The ghoulish lyre above is far from what I normally would choose to lead off this post about MIMMA, Museo Interactivo de la Musica Malaga. But it is high Halloween season. Impressively, the lyre is made from all-natural organic materials, hopefully found objects not freshly harvested for the crafting of the musical instrument.
MIMMA overall is far from fear-inspiring; it is melodic dream-inspiring. There is a learning lab for kids to experiment with sound. There are huge percussion instruments one can strike, and there is a room with play-me instruments, an invitation the Mister did not turn down.
While the Mister was distracted in a sound-proof room toying with electronic sound boards of some sort, I engaged with the interactive screens. Instead of wandering around gazing at obscure old instruments wondering at their sounds, you can tap the screen and listen to a recording of someone playing appropriate music on them. Mesmerizing.
Carmen, the Buleria Machine
Melquiades, the Flamenco Beat Machine
Melquiades, the Flamenco Beat Machine
Hohner multi-sided harmonica
Hohner trumpet harmonica
zanfona, or hurdy-gurdy
West African guembri and balafon for parades
Nipper and “His Master’s Voice,” a Gramophone
Ariston mechanical organ
interactive “escuchar” screen
Favorite instruments though were two 21st inventions by Ignacio Rodriguez Linares, both of which appear vintage. They present solutions for when the band or dancers fail to show. Carmen, a rather complex machine:
…has a series of levers that when activated, interpret Buleria percussion. It also includes the specific clapping accompanying this type of dance., as well as other typically used Buleria sounds, such as the rhythm and off beats, triples, calling, climax and conclusion, in addition to syncopation, 2, 4, and 6-beat bass, 3-beat sharps and 12-beat (clave) rhythms.
Then there are the cute petite stomping feet featured on his Melquiades Flamenco Beat Machine. This novelty allows musicians to select the appropriate rhythms for the seven most common Flamenco styles (Lajos – Kathleen Trenchard definitely needs this for Christmas).
Máquina flamenca “Carmen,” del inventor Ignacio Rodríguez Linares on Al Sur
But what photo would I have featured were it not Halloween? Nipper. The most important thing in the museum to me is Nipper.
With his brother’s part terrier mix dog, nicknamed for his annoying habit of nipping at the heels of any passersby, as his inspiration, Mark Henry Baraud painted the dog with his head cocked toward a Gramophone, listening to “his master’s voice.” The Gramophone Company paid the artist 100 pounds for it in 1898. Eventually the rights to the image made its way to RCA Victor.
While the Nipper in MIMMA appeared a little cold, it still felt like a reunion of sorts with my sleeping companion for several years. Some friends of my parents who owned an appliance store in Virginia Beach showed up one night for dinner when I was six years old with what would become my favorite stuffed animal, a three-foot high version.
Nipper joined George, a green monkey; Tony, the toucan; and little Lambs-Eat-Ivy to occupy a good 2/3 of my single bed. Despite the crowded sleeping arrangement, I never once let any of them fall off the bed. We had a mutual protection agreement. I kept them from the edge of the precipice above the alligator pit under the bed, and Nipper vigilantly prevented any alligators from scaling a bedpost. The alligator problem was Davy Crockett’s fault (Or my sister’s. It’s a long story).
Although alligators never got any of us, it was a tough assignment. Nipper sometimes suffered from leaking innards and had to undergo surgical repairs at the capable hands of my mother several times before his eventual retirement to the attic.
Back to the museum. We were ready to leave, when the nicest man asked us to stay for a Chopin piano recital in a small performance hall. Wine time was calling, but his invitation was so sincere. And there were only six of us in the audience. A rather intimate personal recital. It was beautiful.
Peering over the pianist’s shoulder, merely eyeing the number of notes on the sheet music was humbling, to say the least. There was no way I could have begun to follow the music enough to even have volunteered to serve as a page-turner.
Blessed be the eternal God; for the fishes of the sea honour him more than men without faith, and animals without reason listen to his word with greater attention than sinful heretics.
It is said that on that day, June 13, 2013, the fish gathered around him.
With great expectations, they gazed upward.
So many fish bobbed in the waters of the San Antonio River, barge traffic was halted.
The fish waited and waited to hear words of tribute. They waited for sounds of great celebration.
You probably think I am referring to the honkers, the ones who exuberantly circle the streets of downtown just above St. Anthony’s head whenever the Spurs are victorious.
Which they were not doing on June 13, the Feast Day of San Antonio de Padua, the patron saint of San Antonio.
Yes, the Spurs seemed lost. And, he, the patron saint of lost things, was all but ignored. Save by the fish.
St. Anthony, St. Anthony
I’ve lost something
That can’t be found.
Not everyone ignores St. Anthony.
