Rio Bravo

Scott Ballew: “Mutiny”

Austin may be a metropolis, but it’s still smack dab in the middle of Texas, football fanaticism, Western legends, vast landscapes, and all. There are a lot of artists who embody that Lone Star aesthetic, but today we’re tippin’ our hat to Scott Ballew.

After his initial acts as football star and filmmaker, this central Texas troubadour is now living middle age to the fullest as a songwriter. Scott’s quick to point to his documentary work with Terry Allen as a pivotal moment in his career, and sure, you can see similarities in just comparing album covers , like the cresting scenery of their respective debuts Juarez vs. Talking to Mountains or the minimalist interiors of Lubbock (On Everything) vs. Middle Age Crazy. But that said, there’s something especially cinematic-minded about his cosmic Americana compositions that he couldn’t have simply copped from Allen’s outlaw country repertoire.

And that Western aesthetic really comes to a head on Scott Ballew’s third LP, Rio Bravo, out March 29th. Down to its already iconic title (Cat Ballou would’ve been too on the nose, right?) Rio Bravo is shaping up to be a ten-scene saga of survival, less in the realm of gunfighter ballads and more so contemporary confessions, like if Ennio Morricone brought his timeless Spaghetti Western magic to a newly-unearthed Townes Van Zandt album. Ballew started saddling up for Rio Bravo last month with “Suicide Squeeze” and galloped further today with “Mutiny”. Safe to say we’ll spend this next month patiently awaiting the rest of the stragglers, whose full posse of songs could’ve only been made in Texas, plain and simple.

How Texas Became A Desert

By W. F. Strong

To much of the world, and to many people in the U.S. who have never been to Texas, the state is a vast desert. It is not the Sahara, but instead a high-plains arid region studded with rocky mesas, sweeping wall-like cliffs, dusty canyons, and sometimes adorned with thousands of Saguaro cacti – native to Arizona, not Texas. Certainly there are parts of west Texas that have some aspects of these images, but more than half the state is green with rolling hills, lush forests and vibrant coastal plains. Yet the desert images dominate minds in distant lands. For that, we can thank Hollywood.

There are many John Wayne westerns with story lines that weave through Texas, but the films were shot in Utah and northern or southern Arizona. The most jarring example to me is The Searchers. To my mind, The Searchers was John Wayne’s best film. Here’s a clip where Mrs. Jorgensen, a tough frontier woman, defines these early Texans:

“It just so happens we be Texicans. Texican is nothing but a human man way out on a limb. This year and next, and maybe for a hundred more. But I don’t think it’ll be forever. Someday this country’s gonna be a fine, good place to be. Maybe it needs our bones in the ground before that time can come.”

As she says this on her front porch, she is looking at a view of Monument Valley, Utah. Wayne made five movies in Monument Valley, even though two of them, The Searchers and Rio Grande, had storylines that based them in Texas. Wayne actually said, “Monument Valley is the place where God put the West.”

Another Wayne film that is shocking to a native Texan is The Comancheros. The plot has Wayne playing Texas Ranger Jake Cutter. Great name. He arrests an outlaw for murder on a boat arriving in Galveston and tells him he will return him to Louisiana:

Regret: Well, I’ve committed no crime in Texas.

Cutter: Right. But you killed a man in Louisiana. My job’s to take you to the Ranger Headquarters where a Louisiana Marshall will pick you up. They’ll take you back to New Orleans and the gallows. You know we’re getting real obliging to the states down here in Texas. A lot of folks want to join the Union.

Regret: I have a couple of hundred in gold in that jacket. That give you any ideas, friend?

Cutter: I’ve got what you might call a weakness. I’m honest.

As Cutter exits the boat in Galveston with his handcuffed prisoner, Paul Regret, in tow, he walks right into Southeastern Utah where the film was shot in Professor Valley and the La Sal Mountains, among other places near Moab. Stunning country for cinemascope technology to capture, but not Texas.

Rio Bravo and El Dorado were two John Wayne Films with Texas settings shot in and around the Sonoran Desert west of Tucson. The landscape there is dominated by thousands of saguaros, enormous 40-foot cacti that look like sentinels of the desert. Such sights don’t exist in Texas.

Clint Eastwood’s For a Few Dollars More is set in and around El Paso, but it was actually shot in the Tabernas Desert near Almería, Spain. Fort Bravo, also called Hollywood, Texas, is a movie set town built there in the sixties and has served as a backdrop for many classic Western films like Once Upon a Time in the West and the famous Spaghetti Westerns. Not all of those have Texas storylines, but some do. For a Few Dollars More does, and at least in this case, the landscape of Almería is a good match for the El Paso region.

