Short Fiction

The Music of Life

RoseI hate to dance. Period. That’s it. Today is my sister’s wedding day. She’s three years younger than I, which means I’m the spinster sister, although I’m a mere twenty-six. What does one have to do with the other? Nothing really, but it does contribute to me hiding out in the house while the bride and groom, and everyone else, twirls with abandon on the outdoor dance floor my father paid an arm and a leg to have installed just for the occasion.

My sister’s wedding.

I won’t be missed. Everyone knows I don’t like to dance. I’ve tried it, don’t get me wrong, even had dance lessons. My instructor kindly told my mother I was hopeless. If I was told to go right, I went left; if I was told to twirl, I stumbled; if I was told to dip, I dropped.

Let it be said, this put quite a damper on my social life.

A dancer I am not.

I wandered into the kitchen and dodged the caterers as I put together a small plate of food and filled a champagne flute with OJ. So much more elegant than just any old juice glass.

Flute and plate in hand, I plopped into an armchair in my dad’s home office. It was as far from the music as I could get and still be inside, away from notice.

I had helped select the menu for the dinner, so I had no problem plowing through the food on my plate. I should have gotten more, but dared not make a foray into the kitchen for another run. It would be just like my mother to be in there making sure the caterers knew what they were doing.

The froth of my dress, yes, it’s one of those too, too much in every way dresses brides force their bridesmaids to wear so we look ridiculous while she looks amazing. Fortunately for me mauve complimented my fair skin and chestnut hair. The sweetheart neckline and fitted bodice was okay. The mutton sleeves I could do without, as well as the miles and miles of silk and tulle worked into the skirt. We all looked like pudgy Swan Lake ballerinas on speed, even those of us with a slim figure.

I love you Sis, but some of your friends don’t need extra bulk around their butts and thighs. Just saying.

I jumped when the door opened. The most handsome man I have ever seen in my life stood there grinning at me.

“There you are! Joe told me to look for you in the most unlikely spot.”

“Joe?” I queried stupidly taking in the specimen before me with palpitating heart. Yeah, I know, treacly word, but my, oh my, my heart was stampeding like a herd of wild ponies.

“Yeah, Joe, your new brother-in-law. About my height, dreamy green eyes…”

He palmed the air when I raised my eyebrows at the dreamy green eyes comment. “That’s Pam’s description, not mine!”

Pam is my sister and Joe does have dreamy green eyes.

“So, come on. They’re wearing out the dance floor. Pam told me to come get you.” He put his hand out and expected me to take it. It’s the hardest thing I ever did to look at him like he was certifiable. I tucked my hands under my butt like a little kid to avoid temptation that might lead to something like dancing.

“Who are you?”

Let me see. How many witty opening gambits are there for meeting a hunk and half? Surely anything would be better than, who are you.

He gave a hokey sweeping bow, “Jake Morrison, at your service.” He straightened and that grin was back. “Joe’s friend. We grew up together.”

I did not remember Joe mentioning a Jake Morrison, and as one who poured over the guest list with razor like precision because it kept growing like weeds after a rainstorm, I knew Jake Morrison’s name was not there.

“I’m here as a surprise. I’ve been out of the country, but I had to be here for the most important day in Joey’s life.”

One, only Pam called Joe Joey, and two, had this man just read my mind?

“OOOOkay.”

“So, how about it. Let’s join the party.”

The music I hadn’t been able to hear, at least not very well, seemed to drift into the room. His hand hovered in front of me, palm up. Not clear exactly why I did it, I took his hand and let him help me up. I actually made it to my feet without falling on my face. As if it were meant to be, he brought me close, into a dancer’s embrace, my right hand in his left, his arm gently around my waist, and for reasons beyond my understanding, I placed my left hand on his shoulder (and a mighty fine shoulder it was) to steady myself.

“You are as beautiful as Joe said.”

I gulped. Nobody called me beautiful. Ever. Pam, well, she’s just a knockout. I’ve never minded. I’m okay, I mean my looks, don’t get me wrong, but beautiful?

He twirled me in time with the distant music, and I didn’t trip. Now that made my lips turn up in surprise, and maybe a touch of happy.

