Various shorts on New Mexico art and culture: New Mexico's Segesser Hide Paintings; Fashioning New Mexico: Victoria's Secrets; Estancia Press; Tesoros de Devocion: Treasures of Devotion. Artisode 2.9: Pat Oliphant (produced Ken McDonald/Michael Kamins); Dona Teresa: In Her Own Voice.

And there's a number of reasons for that. One is they were done so early and they're one of the earliest visual accounts of New Mexican life and so they date some to sometime between 1720 and 1729. Sega Sir 1 is a more mysterious painting and there are two major pieces missing and so as a result of these pieces missing we haven't pinned down the exact battle now that the scene in the painting is a battle and it looks like it's between two groups of Native Americans the Apaches that we've identified and someone who are allies to the Spanish and why do we say allies in Spanish because they're dressed in part in Spanish uniforms and using Spanish weaponry.

The faces are Native American but one of the people on horseback is completely dressed in Spanish outfit with the Spanish Epilets you know as an officer you know it looks like he has feathers on his head but what it is is that there's actually a helmet and he's attacking on horseback in full kind of leather armor you know the horse is covered in everything and then behind him come others and it's almost you know textbook European strategy of attack and array of attack and so the main army will be behind them and we don't know who's in that main army and that's that's the big question. There's a mesa in this and on top of the mesa are these women and children who all have these happy faces and from their way their hair is done up and everything we can tell those are Pueblo Indians and so they're probably captives of the the Apaches and the people attacking the Apaches are there to release the Pueblo captives. We know from the 2 for example the Battle of the Via Sword Battle we know from descriptions of

the battle from the survivors what happened in that battle and it's all been pieced together by all this testimony but the painting itself has it all there and so it's almost eerie in the accuracy. The battle itself was important in that it was a battle over territory between France and Spain and Europe they went to war and so of course the colonies got to fight each other and there was this big big fear in Mexico City that the French were going to send an army into the Spanish Empire through through the Illinois country into New Mexico and so the governor here had to send an expedition actually two of them this was the second one and find the French and they didn't find the French but they heard about the French and then they were ambushed in the confluence of the Loop and Platte River in Nebraska present day in Nebraska if you can imagine a full third of the soldiers in New Mexico were killed in that battle and then there's the final stand and the final stand is probably the most obvious thing in the

focus of the painting and those are the guys that all died and what they're doing there in a circle almost back to back if you look close at the faces each one is individualized there's everything from ecstasy to despair. The Spanish and the Pueblo Indians are on horseback and you can see that clearly in this they're horse are soft to the right being guarded there were no horses on the planes at that time so none of the planes Indians had horses and so the ponies and the hotels were doing the attacking are on foot the French owner they're dressed like colonial soldiers you know with a try caps and in that kind of stuff the New Mexican soldiers from from the Presidio here are kind of dressed really neat you know they're kind of cool man if I was going to dress I'd look that way because you know women would swoon and stuff I mean they have you know like a leather jacket and panel wounds and and they have the our dog a shield which is kind of a bull hide shield and then

they have these white brimmed hats flat white brimmed hats and then the weaponry the muskets that the Spanish are using are mickele locks which is what Spain used so they have those and they're actually shooting them from their hip which is really how they did it. The other things that are really interesting are the attacking people the ponies and oatos for example there's a in here a spear that's covered with buffalo hide. Well that's been described in documents but never seen we even have a good guess as to who the two painters were which even adds to the mystery of it all you know in that in a father's son combination with a certain name of Tejeda if that's true the son died in this expedition and the Via Sore expedition so the father was executing a painting in which his son you know of a scene in which his son had died. So for all those reasons these paintings are unique in this country I mean they're they're almost like the bayou tapestries are to say Europe you know they are to not just New Mexico but to the United States.

The arrival of the railroad changed fashion in New Mexico.