What’s wrong with this video? It’s from Boston.
This festival does not take place here. In this city. In front of his mission.
St. Anthony is not vengeful. Surely the Spurs’ loss was mere coincidence. If saints interceded in sports, would St. Anthony have looked down more kindly on the team of his namesake city or the Celtics?
For a while, there was a spark of hope for an emerging celebration of our patron saint. An artist, Rolando Briseno, sought attention for the overlooked day on the calendar.
He brought us a Flippin’ San Alamo Fiesta and a Flippin’ San Antonio Fiesta on June 13 a while back. An emerging grand Fiesta Patronal seemed on the horizon for future years.
But, alas, this year on the Feast Day of St. Anthony, the artist instead submitted a commentary to the San Antonio Express-News.
In this published piece, Briseno explains the rationale behind his earlier fiestas:
Tejanos, the first European/mestizo settlers of Texas and builders of the Alamo, and Latinos in general do not feel welcome at the Alamo today because the narrative has been spun into one of Anglo hegemony….
Little by little, over time, the Tejano role has been written out of the history books. Now that the Daughters of the Republic of Texas are no longer in control of the narrative at the Alamo, I’m among many who hope the Tejano contributions will be given just representation.
But Briseno has faith in the great state of Texas to rectify this, so there was no grand Fiesta Patronal:
I am not performing “Spinning San Antonio Fiesta” this year because Texas Land Commissioner Jerry Patterson, the new caretaker, has stated that he would like to change the Alamo’s narrative to be more inclusive.
This could make the Alamo a place where all people can go to leave behind discord and contemplate the convergence of cultures, and this, in turn, will make for a more harmonious future. That’s an ideal worth making a shrine for.
He’s right about the ideal. But I fear he is overly optimistic in his expectations of the commissioner.
There is much pressure building among the Alamobsessive to make Alamo Plaza a shrine to one day in history. And that day is not June 13.
Unlike Briseno, I fear that moment in 1836 will conquer the layers upon layers of history of great importance to our city that the plaza represents, both before and after the battle.
I’m not demeaning the sacrifices of those who perished in the battle, whether Mexicans or Texians. My dreams of Davy Crockett go way back.
And I do think millions who head to the plaza annually would benefit from better interpretation of that event on site.
But, I wonder whether the heroes of the day would want that moment in time frozen, the moment they were shot or impaled upon a bayonet.
If you were killed in a war, would you want those left behind to focus on the exact second the last drop of blood gushed from your body? Would you want them to visit that spot over and over and over, reliving your dramatic departure?
Or would you want them to remember what went on before, while you were alive?
And would you want to feel your sacrifice was worthwhile? Instead of being a static war memorial, would you want the plaza where you died returned to a place of life in the heart of a city filled with exuberant celebrations?
Briseno might be breathing easier, but I think it’s premature.
As there is yet a Fiesta Patronal, I think some of us better don a St. Anthony medal if we want the story of Mission San Antonio de Valero to be found.
And, maybe, just maybe, it’s a good idea to go buy one before the play-off game tonight.
That way, at least the fish will hear honkers celebrating above St. Anthony’s head.
Go Spurs, Go!
Post-Game Update on June 19, 2013:
Maybe medals alone are not potent enough.
Time to ignite the power of a St. Anthony candle for Thursday night.
From “Nuns calling on the fan upstairs: For the naysayers who think Spurs don’t have a prayers” by Abe Levy in this morning’s San Antonio Express-News:
Would you deny the prayer of Sister Rosalba Garcia, 85?
A Spurs flag flutters from her walker next to a Spurs Coyote doll. On her closet door are team photos and a poster of her all-time favorite player, Manu Ginobili, next to a portrait of Sister Mary Mazzarello, the Salesians’ cofounder.
There we were, sitting beside each other. Phil and I.
I’m talking about Phil Collins. But I just call him Phil now. Because I sat beside him for about one minute.
As you can tell this is leading to one of celebrities’ worse curses: people who don’t know them writing about them.
But, of course, this is different. Because I know him. Because I sat beside him for about one minute. And he politely introduced himself to me and shook my hand.
That, and we have several things in common.
Davy Crockett, for one.
When Phil Collins was a kid growing up in a London suburb, he would often watch an amazing show on his family television. There, in black and white, was Fess Parker as Davy Crockett, King of the Wild Frontier. As he matured, Collins not only acted out the exploits of his new hero, but he often refought the Battle of the Alamo with his toy soldiers.
While I’ve never sure been it’s psychologically healthy to adopt Texans’ fascination with the battle they lost, playing Alamo seems a better alternative than the Davy** Crockett chapter that influenced me as a child in Virginia Beach.
I sat alone in my room, playing the record. Over and over and over.