“And you have a lovely smile.”

I blushed.

“I hear you’re quite the artist, too.”

Painting, my guilty pleasure.

“How do you know about that?”

“Pam, she brags on you all the time.”

See, the thing is, my sister is my biggest fan, so I wasn’t surprised by his comment. However, my dabbling was just that, and I told him so as we dipped and swayed around Dad’s office, which seemed to have taken on dimensions I’d never realized before. Of course, when you know how to dance, and how to lead, it doesn’t really take that much space, I thought.

“What type of artist are you?”

“I just told you, I’m not an artist. It’s a hobby, that’s all.”

“You don’t think much of yourself, do you?”

Now I took offense at that statement. It’s just that I know my limitations.

“If you have limitations, you put them on yourself.”

Did I say that out loud? No, I did not.

“Let go, Anna, dance to the music of life.”

“I don’t dance.”

He grinned. “You are dancing,” he said, and spun me around, then caught me in a feather light embrace.

A slight frown marred his countenance. Abruptly he let me go and stepped back.

“Excuse me, I have to take this.” He pulled a cellphone from the pocket of his suit coat.

“Hello?”

I fidgeted and wished we could get back to doing that thing I don’t do: dancing.

“Now!? But I’m at my friend’s wedding.”

He turned away from me and nodded his head to whatever was being said on the other end of this annoying conversation. “Yes, I know you said I shouldn’t, but…” When he was done, he slipped the phone back in his pocket and turned to me, disappointment written all over his handsome face.

“Sorry, I have to go.” He smiled with such warmth and kindness, I smiled in return, even though in my heart I suspected I would never see this man again.

“Remember what I said, Anna, dance to the music of life.”

“I don’t dance!” I yelled as he walked out and closed the door.

I sat back down in the chair and wondered what the heck just happened.

“Here you are!”

I startled awake to find my sister, wedding gown still sparkling, wrinkle free and gorgeous, leaning over me.

“I found her!” she shouted, as if I was at the North Pole.

Alex, one of Joe’s groomsmen poked his head around the door. “Can I come in?”

What was I going to say? No?

“Listen, Anna, no hiding out. I may be the star of this show, but you’re my best supporting bridesmaid. Everyone’s asking where you are.”

“I got this, Pam,” Alex said. “You better get back before Joe starts to wonder if you’ve already come to your senses and left him.”

Pam punched him in the shoulder hard enough to make him wince. My sister, in addition to being runway model beautiful, is a black belt in karate.

She left me with Alex who turned to me with a dazzling grin and put his hand out to help me up from my chair. I surreptitiously pinched myself on my underarm to be sure I wasn’t asleep and dreaming. I mean, really, what are the odds two gorgeous men would be paying attention to me when there were bevvies of beauties out on the lawn just dying for a flirt fest?

I took his hand and stood up gracefully despite my frou-frou flounces of fabric. I must have looked a bit pensive because Alex’s smile disappeared to be replaced by concern.

“You okay?”

I realized he was still holding my hand and it felt darned good. I took it back and smoothed the fabric of my dress.

“Of course. I… I was wondering what happened to Jake.”

The expression on Alex’s face could only be defined as stunned. He visibly shook himself, or maybe shuddered, and smiled a ghost of a smile.

“Jake?”

“Morrison. Jake Morrison. What happened to him? He was…”

“How did you know Jake? Joe and Pam just got together two years ago.”

“I…”

He looked at me with a mixture of bewilderment and distress. “Sorry, it was just such a surprise to hear his name after all this time.”

I knew I didn’t want to hear whatever he had to say and lifted my hand in a useless gesture to stop him.

“I thought everyone knew. Sorry to be the one to tell you. Jake died in a skiing accident three years ago.”

“But…”

He looked at me and swallowed. “He would be here today, if he could. In some ways…” He glanced around and then back at me. “In some ways, I think he is. Wherever there was music, there was Jake, charming the ladies and spinning them around the dance floor.” Alex drew in a deep breath and blew it out. I sensed he, like I, was on the verge of tears. “His mantra was dance to the music of life.”