When a Victorian woman visited Santa Fe for the first time culture shock went both ways she would have been surprised and shocked to see the local women in their loose fitting comfortable summer blouses in their short colorful skirts and they would have been shocked to see her wearing long sleeves and tightly corseted and long skirts. I imagine a fashionably dressed woman would never admit it but she probably wished she could dress that way on those hot days but she was fashionable she had an image to maintain. It was very important for a Victorian woman to create a currently fashionable

silhouette that she was wearing the proper undergarments that would well in short make the dress stick out in the proper places. One of the pieces of clothing that is probably the most misunderstood in the Victorian era would be the corset. The corset would support the bosom by lifting everything up. It also gave great back support and it smoothed out all those curves that us women can develop on our waistline. When you think of corset you think of tightly corseted skinny 18-inch waist sucked in Hollywood version. I can't breathe cut the laces. Did that happen? Yes. Did every woman type lace? No. There's plenty of photographs of women from the Victorian era with

very normal sized waist and very good posture and there were many different styles many different colors. A woman today picks her underwear according to her own taste and a woman back then would have done the same. Many women in the Victorian era felt that a tiny waist, a very beautiful slender waist, was a sign of gentility and the higher classes. A woman who had to work for a living whether she was a schoolteacher or seamstress, she probably wouldn't be able to have a luxury of tight lacing. She would have had a thicker waist. A woman of high society, a rich man's wife, didn't have to work for a living. She could tight lace and it was a sign of her status in life.

However, we know that women are women and even the working class ladies would strive to bring their waist in for a slender effect because they wanted to look like the ladies of high society. Some people felt that it was a sign of gentility and propriety and that a young woman would need to have a slender waist to catch yourself a good husband. The Victorian bustle was a very amusing and unusual piece of clothing. And the underwear wardrobe. A modern woman cannot understand at all why a Victorian lady would want to make her butt look big. A woman would find that if her bustle projected the proper amount and each

woman could decide for herself how big or small she wanted her bustle to be. If a bustle dress is tailored properly to the body, the projection off the back end can again make the waist look smaller by comparison and it creates an extremely elegant look when the dress is fitted properly. Someone said how would you know when a bustle was large enough? Well when you could rest a t-set on it of course. When I see a bustle I think of a birdcage tied around a woman's waist made of wires and cloth and boning the very intricate contraptions to provide the foundation for all the heavy drapery that was fashionable at the time. What I think ties the past with the present a modern woman with her little scanty underpinnings

and a Victorian lady with her eight layers of underwear, her corset, her bustle. Both women know that what they're wearing underneath their outfits is what truly makes them feel an act more feminine as they step out for the evening. I have always been astonished.

I have always been astonished at how difficult it was to set type for a newspaper and how quickly they could do it because in the early days I used to bring it was just to take a piece of type out of a box and stick it onto a imposing stick and then set that in type and it may just do that every day or every week. This press is a 1907 Chandler and Price Platinum press and it came here in 1908 and was the first press used at the Astancia News. Other presses joined it during its lifetime.

It stayed at the Astancia News after it merged with the news Herald press and stayed there all this time until 1969-1970. Every aspect of it reflects the use by hand. So I'm pumping it with my leg. With one hand I'm putting the paper in with the other hand I'm taking the paper out. Really sort of a 19th century stairmaster. I just love the movement of that. The way the flywheel is spoke. The sound of this press is mesmerizing. I love running this press. When the railroad showed up in 1900 it brought the people in and Astancia has it now exists

at its beginning. Astancia was a major creed center. The railroad brought in the homesteaders and they started farming everything they could. Every quarter section had a farm on it and this area was the Pinto being capital of the world for some years. Driving down Astancia's main street is a trip to the past and it's a past that doesn't exist anymore. Today it's just a shell.

Jacob Alva Constant came to New Mexico and started his newspaper in Astancia in 1912. It was called the Astancia News Herald. It would have meant something to live in a town that had a printing press for one thing but it was the internet. It was the radio. It was the TV. It's how word got around. The News Herald building was right in the center of town next to the movie theater down the street from a couple of restaurants, a couple of bars, two mercantile companies. I suspect Mr. Constant was busy walking around town asking people what was going on, stopping at the depot when the train came through to see who got off and who got on where they were going and where they'd come from. Once a week the printing press as I understand it was started and it probably was loud and smoky inside that little building. But the sound as the press ran the pages through was the heartbeat

