Monthly Archives: June 2007

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.