He knuckled a tear from my cheek I didn’t know was falling.

“He swore he would dance with the most beautiful girl at the party when Joe got married. He can’t be here, but would you do me the honor of allowing me to fill in for him?”

As we walked into the hallway, I looked back. I swear Jake Morrison was standing there grinning at me. I blinked, and he was gone.

_______
I hope you enjoy this little bit of romantic fantasy. Be sure and drop by my booth (59) at People’s Faire on Saturday, Aug. 27. I’ll be selling signed copies of my books.

Q&A With Sharon Stewart

Making a life with photography

According to Sharon Stewart’s website bio, photography is in her genes. Her Great Great Aunt Sadie, Quaker, was a commercial photographer in 1880s Iowa, having a studio with another Quaker woman. Stewart says the impetus of her photographic work is service and beauty. Her Agua y Fe: Water and Faith series is on exhibit through Labor Day at the Plaza Hotel’s Ballroom Corridor Gallery in sponsorship with the Las Vegas Arts Council.

Sharon Stewart
Sharon Stewart

ORP: What brought you from urban living to a more rural lifestyle?
Sharon: My birthplace on the frontera of southernmost Texas with Mexico was imbued with agrarian expanses and fecundity, a languid pace of living, and small town familiarities. I studied finance and economics at the University of Texas, Austin and moved to Houston to begin my photographic career. This served well, though I longed to dwell back with the cycles of nature whose elemental forces resonated with me rather than the densities of the city. Looking for a home in the Mora Valley was a five year endeavor, and yes, finally finding a place in Chacón, the shift from living with three million to three hundred (people) was swift and welcome.

Abran & Vidal
Abran and Vidal

ORP: Your website bio refers to your photographic purpose. Talk about that and how it has shaped your work.
Sharon:
Having completed a photo narrative on grassroots environmental activism in Texas, which gave voice to the concerns of salt of the earth folks protecting their land, air, water, culture from the ill effects of industry and the government’s hazardous waste practices, I was a bit discouraged by the realities of what we do to one another in the name of profit. When I moved here, I took a long look at why I was photographing, and ultimately, the answer was to serve history, this coming from strong service ethos that runs in the Stewart family line. Certainly the Toxic Tour of Texas was an activist/advocacy piece with the photographs being used in legislative testimony, published in the daily and environmental press, exhibited in libraries, shopping centers, and museums throughout Texas. Turning to a quieter life, photographing the rituals and traditions of Hispano New Mexico and the acequia culture in El Cerrito continued in the vein offering a view into lives aligned with the land and community. I had begun the El Agua es la Vida project three years before moving to Northern New Mexico, and it expanded with the exploration of the village life over the course of two decades, something I term Slow Photography, a commitment to the narrative through time. These photographs are part of the Water in the West Project and Archive residing at the Center for Creative Photography at the University of Arizona. The Mora Valley narrative, Exit West: A Cultural Confluence, began upon my arrival and will continue through my life here. A major focus has been to place these images in archives and special collections at universities in the American West for scholarly research and teaching purposes.

ORP: How has your purpose evolved from when you started?
Sharon: Initially I was recording the world as I encountered it. I have come to understand that what we see, observe, perceive is an aperture into the self, as tightly or as widely as we are willing to explore and share. Image creation can be a journey into self hand-in-hand with the human instinct to remember, gather, share, enjoin, act. So as I have come to see it, my “purpose“ has been finessed or perhaps honed over these many years of engaged seeing.

Compuerta
Compuerta

ORP: How did you get from being an aspiring photographer to actually doing it for a living?
Sharon:
As for many in rural Northern New Mexico, making a living is a mosaic endeavor. I often say I make a life photographing.

ORP: When do you know you’ve captured the subjects of your photographs in just the way you want?
Sharon: Photographing is intuitive for me. Certainly intentionality and placing oneself in the image field is vital. Much of the joy in photographing is opening oneself to the unknown, being free in the not knowing and releasing the imposition of will or expectation on a situation. However, the narrative structure necessitates an understanding of relationships, economic and societal influences, cultural, religious and familial overlays, so I have drawn on my university training to scope an encompassing view of a chosen subject. There is also a calming resonance I feel when all the elements align for a signal image.

