levee. Recently she was told by two Border Patrol officers in one of their iconic green and white SUVs that she wasn’t allowed to walk there.

“They can’t do that,” I said. “Can they?”

Roberto shrugged. “We’re looking into it.”

“What’s their reason?” I asked.

“They’re looking for foot prints in the sand. People crossing the river. She was messing up the dirt path.”

Now I understood. When I was driving the other day near Langtry, I saw down a side road a Border Patrol vehicle pulling three tires behind it on chains. They were dragging the dirt road smooth so new foot prints would be noticeable. At the time I had no idea why. The only time I’d seen anything like that was years ago when I lived in Fort Worth. I saw a guy walking his pitbull near a trailer park. The dog was dragging a tire, clearly to bulk up the dog for fighting purposes.

We looked off toward the river. A couple of jack rabbits raced across the barren field and vanished into a stand of catclaw.

“Your wife needs a pitbull with a tire,” I offered. “Enrique could even sell his puppies — each one comes with a tire and a chain. The dogs follow behind you dragging the tires. I mean, it’s a win-win situation. Because it sounds to me that the Border Patrol wants your wife to do their work for them. And using my newly patented Dog-N-Drag they’d have nothing but unblemished dirt roads, smooth as the surface of the Rio Grande.”

Roberto and Enrique smiled indulgently. But I knew their feelings toward the Border Patrol (and all the other groups of uniformed and armed men on the border) ran deep and dark.

The border is an occupied territory. It will get worse before it gets better. The people there know this. But, like a unified Europe, this fucking border will fall. Unfortunately, not soon enough. And every wall, guard tower, electronic sensing device buried in the sand, and those god damn tethered blimps … all this will come down like the iron curtain. Every penny paid out to create the repressive environment is money wasted. Worse, it’s setting us up for greater future waste when these walls will have to be dismantled — when our country begins to move away from this current experiment in fascism.

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Ruby met us with word of six puppies. By the end of the night there were eight.

We had a wonderful meal of chicken mole. And just as it was when I lived in Redford and would come by twice a week or more for dinner and late night talks, I didn’t get to bed until 2:30 in the morning.

I think it was Alan Govenar who pointed out that after the shooting of Esequiel, Enrique became a driven man. He now concentrates much of his intellectual energy on seeking justice — and not just posthumously for Esequiel, but for all of the people on the border dealing with life under occupation of the War on Drugs, which has morphed into the War on Terror.

He’s become strident. Not so playful. It’s less likely we will follow a conversation down the road of German Romantic poetry, abstract expressionism, the cosmic background radiation, the recipe for the perfect pumpkin empanada, or Julian Jaynes’ bicameral mind hypothesis. Now the conversations tend to come back to the day four American Marines in Ghillie suits stalked and killed a teenaged boy who, in the words of Enrique, was “the most innocent person on the border.” And this shooting happened a quarter mile from where Enrique lives. How would this have effected you?

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Sunday I wanted to walk around some in the desert. It was about one in the afternoon. I put on some sun-block and told Enrique and Ruby I was heading out for a couple of hours. I wanted to, perhaps, hike some in Closed Canyon.

Enrique insisted that he and Ruby come along. That was fine with me, but it was incredibly hot. Probably a hundred degrees. And I’m fine with that. When I lived in Redford I would usually head out for a hike or a bike ride in the hottest time of day. With enough sunscreen and water, I’d be fine.

But, if they wanted to come along ….

We went up to the Big Hill. This is a stretch of the River Road that takes a steep climb up to a wonderful observation point which looks down onto the Rio Grande, and then it slopes dramatically down and the highway continues to Lajitas.

The Big Hill used to be a solid structure, perhaps a couple of million years ago. It functioned as a sort of damn. The area up-river toward Redford was all underwater. A big lake. In geological terminology, it was called the Redford Bolson. Eventually the waters crested … and erosion turned a series of inter-connected lakes into a serious river.

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Next we headed back up-river to Closed Canyon. Enrique says that the old timers call this Tapado Canyon. Nothing strange here. Tapador is Spanish for to cap or to plug. It means the same as a closed or a box canyon. But there is a highway sign for something called Tapado Canyon a couple of miles away. There are all sorts of misnamed places and structures in the Big Bend. Official US maps say one thing, the local people say something else.

Personally I call this Lost Tourist Canyon. It starts out simple. The walls rise up steep and high. The canyon cuts through this mesa and eventually it makes it to the Rio Grande. It’s a dry canyon (most of the time), and as you head in further, you begin to find where the floor drops down. Sometimes one foot. Sometimes ten feet. The places where it drops are smooth from water erosion and thus hard to climb back up. I contend that there is a point where the adventurous tourist has screwed him or herself and can’t get back out. Like a roach motel.

Enrique decided to wait for us in the parking area. There was a picnic table under a primitive ramada. And so me and Ruby hiked out to the entrance to the canyon.

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We walked in maybe a quarter mile. When we came to a drop off of maybe five feet, we decided we weren’t feeling that adventurous.