of the town. The the plant and press was a real workhorse. It was primarily a workhorse for job printing which was one of the economic mainstays of small newspapers. Besides the day-to-day bread and butter work probably it's claimed to fame and this is why everybody should love this press. This press printed the first book of cowboy songs ever published. Well songs of the cowboys was a seminal work in that it established cowboy music as a genre. Before that people didn't know there was such a thing. Once they were aware of it it just took off like wildfire. Recordings came along and movies came along so we had Tom Mix, we had Gina,

we had Roy Rogers. All of that came out of that book. I considered the book a national treasure. It was very important to the people then but it's very important now because we can go back to the newspapers that were printed and see how everything evolved and it isn't just the legal notices that say a piece of land was foreclosed or that there was an election and it had certain people won. It tells us the day-to-day trivia of life which is probably not very interesting when it's happening but extremely interesting years later. The boys are seeing back on my old red run a fine there's no place like this old ranch home singing Tyra, yay singing Tyra, yay, yay. And the person who was making for a wonderful week. So Burroughs and Deaths and Parties who had a party.

When you look at these you you see what was happening on a day-to-day a week-to-week year-to-year basis. I mean we have notices during the depression of people selling off their farm and what's printed on that hand bill is a listing of everything that's being sold. When article I recall and how to achieve openness and it suggested eating extra meals, sleeping a lot so that you could gain the proper girlish figure that was popular at the time. It's important because it's a real chronicle of the activities of a particular town. Printing came to New Mexico in 1834. Certainly there were literate people but by and large illiteracy ruled. Nothing wrong with that per se. People got along just fine but when you see what happens

when print is introduced to a culture everything changes. I remember one joke that was printed which I thought was hilarious. These two little kids were in the courtyard of the courthouse and one of them saw these people walking out of the courthouse and said oh there goes that jury that they're having and the other kids says can't be they hung that jury last night. Our distance that jump into this medium even though they're not

religious in any way eventually will be transformed. The term Santo is a vernacular Spanish term and refers to any image of a saint either painted or three-dimensional. Santero or a santeta is a person who actually carves or paints those images. Prior to 1680 and the public revolt much of the artwork that adorned churches in New Mexico

missions were either imported from Spain or brought up from Mexico City then the quebler revolt happened and most of that artwork was destroyed. It wasn't into the re-colonization with De Vargas in 1692 that you see the real blossoming of the classical santero tradition happening around 1750 going all the way up to the late 19th century. A redabolo is a hand-hands pine panel called a tabla. A bulldo is a three-dimensional sculpture of a saint either carved from Ponderosa pine or cottonwood. So many of the pieces from New Mexico both bulldo's and retables were used either in churches private chapels or for home worship.

Most of them were cared for like family members. So many of these old world saints were reinterpreted in New Mexico for instance saint Joseph generally holds in his hand a lily but in New Mexico holds a local flower the holy hawk another saint that comes to mind is Anacasio who was a Roman soldier he's usually depicted in his soldier garb but in New Mexico he is wearing the soldiers uniform of the northern front tier and down below him is his army also dressed in the same uniforms so again reinterpreted in old world saints in a new world setting. With the opening of the Santa Fe Trail and the coming

of the railroad into New Mexico there was an abundance of mass-produced religious artifacts coming into New Mexico and there was often replaced the santos that were being made in New Mexico that santero tradition in New Mexico slowly died out. I was inspired by my grandfather who was a santero here in Santa Fe in New Mexico. With the research that I've done in the past and the beautiful examples that the museums do have that has helped me and respect and honor the abilities of the artisans from long ago. The santero tradition certainly has a head of Renaissance really starting 1930s 1940s

with such santeros as Charlie Curio and Victor Golaire and Ramon Lopez and they are still using those techniques that the early santeros used such as water-soluble paints produced from minerals and plant materials. There's a personal satisfaction in creating and making the paints. I mean you're like bonding with your medium. This iron oxide comes from Castillo, New Mexico. It was used as face paint by the Indians, a mineral pigment and so is this theater verde and also the yellow ochre and this brown color, it's black walnut, it's made from black walnut hauls, it's beautiful color for hair, the beards and stuff, this looks very nice.

The work that the santeros make today live on and keep our culture strong and there's one saying that I like to say is los santero sevan, petros who's over rasque, the santeros eventually die but their work remains. We were hit today by a suicide plane, a lot of us, a lot of guys I know were killed.