ORP: The Stewart photographs I’ve seen are primarily in black and white. Is that your preferred mode of expression and if so, why?
Sharon: My initial work was in color transparency, though with too much noxious chemical exposure in the Cibachrome color printing process, I moved to black and white. However, each subject has an appropriate expression through process, which determines my choice of using color or black and white, film or pixel.

ORP: Talk about the photographers who influenced you and how their work contributed to your photographic and career choices.
Sharon:
Early on I studied the Dadaists and Surrealists and their alignment with chance, unexpected juxtaposition, and dream exploration—Man Ray, Merét Oppenheim, Hannah Höch, Marcel Duchamp, and by extension, Alexander Calder and his playful lyricism. In the black and white canon, Minor White for metaphor, spirituality and beauty, Edward Steichen for experimentation, Paul Strand for clear-eyed, compassionate observance and commitment to a finely crafted negative and print, Laura Gilpin for evocative landscapes, Dorothea Lange for social and economic justice. Their creative expression is synchronistic with ways I perceive the world, so I look to them as both partners and guides.

ORP: Realizing that each image has its own unique message, what do you want your photographs to convey?
Sharon: My intention is to open in viewers understanding and discovery by stimulating their imaginations and memories.

ORP: If you could use only one word to describe your photography, what would it be?
Sharon:
Whenever I have been asked about a favorite anything, I respond that I have many favorites for as many different reasons. Same applies to my photographic expression. If you look at the bodies of work in the arc of my creative life, you will see work originating in the personal, the universal, the communal.

ORP: What motivates you to continue taking pictures?
Sharon: I cannot not take photographs, though I become more selective about when and where and what I photograph. Photography has taught me to see, not just look, see, and those observations aren’t always tangibly recorded.

ORP: Where have you exhibited and do you have current shows up locally?
Sharon:
The cultural landscape images of Northern New Mexico, many of which are currently on view in the Agua y Fe: Water and Faith exhibition at the Plaza Hotel’s Ballroom Corridor Gallery in sponsorship with the Las Vegas Arts Council, have been exhibited at the New Mexico Museum of Art, NM History Museum, Office of the State Historian, Center for Creative Photography, Museum of Fine Arts-Houston, NM Capitol Arts Collection, Visual Studies Workshop, Houston Center for Photography, FotoFest International Biennial. Other work has been exhibited in Amsterdam, Belgium, Germany, South Africa, Cuba, Canada, New York City, Los Angeles, Boston, Washington, D.C.

Learn more about Sharon Stewart and view her online galleries at www.sharonstewartphotography.net

____________________
Photographs: Sharon Stewart, used by permission

Q&A: Photographer Elaine Querry

…seeing the world through her eyes

Elaine Querry
Photographer Elaine Querry

Photography is one thing; taking images to another level requires ingenuity and originality. Technique plays a part, but only when applied by an expert hand and a discerning eye. Elaine Querry is that kind of photographer. She has been working in this art form for more than 35 years and has won numerous awards. Elaine’s work has been shown in locations around the world and is in many public and private collections. As a fine art photographer she captures images that speak to her as an artist and challenge her creatively. Her work is on exhibit through September at 2 Ten A Galaria of Art and Treasures, 210 Plaza, Las Vegas, N.M., along with the work of sculptor Duke Sundt and artist David Carter. The Galaria is open from 10 a.m. – 5 p.m., Monday – Saturday. Elaine and her husband Ron Querry live in historic Las Vegas, N.M. in a century old Victorian home.

ORP: There was a great turn out for the opening of Out West at 2 Ten A Galleria of Art and Treasures. Talk briefly about the show and the participants.
Elaine: Linda and Bill Anderle have brought together a group of people working in a variety of media to illustrate the theme Out West. Duke Sundt is showing a selection of his incredible bronzes;  I have a collection of color photographs from in and around Las Vegas;  Texas photographer David Carter has images of rodeos that he’s worked on in and out of Photoshop. Also showing are artists – Stuart Gelzer (photographs) and Alice Winston Carney (watercolors).