It’s a beautiful place. And I was happy to hear that Tommy Lee Jones used the canyon in his movie, “The Three Burials of Melquiades Estrada.”

My photos don’t do the place justice.

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With great sadness, I climbed into my rental car early Monday morning and headed out of town.

I need to discover a way to live in Redford and yet somehow manage some sort of income — particularly one that allows me to travel.

If I find the secret, I’ll let you know.

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Small Town Historians in the Fleshpots of the Alamo City

Friday morning I had a few things to do, so I left Enrique and Roberto to fend for themselves. The beckoning flesh pits of San Antonio might have their allure on lesser men, but these two historians loose in the big city, they found themselves at the downtown public library just as it opened it doors for the homeless keen on free internet access or a comfy chair to sleep in.

I drove over noonish to pick them up. Roberto wanted barbecue. Enrique, still suffering from indigestion from hotel coffee was indifferent. So I drove to a place in my neighborhood I’ve not yet tried. There was quite a bit of activity on S. Alamo Street, and then I remembered it was First Friday. The locals were gearing up for the drunks, the artsy people, and the drunken artsy people. We sat outside. The food was pretty good, as was the people-watching.

In an attempt to play tour guide, I suggested we see one of the Missions. The Alamo aside, the nearest was Mission Concepción.

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Enrique chewed some on the ear of a park ranger. He suggest several books he thought the gift shop should carry. He explained that the mission built in Redford (a small adobe ruin) considerably pre-dated the missions of San Antonio. And he told the ranger the story of the “Lady in Blue” (AKA, Mother Maria de Jesus de Agreda) — and how it was his, Enrique’s, forbearers, the Jumano’s of La Junta, who brought this story to the attention of the Catholic honchos in what is now El Paso way back in 1639.

I pulled Enrique away from his proselytizing (history, that is — the man’s a confirmed disciple of Dawkins and Dennett), and we headed back to the hotel.

The AV equipment for the screening was due, and I wanted to be there. Yet when we arrived at El Tropicano, I found out that the guys from AVW-TELAV had already got everything set up. Phillip Sherrod (and I forget the other man’s name) had everything needed plugged in, calibrated, and all I had to do was hand them the two DVDs I intended to screen, and they played them and made a few adjustments to the equipment.

I don’t know what strings Drew Mayer-Oakes at the film commission pulled to get this to happen (gratis — at least for me), but, damn, what a sense of liberation to have professionals like AVW-TELAV. (If this sounds like a commercial, fuck yeah! I had enough stress as it was, and these guys alleviate a good chunk of it.)

Dar showed up. She was kind enough to volunteer to run the registration table. Pete also volunteered. And this was nice. Made me feel less alone. Bob, who I hadn’t seen in over a year, came by. And Lisa and Roger from NALIP showed up. Ramon Vasquez with the American Indians in Texas was there. I got a call from Carlos. He was having trouble finding the place. I guess I should have mentioned that El Tropicano is owned by Holiday Inn, and, from a distance, that is the largest and most noticeable logo on the building. When I told Carlos to look for Holiday Inn, he had no problem.

Nikki Young and Chadd Green from PrimaDonna were there. As was Konise Millender.

All told, about 45 people showed up. Thank you everyone! Janet Vasquez from the Film Commission. Brilliant actress Catherine Crowley. Ignacio de la Vega, who is working with the Jumano Apache people. A good crowd.

We started off with four short pieces by Ray Santisteban. His work always has a polished and an intelligence to it that makes it a joy to watch. In my awkward introduction to his pieces I explained that every grant and every festival I tried to get into, there was Ray, ahead of me, picking up the swag and accolades. And I couldn’t get pissed. His stuff is great! He deserves what he gets.

Afterward, Ray talked some about his work. Fielded some questions. In retrospect, I would have liked to have stretched it out some more. I think I needed some assistants who had collaborated with me the schedule of the night’s fare. Dar and Pete were great, but we never really talked about how it was going to play out.

“The Devil’s Swing” played without mishap. I was nervous around the 45 minute mark. When I previewed the DVD on my player, it froze at that point. But I cleaned the disk and that seemed to help. There were no technical difficulties.

Well, there was a bit of a problems when I pulled Enrique and Roberto up to the front. Pete pulled up three chairs and I sat with them in front of the screen. I guess I hadn’t taken into account how softly Enrique talks. I should have assigned someone to audio and brought in some of my microphones.

But, dammit, it’s over! And if I were to slip into a more candid mode, I would be railing about all the problems that faced me in this journey towards this little screening. I managed to piss off some folks. Perplex others. I blame it on my inexperience, sure. But I also blame the problems on the fact that I was working with two non-profit organizations with divergent agendas.

Success? Sort of. But, it weren’t no failure.

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Mr. de la Vega wanted to take Enrique and Roberto out to dinner. Enrique invited me along. I explained that NALIP had, in their budget, funds for an after-event meal. So I said I’d get it — hoping that a reimbursement would one day come my way.