I sure wish I was out of this. You don't expect a man with a second hand for to polish the windshield, but the man with a new packard you expect to strive in every minute detail of cleanliness and upkeep. We believe our ship is a packard. You can stand by and watch your ship steadily decline or you can get in there and strive to make her the ship you'd be proud of, untidyness and negligence are contagious but so are cleanliness and pride, the salvo 1926. Nicknamed the clean and wondership,

USS New Mexico was one of the most technologically advanced ships of her time because there was hardly a device on board which did not operate electrically, she was often called the 100% electric ship and was the marvel of her day. Launched on April 23, 1917, for more than a quarter century the battleship and its crew garnered numerous accolades for gunnery, engineering and battle efficiency. It was also the flagship for two different U.S. Navy battleship fields. On board the clean, excellence was a way of life. Last night, the New Mexico TSL members won the enormous four-decker chocolate cake, given as a prize with the largest attendance from any ship at the Fleet Triangle Service League banquet in the salvo 1929. The loose use of obscenity throughout the services well known. There

are a lot of men in the Navy, at least 90% who do not care to listen to filth. The next time you hear a man indulging in rotten language, size him up, the salvo 1926. It was often said that good men with poor ships are better than poor men with good ships. The salvo 1926. The Queen's stateliness was one of the reasons why it was promoted away from the Pacific Fleet at Pearl Harbor. Only months before the December 7th, 1941 attack, the New Mexico was reassigned to the Atlantic Fleet to guard the convoy routes to Britain. The Queen dodged the Pearl Harbor Republic. However, another was headed directly for her. On the morning of January 6th, 1945, the New Mexico arrived in the Philippines for the invasion of Luzon, the biggest and most prized

of the Philippine islands. While fighting off Japanese suicide planes, one Kamikaze struck the Queen and exploded. Thirty men were killed and 87 wounded. Among the dead was time magazine war correspondent William Henry Chickering. In his last dispatch from the New Mexico, Chickering ironically wrote, It is my hunch that the Japanese-Eddlingayan Wonk react very favorably, may even retreat to the hills and make our initial success easy. Despite the damage, the Queen bravely defended herself and continued to battle. Among the targets were two bridges believed almost impossible to hit. They were only 16 feet wide and seven and a half miles away, yet both bridges were struck repeatedly. The damage to the USS New Mexico sustained was severe. The Queen would soon seem much worse. One month later, she was ready for battle and life on the ship resort.

It was the ship's very own publications, the salvo of the USS New Mexico, and later the Queen's daily news. It brought the crew their daily dose of news, sports, and humor. Feeding the Queen's men required huge amounts of work. The man he got to 1,600 pounds of spuds a day, and for a single meal, the crew eats 1,400 pounds of turtle. During the Battle of Okinawa, wave after wave of Kamikaze's attack. The Japanese lost 1,900 aircraft. 30 U.S. ships were sunk and 368 were damaged, including the USS New Mexico.

Cara attacks all night, what a night. Sometimes I think I'm nuts, or at least going. Shortly before sunset, a drove of Japanese Kamikaze to send him from the clouds. The New Mexico shot one suicide plane into the sea, but could not fend away another. With a tremendous roar, the plane's bombs exploded on impact. Aviation gasoline sent flame sushi and skyward 200 feet. One report said the top of the stack looked like a gigantic blowtorch. Worked hard to put out fires and take care of men. I was never so scared in all of my life. There were 177 casualties, including 55 dead and three missing.

I wish we would get out of this hellhole. When the atomic bomb brought the war to a close, the queen was in Laetay undergoing repairs. They were completed in time for the New Mexico to participate in the ceremonies, marking Japan's surrender. The New Mexico was decommissioned on June 19, 1946. For nearly 30 years, the queen was the pride of the navy and her crew. It was the embodiment of family.