ORP: Everyone with a cell phone believes they’re the next Ansel Adams. What makes a fine art photographer different from the casual picture taker.
Elaine:
A cell phone, a digital or film camera are all just tools. What makes a fine art photographer is someone who attempts to take the viewer there. To present the image in such a way as to provoke a visual dialogue with the audience. When I photograph I’m looking to tell a story. To stop a moment in time and place and to record it as I found it. Photography is a wonderful way of remembering and expressing the world around us. Fine art photography goes deeper. It’s as much about the photographer as it is about what she is recording. Photography becomes not only a tool but an extension of who we are, framed by our experiences and our visions, our hearts and our souls. As a fine art photographer, I think in terms of series whether all at one shooting or later bringing together images that build on each other and work together. The series I am showing now at 2 Ten are images I shot for my enjoyment and interest over a period of five years with no expectation of a resulting show. I’m driven to photograph. When I can put together a series, it’s very satisfying.

Elaine Querry & Alice Winston Carney
Elaine talks about her work with Alice Winston Carney, whose watercolor paintings are also in the 2 Ten show.

ORP: What drew you to photography as an art form?
Elaine:
Early on with photography I found a way of expression that didn’t need words. One where I could communicate and express myself visually. I am an artist and photography is my art form.

ORP: I’m a fan of photojournalism because I do believe a picture speaks a thousand words. What “story” do you look for when you take photographs?
Elaine:
 I began my career as a photojournalist and I was also chief photographer for three newspapers. I shot, printed and developed my editorial and advertising work as well as that of others at the papers. I learned from some very good editors that you must tell a story with your photographs. You need to shoot from different angles and levels to find that right image and to bracket your exposures… you need to stretch yourself, to take chances. It’s important for me not put myself in the image – I want to show you what’s there so you can see it and form your own ideas, your own insights. And I compose the image in the viewfinder – shooting full frame. Rarely do I crop an image.  Dorthea Lange said, “The camera is an instrument that teaches people to see without a camera…”

ORP: Your www.elainequerry.com website is called Shadowcatcher. What does that mean to you and how does the term reflect your work?
Elaine:
Shadowcatcher is another term for a photographer. Someone who catches shadows. I first heard that term as it was used to describe Edward Sheriff Curtis (1868–1952), the early and great photographer and ethnologist whose work focused on the American West and its Native peoples. His subjects called him Shadowcatcher because he photographed them and made a print which “caught shadows”. I use that name instead of, and along with, photographer. It’s a beautiful and accurate way to describe what I do.

ORP: What is the most difficult aspect of what you do and why is it difficult?
Elaine:
 It’s all difficult. As it should be. There’s that old thing about people thinking – and actually saying – that if they’d been there with a good camera they could have taken that picture. That’s like saying if they’d had a good pan, they could have made that gourmet meal. I love what I do, but the most difficult aspect for me is to focus on one thing. And I want to do that one thing to the best of my ability. Every project seems to take so much time!

ORP: Is being a fine art photographer more manageable with all the technology available?
Elaine:
 It has made things much different. The works of so many of the masters of photography were here long before our current technology was created and those works are still exquisite. Digital technology has given us additional tools and that has opened up other worlds, other ways of expressing our vision. For example I work a great deal with old photographs that I’ve tried to restore using traditional photography with varying levels of success. But once introduced to digital technology, I’ve had much more success in getting those images close to the originals.

ORP: Do you still use film or do you rely on digital?
Elaine:
 I rely on digital but have not given up my film cameras or wet darkroom. I rely a great deal on the images I have taken on film over the years before I went digital and I rely a great deal on my digital images. I’d like to incorporate the two more. And I like to do alternative process photography as well, and photograms, which one makes without using a camera at all. I have licensed a number of my alternative process images for use as book jacket covers in this country and in Europe.

ORP: What do you most want people to know about you as an artist and photographer?
Elaine:
 I want to show you what I see – to show you what is there. To show you something you may not see or be aware of on your own. To open your eyes to something new. To make you look.