Mrs. de la Vega suggested Mi Tierra, a tourist place downtown. I would have suggested Tito’s but with First Friday in full swing, I knew we’d never find parking.

Mi Tierra has good food. But Friday night? Avoid it. I gave me name to the hostess. An hour wait. And we waited. Pete meet us in the bar just as we were paged to our restaurant table.

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Here we have Roberto Lujan.

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Mr. de la Vega told us all about his decades as a musician working in quite a few genres. He also worked as a private detective. Also, body guard. He guarded Selena — but not towards the end (that’d be a resume-killer).

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A good time was had by all.

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Saturday morning I met Enrique and Roberto at the hotel. He had coffee and a simple breakfast at the hotel bar. I had a banana. Roberto had some granola.

On our way out of town, I stopped at the Pik-Nik convenience store near me. I knew they carried day-old newspapers. I’d promised filmmaker Alan Govenar that I’d send him a copy of all the press. And as I had sent a press release to the San Antonio Express-News, I assumed they’d put the event in their Weekender event supplement. Well, the bastards didn’t. Everyone else did.

Anyway, we decided to have something which more resembled a real breakfast. And so we sampled the 50 cent tacos at Pik-Nik — and then it was west Texas-bound.

Road Trip to La Junta

Some blog purest might see this back-dating as a form of cheating. But for me, it’s a game of catch-up.

So, setting back the calendar to Wednesday morning, I hoofed it to the car rental place on St. Mary’s. After some fancy footwork to avoid all the bullshit like additional insurance, a costly upgrade (“this Mercedes is the perfect choice for the sort of road trip you have in mind, sir”), and god knows what else — after a “no,” a “I don’t think so,” and a firm “thank you, but, no,” I got out of there with the same Nissan I had reserved the previous day, and almost at the same rate. Tuesday I was quoted, with tax and et al, $195 for Wednesday through to late Monday afternoon. The next day, I was given a quote of $207. Close enough, and I grabbed up the keys and skedaddled before it climbed any higher. But, truly, I hate this sort of arbitrary crap ladled up by all the swine who work in these seemingly unregulated service industries where the language of mathematics and accounting (hitherto the most succinct and accurate languages know) have become slippery and mutable.

I headed out of town on highway 90, through Castroville and Del Rio. The car had an auxiliary plug into the face of the stereo. Brilliant! All cars should have this. I patched my iPod in with a mini plug from one of my wireless lavaliere microphones. Worked great.

A little bit after noon I crossed over the Pecos River. The canyon country along the Tex Mex border from Del Rio to Dryden is a deceptive topography. What looks flat from horizon to horizon is in fact a corrugated surface cut through with sloping arroyos or steep-walled canyons.

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Highway 90 hooks up with 67 just before you hit Alpine. And on through to Marfa, this is the high plains of Trans-Pecos Texas. Isolated clusters of mountain chains dot the land off in the distance. At Marfa, 90 and 67 split off. 67 heads south to Presidio, a descent of 1/2 a mile in elevation. It gets a bit rocky and wild at the town of Shafter. The designation as a ghost town seems a bit forced. It has a tiny population, but there are people living there. It’s not what it once was when the silver mines were in full swing back in the early part of the 20th century. Shafter was used quite effectively in the movie “The Andromeda Strain.” It’s where the infected satellite landed and killed off all the inhabitants save (if I recall the film correctly) two.

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About two miles south of Shafter, you come out of the mountains, and there you see all of the Presidio valley. You’re up on the shoulder — the foothills — of the Chinati Mountains (Chinati is Spanish for grackle — it’s also used colloquially in northern Mexico to describe Indians with very dark skin). This is always something of a homecoming to me. This is where La Junta begins. And La Junta de los Rios is why I’m heading down into the valley formed by the Conchos and the Rio Grande rivers.

It’s all so familiar to me. The mountain chains are like old friends. The Chinatis, over my right shoulder. The Cienegas are some ways off, and I can see them if I crane my head to the left (with their worn soft slopes, they are, geologically, the oldest mountains in sight). Cerro Alto sits just across the river in Mexico, huge and low, like an enormous tortoise. Cerrito de la Santa Cruz looms up long and jagged just behind Presidio’s Mexican sister city, Ojinaga. Atop Cerrito de la Santa Cruz is a cave where the devil is imprisoned. This mountain plays a major role in the documentary, “The Devil’s Swing.” And that’s why I’m here. I need to collect one of the subjects of the film, and drive him back to San Antonio, so that he can talk to an audience who’ll come to watch the film. I will find him in Redford, Texas. It’s also known as El Polvo. The little hamlet is on the Rio Grande, 16 miles down-river from Presidio. I look off in that direction and see, in the distance, the Bofecillos Mountains in the US, and Sierra Rica, across in Mexico.

I aim my little rental car south, and I descend into the valley.

