Jimmie Draper: Rain, shine, sleet, heat

mariachi-festival

This post needs a soundtrack. Nothing would be more fitting than San Antonio high school students belting out mariachi music, so please play this while you read. For Jimmie.

1968. I think James Miller Draper, Jr., was there when the Paseo del Rio Association started, raising his hand to volunteer to do whatever it took to get attention for the River Walk.

It might be hard to imagine now, but the few businesses opening along the river were desperate. There were times when the only live things walking down the sidewalk in the heart of the river bend were pigeons. Things were so dull, there was even a night when some bored unnamed river operators shot fish. With guns.

Jimmie served as president of Paseo del Rio Association twice, in 1975 and 1984. But assumption of that responsibility is minor compared to his continual presence through thick and thin for more than four decades.

The coldest mornings in December always were the Fridays we placed luminarias along the river’s banks. Bob Buchanan made the coffee, and Jimmie brought the doughnuts. Without fail. For decades. Nancy Hunt, current executive director of Paseo del Rio Association, said that even last year Jimmie rode the bus downtown to deliver sweets to those delivering bags to the river’s banks.

No weather forecaster was more accurate than the first night of the annual Great Country River Festival the first weekend in February. Guaranteed sleet. Jimmie was always there.

The event closest to his heart always, though, was the Fiesta Mariachi Festival. It was his. I believe he was the first and only chair of the festival for more than 40 years. He threatened to retire one year. Paseo even threw him a party to recognize chairing the event 25 years or so. That just made him sentimental and mushy about the whole thing, so he kept coming back. Every year, he gave up four nights of Fiesta to meet the high school students boarding the barges. Without fail. Until this past year. Being 86 is a pretty good excuse for easing up a bit.

Generally Jimmie had the patience of Job. The time he really lost it, although not publicly, was at City Hall. The Paseo’s contract with the city in the late ’70s required we continually appear before Council to request approval for each event.

It should have been routine, but poor Mayor Lila Cockrell had a rather rowdy bunch to try to keep corralled. Those were colorful times.

I could almost see the hairs on the back of Jimmie’s neck bristle as a councilman went off on a rant about gringos being in charge of putting on a mariachi festival.

Then there was without a doubt the most incredible remark I ever heard at City Hall. Councilman Joe Webb interrupted the diatribe: “Mariachis. Cucarachas. What’s the difference? They’re all the same to me.”

Councilman Bernardo Eureste leapt to his feet and challenged Councilman Webb to duke it out. The scuffling councilmen went out in the hall to settle things, but were restrained before striking any serious blows.

Permission to stage the admission-free festival was granted, but, on the way out of City Hall, Jimmie said that was it. He would never go back there and be insulted like that again.

But he kept on volunteering again and again and again. Rain, shine, sleet, heat. No matter.

Gringo Jimmie might not have been known for shouting loud gritos in public, but, in those early years working with Belle San Miguel, his belief in bolstering the talents of young musicians gave fledgling programs in public schools a stage on which to shine. Before there were statewide competitions, the Mariachi Festival was the event inspiring students to strive for professionalism in their performances. Jimmie loved to see students board the barges, proudly wearing their festival medals from each year they had participated.

This spring will bring the 44th annual Fiesta Mariachi Festival. Jimmie was there for 42.

luminaria

Light a luminaria for Jimmie this holiday season. If it goes up in flame, it’s his unselfish and generous soul flying up to heaven.

Richard Nitschke: Seeing Agave in a Different Light

When you take a flower in your hand and really look at it, it’s your world for the moment. I want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower. I want them to see it whether they want to or not….

I decided that if I could paint that flower in a huge scale, you could not ignore its beauty.

Georgia O’Keeffe

The striking beauty of the agave is not as hard to overlook as a petite flower, but four-foot by four-foot photos do command attention.

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Long-prized in Mexico for both medicinal uses and for producing Tequila, the plant has earned great respect in South Texas for its ability to withstand droughts.

Although not opposed to Tequila consumption, Richard Nitschke views the agave differently. He photographs the ones on his Hill Country ranch over and over under varying conditions, pushing the limits of light by shooting into the sun, overexposing and underexposing in order to release compositions hidden within. His focus on light and design at times makes his images border on the abstract.

Two of his agaves won awards in the Paris International Fine Art Photo Competition, and two of his works are included in the permanent collection of the Bibliotheque Nationale de France.

“Agave” opens for a three-day run at the 110 West Olmos Gallery from 6 to 9 p.m. on Thursday, December 12. The photos also can be viewed from 10 a.m. to 6 p.m. on Friday, December 13, and from 10 a.m. to 3 p.m. on Saturday, December 15.