You got to be mad. You got to be pissed off. You got to bring yourself to a boil. That's how you should feel. That's why you do this thing because you get outraged. What you're trying to do as a cartoon is to start a conversation. Plan an idea, hey, this is wrong. It's a confrontational ad, I suppose. If the look for the faults in politicians, because the premise is that all politicians

are crux until proven innocent, and that makes your job much easier because you're usually right. The nuts and bolts of politics just bore me to tears. It's the people involved in the character that fascinated me. Cartoonists need villains. Nixon's still good once a year for the cartoon. It just keeps coming back until Janey was nobody really like him and Bush. You can adjust their appearance to suit what you think of as in my cartoons the Bush shrink to about two-seat tall. It was still tiled over by a menacing chaney. That's why they were just so perfect. I used to really dislike Jesse Helms. I still dislike Jesse Helms even

they'd be dead. I did all sorts of as mean as I could things to him. My wife, Susan, had a gallery at the time in Washington. It was my work for being Sean. Two very attractive young ladies came in. We're from the center of the Helms office. I thought, oh, Christ. I just wanted to tell you that the center of the Helms just loves your work. I thought, what am I doing wrong? So, you know, it's something that you spell their name right, I guess. That's an example of it. What I'm looking for is the absurd, the preposterous. That's not to go around. I have a lot of trouble with people's religion, one thing that will stir them up on anything.

Grace, religion, far more than politics. Catholic church has been very good to me. But I did derive great satisfaction from what I drew, which is called springtime that st. pedophilia's colon, the annual running of the altar boys on the priest pouring out of the church and I was just trying to join. Of course, you come to the end of the cartoon and you know when it's there, maybe it'll make you laugh yourself. It's just a satisfaction in that. My dad was a big fan. Even though my dad was like a Republican,

he was like a cold water Republican. It's still. One thing about it, you're being fed plenty of material to work with, there's no shortage of it. It's constantly right there on stuff in my illustrator. I love the journey and the horse. It doesn't matter which time you're on, you know. It doesn't make a better difference. We're running out of oxygen in here. After all this, you're going to leave. I could be in the studio. Thanks for entertaining me. You've dawd. You've been white, you've been white. I suppose in a sec, I've always drawn it. My dad was a draftsman for the government. He had access to all sorts of pace. I had an everlasting supply of that material.

I've done it ever since. Probably you tend to get pigeonholed into being, oh, he's a cartoonist. I can't let that bother me. I'm just going from one thing to the other and you'll paint for a month and then you'll paint, you'll sculpt and then you'll just keep moving around. It shouldn't be anchored to caricatures of people of today. It shouldn't matter in 100 years. It doesn't matter. It has to be transcended by the other stuff. Yes, I think I just want to leave something of beauty and perhaps an honesty. One lifetime isn't enough. I didn't know what I mean. you

You got to be mad. You got to be pissed off. You got to bring yourself to a boil. That's how you should feel. That's why you do this thing because you get outraged. What you're trying to do as a cartoonist is static conversation. Plan an idea, hey, this is wrong.

It's a confrontational ad, I suppose. It looks for the thoughts in politicians, because the premise is that all politicians are crux until provenance and that makes your job much easier because you're usually right. There are lots of politics just for me to tease. It's the people involved in the character that fascinate me. Cartoonists need villains. Nixon's still good once a year for the cartoon. Actually, it just keeps coming back until Cheney, there was nobody really liking him and Bush. You're going to adjust their appearance to suit what you think of as in my cartoons the Bush

shrink to about two feet tall and you're still tired over by a menacing Cheney. That's why they were just so perfect. I used to really dislike Jesse Helms, but still dislike Jesse Helms even they were dead. I did all sorts of as mean as I could things to him. My wife Susan had a gallery at the time in Washington because my work had been shown and two very attractive young ladies came and said to me, well, we're from the center of the Helms office. I thought, oh Christ, I said, I just wanted to tell you that the center of the Helms just loves your work. What am I doing wrong? So I guess you've spelled their name right, I guess. That's an example of it.

What I'm looking for is he observed the post, there's nothing to go around. I have a lot of trouble with people's religion, one thing that will steer him up on anything. Race, religion, far more than policy. Catholic Church has been very good to me. But I did derive great satisfaction from what I drew, which is called springtime at St. pedophilia's colon, the annual running of the altar boys, and priests pouring out of the church. That's what we know. I was just trying to join and of course you come to the end of the cartoon and you know when it's there, maybe it'll make you laugh yourself. There's a satisfaction in that. My dad was a big fan. Even though my dad was like a Republican, you know what I'm saying?