Presidio hasn’t changed too much since I last visited a year and a half ago. There are a couple of new stores. The improved fire house was open. My favorite gas station (family-owned) was shut down. A new gas station (complete with a soulless convenience store) was now across the street.

I got on the river road and soon left Presidio.

Before I got to Redford, I pulled off the road and took a few photos.

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This stretch of highway 170 is still in my bones. I lived here for about a year a decade and a half ago. I come back and visit when I can. This is the road I would drive my 1969 Coupe DeVille with the cheap black paint job (perhaps the longest two door car of its era). For the citizens of Redford, the river road is almost a private road to their community. Well, that was then. It all changed in 1997 when Esequiel Hernandez, a shy and conscientious high-school student, was killed by a team of US Marines on a covert, clandestine operation.

Redford has a population of about 130. It formed as a farming community in the 1870s. There isn’t much farming anymore, and the locals have a hard time making ends meet. It’s common for people to work elsewhere for six months, and live the rest of the year in Redford. It’s a beautiful place, just desperately poor. When I lived there, Redford boasted a general store and a gas station. Not anymore.

I drove through town and pulled up at the old Madrid Store. Before I moved to Redford, Enrique’s father ran a combination general store and gas station. It eventually shut done. Enrique’s father died. His mother, a retired school teacher, turned the shop into a free library. She wanted to help out the kids who attended the one room school house across the two-lane highway.

Mrs. Madrid, the library, and the school were all there when I lived in Redford. Now, they’re all gone. Redford doesn’t even have a school.

When I rolled up to the Madrid’s, Enrique stepped out the front door. Three frisky dogs danced around him barking at me. The dogs charged, and soon they were rubbing their heads against me, licking my hands. I didn’t recognize them. Pets in Redford often come and go quickly. Many meet their demise from cars on the highway, snake bite, or coyotes coming down from the hills at night.

Enrique looked pretty much the same. A few years back he had lost a considerable amount of weight after he modified his diet when diagnosed as diabetic. And as he’s decided to identify himself as an indigenous American, he’s been growing his hair long. These are changes I’ve seen develop in my visits. The only new addition was the grey hair. Both he and his wife, Ruby. They don’t really seem older to me, but they now have grown gray.

As me and Enrique caught up, Ruby disappeared into the kitchen. I eventually heard the hissing of an espresso machine. Their friend Roberto showed up in time for cappuccino. Roberto is a history teacher at the Presidio high school. He’s also on the books as a Jumano Indian. Because Ruby had to work and couldn’t come to San Antonio with me and Enrique, Roberto was going to fill in. His semester had just ended, and he was open for a road trip.

We all watched a new documentary titled “The Ballad of Esequiel Hernandez.” It was shot while Tommy Lee Jones was in Redford directing his “Three Burials of Melquiades Estrada.” The documentary crew was from New Mexico. They got Tommy Lee Jones to provide some voice-over narration. The film is currently working the festival circuit. It’s incredible. They got access to almost everyone. I now need to contact the filmmakers and see what I can do to get the work screened in San Antonio.

After the film, we had dinner. Ruby’s cheese enchiladas are so enjoyable that I half-expect them to be classified as a Schedule II drug by the Department of Justice.

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The next morning me and Enrique drove to Presidio and picked up Roberto. We all headed to San Antonio.

Drew Mayer-Oakes over at the film commission have arranged for Enrique and a guest stay at El Tropicano Riverwalk Hotel. This place has an early ’60s vibe. Very retro. I kept expecting to look up and see Sammy Davis Jr. walk through the lobby — he’d be wearing a black two-piece suit, a white turtle neck sweater, a huge gold peace sign necklace, and the cocktail glass in his hand would feature mango chunks and triple sec.

We had dinner at Taqueria Guadalajara on Roosevelt. And called it a night. I dropped the guys off at their hotel room.

Just Another Reminder


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I’m off this morning to far West Texas to pick up Enrique Madrid for the Meet the Maker series.

So, I’ll take this time to remind the local folks again about the event. It’s this Friday, June 1st, 6 p.m. at El Tropicano Riverwalk Hotel downtown.

Click on the thumbnail for more info.


Hope to see you there!

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Now, back to my coffee.

Saying Goodbye Twice

Christy dropped by around noon. We were going to try again to make it up to Canyon Lake to scout locations for her film. After her car problem of last weekend (just a wheel snapping off on the interstate–clearly nothing she couldn’t handle) I gave a bit more attention to my own car. I checked all tires this morning. The pressure was fairly low all around. I pulled out my compressor and topped them all off. And so I offered to drive this time. Not that I have any doubts as to Christy’s driving skills or her car’s abilities. But, a.) it was my turn now, and, b.) she didn’t need the added stress (because once our cars do something dramatically unpleasant, it can take awhile to start trusting them again).

We stopped at Russ’ apartment in New Braunfels. After cups of coffee all around, we piled into Russ’ truck and headed to Canyon Lake. Christy wants a dead tree for a couple of dancers to climb up into and move around in her choreographed “phrases.” There will be some dance bits on terra firma as well. So, she was looking for sturdy trees, preferably one which had been weathered down so that the bark had been removed.