It wasn’t this one, or, if it was, it was part of a much longer recording. I can’t find the version in my mind online.
Perhaps what I remember didn’t exist except as a compilation in my jumbled file cabinet of a mind. But it was Davy Crockett. Or Fess Parker. And it was a life and death struggle with bears and Indians… and the part that haunted me.
I have no idea how many times I listened to that recording, but definitely many times too many.
Even I knew my mother was exasperated.
I would wet my bed. We’re not talking about a three-year old. I was six.
But I had my reasons.
I ran screaming to my parents one night about the bears in the house – my visiting Great Aunt Mary snoring.
There were Indians in my closet. I finally learned keeping the light on in the closet kept them at bay.
But the light filtering through the louvered door did not help with the Crockett family’s other adversaries.
The women then slacked the rope a little and made it fast round a hickory stump, when my oldest darter took the tongs and jumped on [the alligator’s] back, when she beat up the “devil’s tattoo” on it, and gave his hide a real “rub a dub.”…My wife threw a bucket of scalding suds down his throat, which made him thrash round as though he was sent for. She then cut his throat with a big butcher knife. He measured thirty seven feet in length. (Davy Crockett’s almanack,*** of wild sports in the West, life in the backwoods, & sketches of Texas. 1837, p. 10).
My self-preservation instinct was strong. Who in their right mind would risk getting out of bed with alligators on the prowl? Alligators hungry for a “tongariferous” fight. Bladder be damned if I would.
Not only would I not set foot on the floor when alone in my room at night, I would not let a pinky slip over the edge because…. Snap! Those alligators were fast.
And I had a family to protect – a toucan whose name now escapes me; George the green monkey whose rubbery pink hands and feet were comforting to chew nervously upon when trying to make it through dangers lurking in the night; and Nipper, a huge RCA dog who took up easily half of my single bed. I never once let George’s tail hang over the edge. I would sleep rigidly, never ever tumping one over the edge into the alligator pit.
To dream of an alligator, unless you kill it, is unfavorable to all persons connected with the dream.
The flaw, of course, was no one understood this was why I wet the bed. And, when I finally managed to explain, no one took the danger seriously. Of course, now they have books about this. But that was the late ’50s, and they had not yet been written.
Finally, midway through first grade, a solution was found. A path of folding chairs was set up each night between my bed and the bathroom. Somehow, I was able to summon the courage to imperil myself by crawling across this wobbly bridge to the safety of the bathroom, and, of course, everyone knows alligators would never cross the threshold onto the tile floor.
So, as I was writing, Phil’s interest in perpetually fighting – probably trying to change the outcome – the losing battle at the Alamo seems a preferable Davy chapter in which to be stuck.
And Davy seems to have stuck with both of us, Alamobsessive souls that we are.
I focus on and fret about the Alamo as the city’s front door. I constantly nag, in blog form, the city to enforce its historic ordinance to keep illegal signs from multiplying at night. I have even used some of the historic postcards I have assembled to create protest collages.
These efforts have had limited effect. And, not surprisingly, these particular collages have not resonated well with art collectors.
Now, legislation has been filed to form a commission to study the state of Alamo Plaza. Good news to some, but the bill would go farther than my Alamobsession wants by giving the commission the mission to “reclaim its original footprint.” I might not love Ripley’s, but I love the Alfred Giles’ Crockett Block.
Plus, if returning Alamo Plaza to its appearance at the time of the battle is taken literally, the Alamo would get a crewcut (Click here for a long-winded post about that particular issue).
I don’t know how Phil feels about this. Because how much ground can you cover in one minute?
But I do know, while I was collecting postcards of chili queens on Alamo Plaza, Phil was collecting everything else Alamo. When Phil does something, he doesn’t fool around. He gets serious. He even collected a building off the plaza. This is from his myspace page:
From Bill Wyman’s metal detecting to Alex James’s cheese-making, every self-respecting musician is obliged to cultivate a hobby to relieve the stresses of the rock star life. Collins is no exception, utilizing the basement of his Swiss home for his twin enthusiasms: building model railways and tending to his vast collection of Alamo memorabilia.
“… it’s an all-consuming thing for me. I spend as much time in San Antonio as I can. I rent a little property out there on the walls of The Alamo itself where I’ll dig for artifacts. I’m always looking for stuff to buy and the collection is growing fast. I’ve got a huge number of cannonballs, muskets and bowie knives that were used there, Lady Crockett’s pouch and many documents that were written by the main protagonists. One of my prized possessions is a receipt signed by Commander William B. Travis for 32 head of cattle used to feed the Alamo defenders.