ORP: Please add anything that is important to you that I left out.
Elaine:
 For the past three years I’ve been scanning old Cowboy Reunion and other panoramas as well as various other vintage photographs and restoring the scans and then printing the resulting image. It takes a lot of time in front of a computer using Photoshop, but I find it’s been very rewarding. It’s a quiet sort of communion with the people and the time (1915-1940s) in the photographs. For me it’s almost like a meditation of an era gone by. In the panoramas the face might be just a quarter of an inch high but on the computer I can blow it up three or four hundred times to repair the file. Lots of information and lots of things to see and think about! I have a dozen of the early Las Vegas Cowboy’s Reunion Panoramas on display and for sale at the Plaza Hotel.

_________________________
Photos: Linda Anderle

 

RIPPLE EFFECT

nice blue droplet splashing in a clean water

Oh, I am sorry, forgive me,
I said,
I didn’t mean to be–

thoughtless, unkind, rude.

So, forgive me, for those
things I said or did.
I didn’t mean anything.
Just joking.
Just kidding.

I hurt your feelings?
Don’t be so sensitive!
Couldn’t you tell I was being–
funny?

And then someone called me “bossy”
in the most teasing sort of tone.
I knew he meant
pushy, aggressive, ambitious.
Someone else commented
–oh so kindly–
on my weight,
wondering what I was doing
to get into shape.
There have been other asides
I won’t quote,
words intended to be droll, I must note,
not cutting or demeaning
or­­­–
hurtful.
Two lessons from life’s journey:

One,
if it tears down rather than builds up,
don’t say it–

Two,
forgive careless words
spoken by others.

Be a pebble of kindness in the pond of life,
creating ripples of forgiveness.

 

Smile

Let your light so shine before men, that they may see your good works, and glorify your Father which is in heaven. Matthew 5:16

Need a smile? Give a smile.At the local nursing home I learned – all over again – the power of a smile. As a Deacon in my church I know the value of approaching life in general, and troubled souls specifically, with kindness in your heart and mind. When that kindness is expressed with a smile, it creates common ground. Nowhere is this more evident that when you smile at elders in a nursing home and say hello. The transformation is amazing. Faces pulled down by the weight of being alone, or old, or by the never-never land of dementia, light up like candles in a dark room. Is it because for a moment the individual feels validated, real and present, acknowledged by someone who took time to smile and perhaps say a word of greeting? Or maybe she sees in that smile a vision of herself as she was, and still is. Behind the façade of age or mental illness or physical limitations, he sees that someone cares.

“We shall never know all the good that a simple smile can do,” Mother Teresa said. Smile, you never know who needs it, and it will make a difference, mostly in you. _______________________
Photo: clipart.com

 

 

 

The Prayer: Peace & Grace

I’ve listened to this version of The Prayer, featuring David Archuleta and Nathan Pacheco, many times. In a chaotic world this song – so beautifully rendered by these talented young men – reassures and uplifts. Happy Monday.

 

 

Q&A With Cinematic Entrepreneur

And promoter of Las Vegas: Jim Terr

Jim TerrPromoting the community can sometimes feel like a thankless job. It requires hard work, a sweeping understanding of the area, discerning what makes the area appealing locally and to visitors, and an ability to connect with readers and viewers in interesting ways. Jim Terr continues to be a light in the tunnel that leads folks to visit – and helps those who live here appreciate – the sweetest little town around. He does it in creative and often quirky ways, always positive and lighthearted. What you may not know about Jim is how very talented and creative he is. He has produced countless YouTube videos that highlight Las Vegas positives, and many that celebrate life. He is a satirist with a liberal bent, a song writer, and a tongue-in-cheek commentator on the fractured political landscape. This Q&A is about his consistent dedication to promoting Las Vegas, the original.

Watch Jim show off his talent in Over the Edge Part 8 at Sala de Madrid, Thursday-Saturday, 7:30 p.m., and in a matinee performance on Sunday at 3 p.m. He will be performing as an opening act featuring a couple of his songs, including his most recent video Road Show Rejects. (A disclaimer here, Bob and I have our 10 plus/minus seconds of fame in the video.)