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She’d seen some likely specimens in a park on the shores of Canyon Lake. Russ, who has a long history in that region, wanted to show us some other likely places. But the problem was, the recent rains had the lake level so high that many of his choice locations were under water.

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I had fun traipsing around several parks, snapping shots of dead trees. When we found a potential location, Christy would “audition” the tree.

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Russ maintains a membership at the LCYC (Lake Canyon Yacht Club), and we took a quick tour, checking out their dead trees. It was a shame we didn’t find a suitable tree, the place has amenities — electricity, restrooms, and a comfy club house.

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We ended up deciding on Christy’s original site. The water was much higher than when she visited earlier, but the lake had not swamped the trees she wants to use.

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Much of the tour I think served to help Russ work through his on-going separation anxiety with leaving the region. Last year he had to move from a house he loved on the shore of the lake. But the place he found in New Braunfels was just down the highway from the lake. And now, with a teaching gig in San Antonio, he’s moving again. Much further away from his beloved lake. It can’t be easy. Like saying goodbye twice.



Don’t Fret — There Are Pictures at the Bottom

Every Friday I make it a point to cruise over to www.dustedmagazine.com, because: “Every Friday, Dusted Magazine publishes a series of music-related lists compiled by our favorite artists.” At the top of this week’s list by O’Death is the soundtrack from “Holy Mountain.” It’s a Jodorowsky film, beloved by his fans second only to “El Topo.” I saw “Holy Mountain” once, maybe 15 years ago on a muddy VHS tape. The visuals were, of course, stunning, the sort of stuff that never really leaves your head. But for some reason, I didn’t recall the music (probably because the copy was so poor, I kept the sound low). I decided to do a Google search and see if the soundtrack was ever re-released on CD. What I discovered was a cool blog called Dinosaur Gardens. In the archives was some info about the music to “Holy Mountain.” In fact, all 19 tracks were uploaded and linked to the page. The guy running the website, so it seems, had lifted the music off a VHS copy (and he apologizes as to the sound quality). It’s great stuff. And as I was trying to subscribe to the RSS feed (which the blog seems not to have), I read some of the more recent entries. There was a bit about some of Mo Tucker’s solo stuff she made after the Velvet Underground broke up. I think I had only heard two songs from her solo work, an A and B track off a vinyl single I don’t seem to have any more. But, on Dinosaur Gardens, I found all 9 tracks of Maureen Tucker’s 1981 LP, “Playin’ Possum.” I’m listening to it right now. Beautiful lo-fi work. It reminds me of other folks who recorded in their living rooms, like Bobby Fuller and Chris Knox.

The last two weeks I have been running myself ragged on two film events I’m planning. The fact that there is money involved in each job comes as a mixed blessing. It will help keep the creditors at bay, which is good. But the downside is that I need to show tangible results. I’m used to running my own productions, and answering only to myself. Sure, there would be deadlines, and there would be other people who I would find myself collaborating with, but the projects started and stopped with me. If no one liked what I was doing, fuck it. You switched on the Erik-Bosse-show, and if you don’t like it, change channels, why don’t’cha? But now I find myself in a subordinate position. Well, more like a go-between. I have autonomy, but only to a point. I have to answer to the people running these non-profit groups. It would be different if these were more traditional jobs. I could just leave my opinions at home (in theory), and do the work. But with these current gigs, I’ve been ostensibly brought in because I have a certain expertise (if not in event planning, at least in knowing many of the local players in the film world), and I guess I feel an added pressure to protect my rep.

And my rep (not to mention my street cred) is legendary in this city. If in doubt, check my blog.

“You know me, my name’s Erik Bosse.” (Cue aw-shucks Max Fischer grin from the opening of “Rushmore.”)

This is my summer of film event planning. Last year I had my autumn of film festival pro bono work, so I guess things are looking up. Yeah? Well, I dunno.

After the first week of June I’ll have the Meet the Maker event behind me. And by the end of July, I will be done with the Josiah student fest. And then I have to get moving on the 48 Hour Film Project. That will be over — all the paperwork filed and done with — by the end of August.

So, by September, I’m hoping for a big-ass vacation. Or, ideally, just liquidate all my possessions, stick out my thumb on Interstate Whatever, and find a whole new life.

Erin, a fellow crew-member from “Leftovers,” had answered a random questionnaire and posted it through the MySpace bulletin network. It had to do with people on her “friends lists.” For my name, she was supposed to use three words to describe me. One of her words was “busy.” The other two words favorably stroked my ego, and so I just looked at that “busy” comment with vague perplexity and moved on. But, as the days went by, I realized she was right. First off, she only knows me from what nonsense I spouted off on the film set, and what I writ in my blog. And, hell, I WAS working my ass off. I might not have a traditional job. But I am in constant motion. This is truly bizarre for such a lazy person as myself.