“My kids are convinced that I was present at The Alamo in a previous life. Just recently I attended a convention out there and met a clairvoyant who is married to a man who’s attempting to restore the Alamo compound. She walked up to me and said, ‘’You’ve been here before. In a previous life you were John W. Smith, one of the major couriers who survived the Alamo and become one of San Antonio’s first mayors.’ Oddly enough one of the first documents I bought for my collection was the receipt for Smith’s saddle. So maybe my kids are on to something.”
Phil collected so many Alamo things that photos and information about them now fill a 400-page book, which brings us to another thing we have in common.
Because I sat beside him for about one minute. And, as you can see, we obviously engaged in animated conversation. Probably because we have so much in common. And I didn’t even get a chance to tell him I’m married to a bluesman.
Somehow, KSAT-TV failed to catch this important connection on camera, which is good because I would not have wanted to end up in the pages of some publication, such as The Star, where they zoom in on the superficial shortcomings of someone my age – the preponderance of wrinkles, protruding bellies and falling bustlines.
Another thing Phil and I share is we have changed careers. I have changed career directions several times and feel free to sprint off in any direction I choose. If I choose to write books, that’s fine. No one objects; no one cares.
But, poor Phil. He’s worked hard his whole life – “I enjoyed Genesis when I was 19” – and wants to pursue his hobbies now:
Reporters repetitively bombard him with “why?” Some fans of the Grammy-winning star express anger at him for retiring from concerts. This, even though, according to his myspace page:
His less prolific work rate is partly down to health reasons. Since 2000 he has suffered from loss of hearing in his right ear. More recently he was diagnosed with severe nerve damage to his hands, making drumming extremely challenging. During recording sessions for his new album, he was forced to tape his sticks to his hands.
Owsers. That sounds totally painful. Give this man a well-deserved break.
Keen to accentuate the positive, he explains that his medical concerns have forced him to take stock of his life. “I never used to think of myself as a workaholic,” he says. “I used to work non-stop because I couldn’t believe my luck that I was able to do all these things that I loved. I was everywhere and I can see why that must have been annoying to some people. Then I reached a point where I no longer felt the need to go zooming around the world and attend the opening of every envelope. Basically I stopped.
“I’ve got a nine-year-old and a five-year-old. I take them to football. I like to take them to school and pick them up. That’s my life now. I love doing the things that other people probably find tedious because they’ve been doing them for so long. I never did those things in the past as I was always working flat out. That was my loss. Now I’m able to do all that and also have time to indulge my passions.”
Besides, somehow I feel this man’s Alamobsession will end up helping shape the future of Alamo Plaza. I’m sure it will accomplish more than my haranguing collages and blog posts.
Oh, and, Phil, if you get tired of staying in hotels when you visit San Antonio, the Mister and I might be able to work out a house swap with you. The Alamo’s less than a mile away from our door. Call me next time you are in town and you’ve got a minute. Who knows what else we might have in common?
*With apologies to William C. Davis, author of Three Roads to the Alamo: The Lives and Fortunes of David Crockett, James Bowie, and William Barret Travis. Hey, at least I didn’t title the post My Life with Phil Collins. Now that would have been a stretch.
** David would be more historically correct, but does not represent the popular culture upon which we – Phil and I – were weaned.
***Oh, dear. I had to stop in the middle of this post to order a copy of Davy Crockett’s Riproarious Shemales and Sentimental Sisters: Women’s Tall Tales from the Crockett Almanacs, 1835-1856, for which I paid a penny, plus $3.99 shipping – quite a bargain unless the alligators return ‘neath my bed. And, as that is an “our” bed, I’m positive the Mister would not relish the thought.
Update on March 25, 2013: John Spong of Texas Monthly spent considerably longer than a minute with Phil Collins.
Update on March 27, 2013:
A follower reminded me to look back for this photo of Phil Collins, coonskin-hatted at age five playing Davy, that appeared alongside an article by Steve Bennett in the San Antonio Express-News last May.
Which reminded me of another obvious thing Phil and I have in common – the Battle of San Jacinto. His collection began with a receipt for a saddle purchased by John W. Smith, who was at both the Battle of the Alamo and the Battle of San Jacinto and seems to continue to haunt the collector a bit. My desk currently is haunted by reams of paper pertaining to the families and relatives of John Coker who settled on his land grant on the north side of San Antonio. Jack Coker was a hero of San Jacinto credited with the idea of blowing up Vince’s Bridge, blocking one of the possible escape routes for the Mexican troops.
And, on another note, one of my sisters fessed up that she was the one who told me I’d be safe from dangers lurking in my room if I let no part of me slip over the edge of the mattress. So nice after all these years to finally unload the psychological burden for bedwetting on a sibling.
Update on May 6, 2013: Mary Dearen’s version of the same awards luncheon as published on mywesttexas.com.