ORP: Talk about yourself and Blue Canyon Productions.
Jim: Blue Canyon Productions
, a name I don’t use much anymore, was originally coined after a canyon near here, to go with my first production, an album I did with Sweetgrass (1972), a bluegrass band I was in. I’ve used the name to cover a lot of my music and other productions, which transitioned into a lot of video work starting in 1993 with Las Vegas, New Mexico – America’s Oldest Film Location, which has gotten almost 3,800 views on YouTube since I first posted it, and hopefully some good publicity for Las Vegas.

I’m participating in the upcoming CCHP Places With a Past Film Tour of Las Vegas on Saturday, Aug. 6, as a docent at the Plaza Hotel, speaking as an expert on Las Vegas film history – which I’m actually not – but I’ll brush up on the subject. I also have a long-running website on film at www.lasvegasnmfilm.com. And I’m trying to promote some future film and TV productions, hopefully in Las Vegas, with a “Romaine Fielding” series of vignettes at www.TentaclesFilm.com

ORP: You’ve had success writing jingles. Talk about that and how it inspired your creativity.
Jim:
I think my first jingle was a song I did on an album around 1983, called Is Your Mama Behind You?, about littering (wondering if your mama is following behind you to clean up your litter). The jingle was distributed nationally by the Sierra Club. When I returned to Las Vegas in about 1985, I did quite a string of radio jingles for local businesses, banks and Murphy’s Drug Store to name a couple. I have done many since then, including a national jingle for Snapple, which I was told was the most popular of that series. It was called Sing a Song of Snapple. My little niece and nephew accompanied me on vocals and saxophone respectively. I found out later that the kids made much more in royalties from it than I did! Anyhow, I have a foundation-funded documentary in progress looking at jingles in a larger perspective historically www.jinglingfilm.com, a realization that came to me while listening to an old-time brass band in Plaza Park one day.

ORP: At what point did you burst into the digital arena with your very active Facebook page, and what have you gained or realized from this effort.
Jim:
I was resistant to Facebook (like everything else), until a friend signed me up, and the rest is history. I spend half my day on Facebook. I always say I learn a lot about other people, and have made a lot of real friends and business connections. It’s a great playground for me, and educational in a million ways. Facebook has gotten my videos and other content out there. Although I’ve gotten more than 1.5 million views of my videos on YouTube, I get many more views per video on Facebook, so maybe I’ll surpass that total on Facebook videos someday. Here’s one about Jimmy Carter that amazingly got over 140,000 views on Facebook, and almost 6,000 shares (reposts). So Facebook has been a great gift for me.

ORP: Talk about your website.
Jim:
I have so many websites I wouldn’t know where to start. Way too many, mostly momentary inspirations that have not been productive; I’m “website poor.” You may be referring to the New Mexico Vegas  website, www.NewMexicoVegas.com. That was an idea to incorporate the many Vegas-related websites and projects and videos under one umbrella. Several folks and businesses in Las Vegas pitched in for me to put that together and make some new videos specifically for that site, some of which have gotten quite a few views already. So, it’s an effort to sort of consolidate a lot of my local promotional efforts in one place. I’m expecting that the Road Show Rejects video will get quite a few views over time. Like some of the other videos I’ve done at Charlie’s (Spic & Span, Bakery and Cafe), and around Las Vegas, I think it features some of the “good spirit” that makes Las Vegas unique. An occasional resident once told me it was the friendliest town he had ever been in. I had never thought about it, until then. I try to promote that generosity, which I think is extraordinary, as well as the physical and historical beauty.

ORP: I’ve thought about uploading videos, but it seems a bit daunting. Talk about how you became such an active producer on YouTube.
Jim: Before YouTube came along (or before I got onto it), it was quite a deal to upload a video to a website. YouTube made it much easier. Once you get familiar with the procedure it’s pretty simple. It’s even easier to “embed” a YouTube video into your website. I’ve become rather compulsive about producing videos – it is great fun and has produced some income and some visibility for issues I care about. I now have more than one thousand videos on YouTube. Facebook is where my new videos get the most views, and that’s equally easy to upload once you understand the procedure.