True, I enjoy about half of the projects, the volunteer work, and the etcetera that I do. But I haven’t felt truly good about anything I’ve worked on since a year ago, when I spent a wonderful and productive month in Mexico working on the Loco doc.

The weird thing is that I’m finally on IMDB … and I’m not doing a little jig and shouting for the world to hear.

For the uninitiated, that’s Internet Movie DataBase. Before the advent of the internet (“tell us more, gramps!”) all important movie info came through the annual hardback book, “Screen World” (aka “John Willis Screen World Annual…”). Every year my father (owner of a bookstore) would give my sister the newest edition. I always read through it. It listed all the major studio pictures, here and abroad, with a synopsis and full credits — cast and crew. Pre-internet movie reviewers used these resource books to make them sound like know-it-all geniuses. And then came the internet. And IMDB. Click over to the site. Wondering why you loved “Conan the Destroyer” so much? Bingo. It was shot by the same guy who was the Director of Photography for “Rambo: First Blood Part II.”

But, levity aside, IMDB is still managing to function as a discriminating database for folks working in the film industry. Only films which have found distribution or found their way into a film festival are eligible (and I’m sure there are nuances within these parameters). Anyway, because a feature I worked on last year made it into a film festival, I am in that damn database. I’d name the film, but the writer/director/producer/star was not thrilled with my candor as I blogged about that particular production, so, I’ve decided to follow this individual’s wishes and not be a part of the “promotion” of this film. Silly me, I thought (as Monty Python quoted from Wilde or Shaw or Whistler, or someone) that the only thing worse than being talked about was not being talked about.

I know that when Robin gets Leftovers into the festivals, I’ll get another listing in IMDB. And that’s good.

This is akin (almost) to getting published in the Screen World of yore.

When I was a kid in Dallas, I had the Granada Theater in walking distance. It was my cinema education. The Granada was a repertory theater and they played everything cool. Silent movies, foreign classics, new(ish) works from abroad, cult favorites, documentaries, animation, et al. It wasn’t until later that I realized that every town didn’t have something like the Granada.

If you had told me then that I would have been included in the future’s version of “Screen World,” I’d’ve peed my pants.

But now I can relate to a scene in the Simpsons. Bart is helping out with Krusty the Clown’s TV show. He’s a wide-eyed kid, amazed to be working in the “industry.” Kid and clown walk through a sound-stage. A sour guy standing at a TV camera removes the cigar from his lips and mutters, to no one, “I wish I was dead.” Krusty turns to Bart and says, “Don’t listen to him — this is a dream factory.”

Yeah. The truth is somewhere in the middle.

But I wish I could find that youthful enthusiasm again.

I don’t want to be another Jack Cardiff, leaving for posterity such shit work that features Conan and Rambo (well, maybe he’s a bad e
xample — he DID shoot “The African Queen” … sorry for being so rough, Jack).

The other day I was whining to Russ about finding myself holding the foul end of the stick so often. After holding his tongue until I had vented, he asked, “Well, Erik, you have heard of perceived value, right?”

Yeah, yeah.

So I’m trying to seem less like a whiny, impoverished, schmo. In fact, after getting a few checks from some production work, and feeling semi-flush, I decided to fill up my gas tank. I’ve been putting in five and ten dollars at a time. The low fuel light was on, so I stopped at the cheaper Citgo station near me (my tenuous support for Prez Chavez), and I gave the guy in the booth my credit card. “I’m filling it up.” Shit, I haven’t said nor done that in half a year.

64 dollars. And I quote my sister: “Thank you George and Dick.”

I’m hoping a certain Ms. Pelosi is considering putting a certain something back on the table. And, dammit, it was never hers to take off that table.

To change the tone, here are several photos from my neighborhood. Click on the thumbnails for bigger images.














The Dance of the Landlocked Manatee

Weird day. Rainy and overcast until early afternoon. I sluggishly ran through my mind just how far I could go with procrastination. But putting things off is a bad habit I fall into so easily. Take Sunday. I could have done all sorts of stuff. But all I managed to do was head out to Woodlawn Lake where Christy was holding her dance auditions. I hasten to add that I was there in the capacity of video technician — I fear I’m about as graceful as a landlocked manatee.

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Seven people showed up. And in retrospect I think we should have put the word out, not just through the dance community, but also into the acting world.

There were two who Christy felt strongly about. I think she’s leaning towards casting them. And there were two others that seemed to her as having potential.

I enjoyed the opportunity to watch the process of a dance audition. I know so little about the art form that I was rather in the dark as to what Christy was looking for. One thing that became quickly apparent was that she was putting these people through their paces to see how they went about become familiar with the dance routines. It, at times, had the feel of a class. And I could see why Christy is in demand as a dance teacher. She is patient, encouraging, playful, but clearly focused on getting the best out of the people she’s working with.

Afterwards, I headed home and started a short story. I got bogged down by introducing too many characters. I want something I can read at the next Gemini Ink free monthly writers workshop. It’s going to be Monday the 27th. The problem is that the pieces you bring are supposed to be four pages or less. I either need to lose a character or two, or read just a piece from it — and I hate that.