Two films more true to Texas in landscape were Giant, shot almost completely around Marfa, and No Country for Old Men, filmed mostly in Texas, but some in New Mexico. Texas Rising troubled some Texans for two reasons: one, being shot almost entirely in Mexico, which seemed sacrilegiously ironic. And two, for scenes of rugged mountains around Victoria, Texas. I think they got their Victorias mixed up. A more recent film called Hell or High Water, starring Jeff Bridges as a Texas Ranger chasing bank robbers in the Panhandle, was largely shot in New Mexico.

So you see, movie-Texas depicts a greater land of diversity than Texas actually has within it. To much of the world, we are Arizona and Utah and New Mexico, and we are Mexico and Italy and Spain. Mostly desert. Everything is bigger in Texas because Hollywood has subconsciously created a much wider world in the collective mind of moviegoers.

El Rio Bravo

By W.F. Strong

Ten years ago I was touring the great Catedral de Sevilla, in Spain, when I got into an unexpectedly informative conversation about Texas with an 80-year-old guide of that majestic church. When he discovered that I was from South Texas, he asked me, in perfect British English, “Did you know that your river there in Texas is named after our river, the Guadalquivir?”

I said I didn’t understand how that could be so. How do you get Rio Grande from Guadalqivir? He said, “Guadalquivir is a Spanish distortion of the Arabic, meaning “the brave river” or “the great river.” So, when the original cowboys of Andalucia from southern Spain settled in northern Mexico, they thought the river looked like the Guadalquivir, so they called it the “Rio Bravo.”

Well, that was one more origin story to add to many others that claim to tell how the Rio Grande River, or the Rio Bravo – as it is known on the Mexican side – got its name. I can’t speak for or against the veracity of the guide’s story, but as a story, it’s interesting, which is the first rule of stories.

Some say Álvarez de Pineda first named the Rio Grande, El Rio de Las Palmas, in 1519. But others say he was really at the mouth of the Pánuco River near Tampico – much farther south in Mexico – not the Rio Grande. But we have to consider the Pineda Stone as evidence, which was found deep in the sand near the mouth of the Rio Grande in 1974, with his name etched on, along with the number of men and ships he had with him. Many believe it is fake, but just as many feel it’s real.

We do know that explorer Juan de Oñate called the river El Rio Grande in writing in 1598. Strangely, Cabeza de Vaca crossed it 70 years earlier on his wild trek across Texas and Mexico, but never mentioned the river at all.

The river has also been called Rio Grande del Norte and Rio Bravo del Norte. Today, we know for sure that it is called the Rio Grande on the Texas side, and the Rio Bravo on the Mexican side. At one time it was certainly brave and grand, with steamboats piloted by Texas legends like Richard King and his business partner Mifflin Kenedy, who traveled 130 miles inland all the way to Rio Grande City, and in a rare case, all the way to Laredo.

Though the river, once half-a-mile wide at some points, certainly earned its name, now we might call it El Arroyo Valiente, or Courageous Creek, because, along its 2,000-mile journey from Colorado to the Gulf, it’s often no bigger than a creek. So, many cities and towns along its bank pull water from it that is a mere trickle of its former self.

No wonder Will Rogers once said that the Rio Grande is the only river he “ever saw that needed irrigation.”

And down toward the mouth, the river is incredibly crooked, like an enormous water moccasin sunning itself in lazy loops and curls. Gen. Zachary Taylor said his soldiers believed it was so crooked there seemed to be only one shore. I can attest to this myself. I once rode my motorcycle along the northern trails that follow the curves of the riverside, but my eyes told me otherwise. It’s terribly disorienting. Riverboat pilots said it was 100 horse miles from Brownsville to Rio Grande City, but 175 river miles.

The river is to Texas and northern Mexico what the Nile is to Egypt. It is quite simply life itself, and always has been. And there are still quiet, isolated spots along the river. Ones where I found myself looking north across the water, even though I was not on the Mexican side where enormous canyon walls rise toward the heavens 2,000 feet overhead. Where exotic parrots fly in screeching flocks through the wild palm orchards – places you can sit and channel the words author John Graves wrote about a different Texas river: “If you are lucky and reverent, and hush for a moment the doubts in your head, sometimes God will whisper in your ear.”