He was like a cold water Republican. Oh yeah, it's still. One thing about it, you're being fed plenty of material to work with, there's no sort of material. I love the journey and the horse. It doesn't matter which side you're on, you know. It didn't make a bit of difference, I mean, we were running out of oxygen. After all this, you can't believe it. I could be in the studio. Thanks for entertaining it. So I suppose in a sec I've always drawn it.

My dad was a draftsman so we got the government. And he had access to all sorts of paper. I had an everlasting supply for that material. I've done it ever since. Probably you tend to get pigeonholed into being, oh he's a cartoonist. I can't let that bother me. I'm just going from one thing to the other and you'll paint for a month and you'll sculpt and you'll just keep moving around. It shouldn't be anchored to caricatures of people of today. It shouldn't matter in a hundred years. It doesn't matter, it has to be transcended by the art itself. I think I just want to lead to something of beauty and perhaps an honesty. And then there's one lifetime isn't enough.

You know what I mean? Go to the studiouuu The trial shows us that this is a fabulous story.

It's full of human drama, it's full of poignant details, and it's full of probably unexpected insights into what New Mexico is like in the colonial period. By the time they reached New Mexico, the governor and the Franciscan friars have already had a deep falling out. And Donya Teresa is swept up into this controversy. She becomes a target of the Inquisition in part because she is the governor's wife and in

part because of her own outspoken ways. The rivalry between governors was certainly engineered because it was the way that the Spanish ground kept a check on the governors. The new governor coming in would do his best to suppress the governor going out, and that way the crown could find the outgoing governor for not having carried out his duties and reduced the cost for bringing in the governors. Donya Teresa's arrest is a moment of probably enormous surprise for her, but great drama. The sheriff and a priest walk into her bedroom at four o'clock in the morning, and she sits up on the bed and she doesn't understand really what's happening. She turns her face to the wall, she says prayer, she cries out and says, why are you doing this?

Why are you arresting me? After Donya Teresa was arrested, the process basically was you take the person and while you're arresting them, you also begin an inventory of all the goods that they have. It's an incredible list. There were gold items, there was perfume, there was even a cross that was made out of manatee hide, there was lots of chocolate, there were dishes for making chocolate, the list went on and on and on, and all that was confiscated by the Inquisition because the Inquisition used the goods of the person who was arrested to pay for their incarceration. She's the only woman from New Mexico who's ever tried and she's tried for the crime of being a Jew. There are 26 witnesses who speak against her and they accuse her of being a Jew on the

most incredible of grounds. And these are some of the things that they say mean that she must be Jewish because this is at variance with the way people live in Santa Fe. When Donya Teresa was arrested she was taken to a cell, she was held there for several days and then did a six-month journey all the way down to the Inquisition headquarters in Mexico City. The cells themselves were small, they had barred windows, a little bit of light but not incredibly well lit. The cells were kept apart from each other, prisoners were not supposed to talk to each other and it was part of the process I think of getting them to confess. Coming after these months that she and her husband have stood trial she asks for a pen and paper and this is what's so dramatic and so unusual.

She writes her own defense. In her defense she talks about the maids who are stealing from her and surely they must be people who brought charges against her and she responds with the way in which they stole chocolate by hiding it in bags under their skirts. She talks about the many enemies that she and her husband had, the sheriff who had an illegitimate child with someone else in town. She responds to the charges by leveling charges against everyone in Santa Fe. What Donya Teresa's defense document does also is open a picture of what day-to-day life was like in the palace at that time. We have the stories and the dialiances of the governors, we have stories of people stealing out of the store rooms in the palace. She talks about the illegitimacy, she talks about the illiteracy, she talks about the superstitions

by which people live their lives here and that's what makes their testimony so important and so interesting as a social history of Santa Fe. Donya Teresa spends about 20 months in jail and the final resolution is that the Inquisition doesn't so much drop the charges, they dismiss the charges. I think by this time the idea of the Inquisition going after people for practicing crypto Judaism had begun to fade and the fact that this implicated high-level officials in Mexico may have added to their decision that maybe we shouldn't carry this case too far. And from that trial record we understand that these are people with motives, sometimes good, sometimes not so good. And to survive here you had to have like she did a lot of gumption.

When Spanish is an expression, Pueblo Pecamio and Fiedno Enodomy, and that pretty much described Santa Fe, a small town but an enormous health.