ORP: Why do you work at promoting the community when your only compensation is an occasional, “Thank you?”
Jim: I enjoy it for some reason, and enjoy sharing and seeing beautiful pictures of nature and architecture and people in general. I hope some of it generates tourist business for Las Vegas as well as additional pride and appreciation among residents. And I do get compensated – sponsorships – for some of my videos, occasionally.

ORP: What do you most want people to know about the area?
Jim: I’ve covered a lot of that in the videos and comments above, but here’s one that’s been very popular on YouTube (almost 20,000 views!), Las Vegas New Mexico – the Real Las Vegas, featuring our superstar, Brenda Ortega. Come to think of it, I don’t think I’ve ever put that video on Facebook…

ORP: Talk about some of the songs about Las Vegas – serious and parody – you’ve.
Jim: Here’s a funny one about Las Vegas – or Northern NM in general – with more than 5,000 views on YouTube), though probably not everyone will think it’s funny. I would hope we all agree that Las Vegas is absolutely unique in about a million ways – including its history and culture and architecture.

On a more serious note, I did a series of videos about some of the “elders” in our area, if you search for “NEW MEXICO SURVIVORS” on YouTube you can find them.

ORP: What is your goal in producing/creating your many Las Vegas-related YouTube videos?
Jim: It’s just been some sort of itch to appreciate Las Vegas and to share that appreciation and hopefully promote tourism, and of course to keep myself afloat with sponsorships for videos and websites when I can.

Jim Terr is available to film videos on commission. You may contact him at www.JimTerr.com, e-mail: bluecanyon2@juno.com

 

 

Get Ready

In Bloom

 

Life is not about big moments;
it is comprised of many small events.
Some leave you cold and confused,
others plant tiny seeds of love.

Big moments come and go,
we’re never entirely ready for them.
Small acts of kindness take root
and re-form who we are.

Get ready to be surprised by
joy that blossoms
when these tiny seeds
burst forth in laughter.

Get ready to weep
when the seed becomes compassion,
deeply felt and shared,
expressed in mercy and love.

Get ready to be there
in the moments you are needed.

To listen…
to laugh…
to cry–

Get ready.

_________________________
In memory of our good friend Jack Van Horn, a poet at heart
(Photo: clipart.com)

Friends

I gaineSelfie With Lilyd a year. I’m not kidding, I did. Most of last year I said I was 72. A couple of weeks ago, Bob corrected me (isn’t that what husbands are for?). This is the second time I’ve done this. When I turned 57, I said I was 58, so right up until my 58th birthday, at which point I found out I’d been 57 working toward 58, I was older and younger at the same time. Anyway, the point is in two days I will be 72. I’ve left 71 in the dust, but that’s okay because I never knew I was 71. Now that I’m going to be 72 I’m okay with it, after all I’ve been living with it for a year already.

The selfie is of me with an almost blooming day lily. This and a white day lily were given to me by my friend, Sharon Caballero. They’re early B-Day presents and I’ve happily put them in the ground (in pots, the soil in our yard won’t grow anything), and can’t wait for them to bloom.

LilyThe lilies were a wonderful surprise, but the biggest surprise was the three – yes THREE ­– birthday cards that accompanied the plants. I can’t begin to explain those cards except that every one of them contained an inside joke. I laughed so hard my stomach hurt!

Thank you, Sharon, for your thoughtful gifts.

I’m not giving anything away when I tell you I know what my friend Kathy Allen is giving me. The reason I know is that it was purchased at a silent auction fund raiser. It’s a unique lapel pin and I was determined to have it, so I started bidding. Kathy and I had a bidding “war” going on until she told me to stop bidding because she was getting it FOR ME for my birthday! Just a comment here, she clued me in before the bidding got out of hand :).

So, thank you, Kathy, for the gift I know is coming. Unless, of course, you changed your mind and decided to keep it :).

These are two remarkable, wonderful and thoughtful women. What they gave/will give me is filled with meaning for me because both Kathy and Sharon know me pretty well. The best gift they give is their friendship all through the year.