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My useless Monday of procrastination had me single-mindedly working through a pot of coffee and watching a couple of recent episodes of Democracy Now, archived on the internet. I enjoyed a banana and a couple of brownies my mother recently mailed me, as if I were stationed in Fallujah … or Joliet. Damn good brownies, by the way.

Eventually I decided to embrace the day and, dammit, do something. As I was heading to the shower, I got a phone call. It was Clint Hale, a reporter from a freebie weekly entertainment tabloid called 210SA. I confessed to him that I’d never heard of it before. And yet he still wanted to talk to me. His call was in response to the Meet the Maker press release. And so I found myself blathering on about … god, I don’t even know. I hope he excuses my glib pontifery and somehow manages to find his needed quota of material in my halting spiel.

After he thanked me, I showered, dressed, and prepared to head down to the Target on the southside to finally take advantage of a Christmas gift card. I needed underwear, boot-laces, VHS tapes, and a new tire gauge (this could indeed be the recipe for an entree of the next Dada Dinner Party). I had just enough time to visit Target, get a very late lunch at Pepe’s Cafe, and make it to Nikki’s place for a 5:30 appointment.

I got in my truck and drove off. When I was about seven blocks away, I got a call on my cell.

It was Ray Santisteban. Ray’s one of the more accomplished local filmmakers. I’m quite a fan of his work. And even though I’ve met him maybe twice, I have a feeling he doesn’t remember me. But we now have a connection, as he’s slated to show some of his work at a film event I’m curating June 1st.

“Erik, hi. It’s Ray. I have a DVD for you. You said you’re in the neighborhood. So, I could come by and drop it off. What is your address, again?”

“716 E. Guenther,” I said, smiling to myself.

“Oh, well I guess I could just walk.”

Yeah. Walking would be a good idea. I can see Ray place from my kitchen window. He’s across the street, four houses down.

“I’m in my car. But I’m just a few blocks away. I’ll meet you at my place.”

As I doubled back, I made it to my street just as Ray was stepping out of his yard. I called his name. Introduced myself. And he handed me a DVD of four short pieces with a full run time of 20 minutes. And, no, I didn’t get a sense he recalled having met me before. But I don’t hold it against the guy. He’s super-nice, and, as I’ve said, damn talented.

Target was a mild ordeal. And Pepe’s Cafe was tasty.

I made it to Nikki’s place on time. She’s been running acting classes for kids. One of the classes is with two very talented girls, Marina and Caroline. I’m a bad judge of ages, but I think they’re 12. Tonight was the final class, and Nikki wanted them to run through their paces in front of “industry people.” Now I have no problem with Michael Druck as a person of importance. He might be fairly young, but as the most important person to know at a certain local talent agency, you’d be a fool not to extend puckered lips in the direction of Druck’s posterior. And then there was a representative of the acting community. Anne Gerber is clearly the highest profile local actor. She lands the lead with appalling frequency in local theater and film. Yep. She’s at the top of the acting food chain. And this brings us to “industry” person number three. A representative from the filmmaking community. Me. Me? I wouldn’t have been my first choice, I know that. But in retrospect, I guess it seemed justified. Nikki did have her students watching at least one of my short films.

In fact, one of the girls wrote a review of “The Treasure of the Perro Diablo.” Not my best work. An unfocused piece that barely makes sense. But the child was polite.

Here we have Marina, in her own words:

“The Treasure of the Perro Diablo is an interesting and intriguing independent film directed by the one and only Erik Bosse. This Short Ends Project film stars Nikki Young, Rosalinda Coto, Carlos Pina, and Kathleen O’Neal. Nikki Young played Jackie and was believable in her performance. Nikki had great facial expressions. Rosalinda Coto played Angela and had an overall good performance. Rosalinda seemed to be using the Misner method of acting although there were times I didn’t find her character believable. The Perro Diablo was a foul smelling, glowing green-eyed dog that followed people around who eventually died mysteriously. This film will keep you guessing and ends with a cliffhanger. Possible sequel??”

How sweet. My first review! Thank you so much, Marina! A bit, um, harsh on Rosalinda…. Who, I should point out, is one of my favorite actors — she always gives me the performances I want, and then some.

Having said that, I really enjoyed the evening. The two kids are very talented, and lucky to be working with Nikki and PrimaDonna Productions — I’m convinced I witnessed the beginning of two great careers. Later, when they pitched to me that I should write a script to feature the both of them, don’t think I’m not giving it serious consideration. They’re fun, spunky, and blew us all away with an improve experiment.

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Here is my flyer for the Meet the Maker film series I’m curating. It’s a thumbnail. Click on it for a larger image.