Prior to making his living in commercial construction during his child-rearing years, Richard studied ceramics with Steve Reynolds at UTSA and worked in the silkscreen studio at the Guadalupe River Ranch. He also is a bluesman, singing lead vocals and playing rhythm guitar and the harp with the Mister in the After Midnight Blues Band.

Catch the art, and then make time the following weekend to catch the band playing at Gustav’s Bier Garten behind Magnolia Pancake Haus on Huebner from 8:30 to 11:30 p.m. on Friday, December 20. The doctor temporarily has grounded Claytie’s warbling, but Ginger Pickett will be filling in with the kind of holiday blues you want to catch.

Older than Methuselah and larger than the whale that swallowed Jonah

Growing up, we had an attic stretching the length of the house. When spring-cleaning was forcibly enforced, we three girls would take all of the things we could not bear to part with, virtually everything, up to some corner in the attic.

When my poor mother finally got ready to downsize, she logically assumed we would return for all the treasures she housed patiently for us through the years. But no. We wanted all of those things – my Shirley Temple doll and Barbies and those hoop-skirted formals of my oldest sister – but we wanted them in my mother’s house, not ours.

We are now going through mountains of papers, books and photos carefully retained for more than a century by the Mister’s side of the family. Our generation now is supposed to assume guardianship, but, in our case, we already have downsized. The next generation has not yet, if they ever so choose, upsized.

I am the last person who should ever go through remnants from the past. I cherish every scrap of paper offering clues about past lives. I wander through old photos more slowly than Moses found his way out of the desert.

Take this Bible, for example.

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It’s older than Methuselah. Okay, not quite that old. It was published in Philadelphia in 1831.

This is not your ordinary King James I Bible. In addition to the Old and New Testaments, it ecumenically includes the Apocrypha, all translated out of the original tongues. There are “marginal” notes and references; an alphabetical index of every character mentioned; tables of scripture weights, measures and coin; historical maps; and numerous engravings. The cover is gold-embossed, and the Florentine lining almost makes our granite countertop seem pale. It dates from a time when historical engravings could even bare breasts.

Of course all of these things add up. They add up to a full four-inch-thick volume, rather weighty to slip subtly onto any bookshelf.

The original owner bore a name from one of the most brutal fire-and-brimstone books of the Old Testament, Zephaniah. This book describes a vengeful god making men plant vineyards, but not allowing them to drink a drop of the wine they produce (Chapter 1: Verse 13). The Lord in this book was fierce:

I will consume man and beast; I will consume the fowls of the heaven, and the fishes of the sea, and the stumbling-blocks with the wicked; and I will cut off man from off the land, saith the Lord.

(Chapter 1, Verse 3)

Reading that made me worry that the Mister’s third great-grandfather might have been rather frightening. But Zephaniah Turner Conner (1807-1866) appears to have been named after his Aunt Sallie’s husband, Zephaniah Turner (1779-1855). Zephaniah Conner and his wife Louisa Ann Godwin (1815-1891) were descended from families who’d been in Virginia for several generations, but the newlyweds headed out to Macon, Georgia, after their marriage and increased the population there by producing at least 11 children, according to their Bible. Among the great family names bestowed upon these children is a personal favorite, Granville Cowper Conner (1837-1900).

Although Zephaniah Conner served as a colonel in the Civil War, he allowed his daughter Virginia (1839-1931), the Mister’s second great-grandmother, to marry a man born in Massachusetts. Serving as a Lieutenant in the Georgia cavalry easily made up for the original birthplace of William Allis Hopson (1836-1873). The couple took their vows in Christ Church in Macon, Georgia, in 1866. The Bible, with a ticket from the 1871 Georgia State Fair serving as a bookmark, was handed down to them.

Their daughter Georgia Hopson (1870-1928) married Lucius Mirabeau Lamar, Jr. (1866-1931), a family with a set of remarkable names as well, in Christ Church in 1894 before heading to Mexico. Perhaps she lugged the weighty Bible with her on that rugged journey.

The Bible then found its way to San Antonio to the home of the Mister’s maternal grandmother, Virginia Lamar Hornor (1895-1988).

And now the Family Records contained in this tome covering half my desk when open taunt me to dig deeper into all of their backgrounds. Some day I will, but I have a whole cemetery of people whose memories I currently am excavating.

I am closing the cover now, wondering who will assume the role as its caregiver. Maybe this Bible that has traveled so far needs to find its way back to Macon.