If my local blog readers aren’t doing anything on the night of June 1st (and, yes, I know (now) that that’s First Friday), please head over to El Tropicano Hotel downtown. You might want to find a parking space on the street somewhere. The hotel charges 10 dollars for parking. Yeah, you heard right. But, please, come on out. Park a few blacks away if you’re poor like me. The headlining film is good. It’s about my favorite place in the world. And my good friend, Enrique Madrid, will be there to talk about this film … and he can also talk about a few other films made in the La Junta region. For instance, he was the local liaison when Tommy Lee Jones took his production of The Three Burials of Melquiades Estrada into Enrique’s turf.

It’s going to be a fun night!

Where Does This Girl Shop For Her Karma?

This morning I got up early. Christy was picking me up. The plan was to meet Russ up in New Braunfels and we’d all go out to Canyon Lake to scout a location for the dance film Christy is making this summer.

I’d gotten up with plenty of time to make a serious dent in pot of coffee. Seven forty-five she pulled up in front of my house in her little red car. We got on I-35 and headed north. A bit of cloud cover, but it promised to shape up into a good day for poking around the banks of the lake.

When the little red car began making rattling noises and shuttering a bit, I stole a glance at Christy to see if she found anything troubling about this new development. Having owned my share of older, used cars, I saw no reason to draw attention to something that might just be a pesky nuisance. Christy mentioned something about how her car had done this before. After five or ten minutes of this, I could tell it was getting on her nerves. She moved to the center lane and slowed down some. Perhaps she was thinking about pulling off the interstate.

And then the car lurched sickeningly. With admirable aplomb Christy tightened her grip on the steering wheel and said in a calm tone: “Guess who has a flat tire?” I knew it was a lot worse than that. At the lurch, I had seen, from the corner of my eye, a large shadow fly up and over the car. I assumed that the front passenger wheel had come off and we were on the naked metal rotor. I braced myself, assuming we’d slew deeply to the right and begin to roll. But Christy aimed unerringly to the shoulder, and brought us to a halt, perfectly alined on the shoulder.

If some serious shit goes down, I can only hope that Christy Walsh is there watching my back. She’s brilliant under pressure … unexpected pressure.

I got out, and yep, the wheel had indeed sheared off the rotor. Quite cleanly. Two of the lugs had snapped off. I walked to the back of the car and looked to the highway behind us. The wheel had followed us and was lying in the slow lane thirty feet away. I walked down and pulled it from the flow of traffic.

Christy crossed around to the grassy verge and fished her AAA card from her purse and punched some numbers into her cell phone. I pulled out my phone and gave Russ a call. He said he’d come on down and meet us. If nothing else, he could provide moral support.

As Christy made another phone call (to her sister, perhaps), I cautiously slid my little digital camera out of my pocket. I was lining up a shot with Christy (her back to me), and the sad, broken car. She shifted her weight from one foot to another. I was afraid she’d turn and see me, vulture-like, snapping away. I put away the camera. I didn’t want to add salt to the wound.

However, when Russ rolled up, he had no such concerns. Straightaway, he whipped out his own point-and-shoot camera and herded me and Christy together to shoot the poor car between and beyond us.

Once he broke the ice, I snapped off a few myself.

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The AAA wrecker showed up in under 25 minutes. I think I need to get on with them.

We offered to follow Christy back to San Antonio — she said the car was going to the garage she and her family used. But she said her sister would meet her there to give her a ride home.

I felt kind of weird not going with her in the tow truck, but I didn’t want to become another hassle in a day that had already started out so poorly for her. I mean, she’d have to have her sister drop me off at my place.

Russ said he was planning to drive to San Antonio later in the day, so I stuck with him.

We headed to a place in New Bransfeld for breakfast. He’d touted their migas and homemade corn tortillas before. In front of the restaurant was a huge rocking chair. Fuck if I know what it represents. But, at the risk of dating myself as an old man, it made me think of Lily Tomlin’s Edith Ann character. I hopped up into it and felt like a kid again. And by that, I mean I felt incredibly self-conscious and awkward.

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As we were enjoying some kick-ass migas and corn tortillas, Russ got a call from his daughter. She was getting a new tire at the Firestone place a couple of miles away. She was bored, while waiting for the tire to be mounted. Russ suggested she “read some of those hunting magazines they got there.”

But he’s not really that callous. After we finished, we tracked her down at the tire place, and Russ paid for the two new tires she had ordered.

Russ needed to make a detour to Seguin to look after the two Pekinese he occasionally dog sits. They’re delicate critters who need constant medication. On a positive note, they are pretty damn cute. For lap dogs, that is.

On the outskirts of Segiun (a town, apparently known for it’s cash crop of pecans) was this gigantic pecan. I had an overwhelming desire to steal it and place it in that big-ass rocking chair. And it would still look like a huge pecan.

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(This one’s for you, Paula!)

Later I gave Christy a call. Her mechanic was on duty. On a Saturday! And she’s back on the road. Amazing! Only something like 150 bucks poorer. Good for her. First, she didn’t die. And then, she got her car repaired on the same day pretty damn cheap. We should all be shopping where this girl gets her karma.