There are two city zones that tourists see most in Mazatlan.
There is the Zona Dorado where newer hotels congregate and bars and discos service night crowds. The beaches are here as well as ten taxi drivers to every tourist and street vendors selling hats, sunglasses, ironwood carvings, jewelry, fruit snacks, hair braiding, whale and dolphin tours and anything that will make money.
Then there is the Zona Historico where you find old adobe homes built by the city’s founders, chic art galleries, restaurants, bars, shops, and boutique lodgings for visitors with money who like to sit on balconies reading French existential novels and sipping red wine.
In the plaza just north of the historical district, where our taxi driver drops us, we discover a map of the Zona Historico on a wood sign.
Guarded by two pigeons, the mapa gives landmarks, streets with names, shows compass points, and points us in the right direction.
All we have to do to get where we had wanted to be dropped off in the first place is go a little more to the south and west. In guide books it is mentioned that the Zona Dorado and Zona Historico are safe parts of Mazatlan for visitors from the north.
Dave takes a picture of it with his I phone and keeps us where we want to be the rest of the morning.
What did the world do before I Phones?
Back in the 1950’s, after WW2, most people headed home to raise families.
Men were tired of shooting bullets and women were tired of making them. Instead of killing humanity the focus became re-populating humanity. An era of big bands was coming to a halt and an age of rock and roll, beat poetry, and abstract expressionist art was coming into its own. Jazz, an American art form, was in ascendance and its emphasis on rhythm, dissonance and drugs were a premonition of things to come.
Jack Kerouac, one of the beat generation’s shining stars, made a trip down to Mazatlan in the 50’s in an old bus, camped, and immortalized this place as one stop in his epic rollicking novel “On the Road.”
On a wall, by The Shrimp Bucket, is a plaque placed by the Mazatlan Historical Society to commemorate the exact point in place and time where the bard stopped roaming, drank beer, hung out with the locals, and dreamed of the proletariat overcoming. He looked for pleasure and put his stories down in long winding sentences where he only stopped writing to take a breath. His novel was new for its day but old in concept. He was the hero of his own epic Homeric poem. He was a tumbleweed travelling to new ports with his only home the inside of his bus or a bedroll spread out in some flophouse. His friends were fragile poets traumatized by war, big business, and moral restrictions.
Sitting in The Shrimp Bucket, you can look at a little hill that must have made Jack nostalgic for San Francisco. Even if you can’t agree with Kerouac’s self destroying lifestyle, you can understand why he was here, by the water, drinking beer with limes, almost naked bodies dancing in the surf and fishermen spinning stories of great marlin battles.
Kerouac would have turned sentimental at the marlin story telling but Hemingway, if here, would have relished each twist of the hooks.
Kerouac was beautiful in his willingness to edit nothing.
.Hemingway was beautiful in his willingness to cut everything to its heart.
They are both masters of prose storytelling.
I would have loved to be drinking at the next table to them, at the Shrimp Bucket on any starry Mexican night,listening to them talk poetry.
Surprise, Arizona didn’t start where it is today.
Back in the day there wasn’t much here but tumbleweeds, cactus, rugged mountains, ranches, farms, a few dirt roads and lots of dreams.
The Happy Trails Resort was once nothing but a set of plans for RV lots, park models, a clubhouse and pool, and a golf course. It is now a place for those who have achieved the American dream to move to the desert from cold states that don’t see much sun in the winter. It has become a place for relaxation, socializing, barbecues, dances and ice cream socials.
Roy Rogers and Dale Evans lent this resort their aura and promoted it. In the Chuck wagon dining room, off in a lonesome corner, is a display of mannequins wearing authentic costumes worn by Mr. and Mrs. Rogers, and cowboy memorabilia from an era when Roy Rogers was as big a star as Hollywood could create.
Looking at the costumes one is struck by how small a man Roy Rogers was, and how petite a woman was Dale Evans.
Watching them ride the range on TV they looked larger than life.They fought evil on every episode and there was always time for a song around a campfire with the boys, a helpful hand for neighbors and friends. In the end, bad guys got what they deserved and good prevailed. Their costumes seem flamboyant, even now, but cowboy’s have a style all their own.
Happy Trails is more than a song and more than a resort.
It is a philosophy. It is a wish for good luck, a wish for the best for all, a hope that at the last roundup we really all will meet again under the best of circumstances, under a broad starry sky with a roaring campfire to gird us against the cold, some hot coffee and tasty jerky for a meal, and a good blanket to throw over us as we nestle our head against a saddle.
At one time Hollywood gave us real heroes, real role models. Now, life has become more gray, more conflicted, more questioning, more rebellious, more edgy.
Looking at Roy and Dale, I resolve to dig out a few old colorized westerns.
I resolve to eat buttered popcorn and think about the fall of Rome.
The Costa Rican National Museum is not world winning architecture. It is a renovated Spanish fort, and, for that reason, has little frills. Inside you see thick walls, peer through lookout holes in towers, pass through heavy wooden doors with huge iron hinges and visualize old days of conquest.
From our guide, we learn that Spanish dominance in Costa Rica was limited because there wasn’t much gold. The gold that did exist was placer gold from rivers and streams, not the huge deposits mined in Peru or Mexico. There was no Inquisition here and the Costa Rica fight for independence was short.
Costa Rican life revolves around weather, nature, rain forests, co-operation, community, family. There is no standing army and the police force doesn’t disappear people.There are over a million students in the free University system, the population is literate,their government provides a safety blanket.
One of the exhibits in the fort is an old Spanish jail, where misfits and law breakers, political prisoners, and trouble makers were confined. When you want to hurt someone, you take away freedom of movement, put them in a non-stimulating environment, control the food they eat, when they sleep, who they see.
You are always going to need jails but graffiti on the cell walls say you won’t ever be able to shut people up by locking them up.
Even Ancient Rome, powerhouse of the ancient world, couldn’t stop dirty jokes and rude pictures scratched on public bathroom stalls.
Hearing just what we want is not always what we need.
Checklist traveling has advantages.
You go to guidebooks, visit sites and attractions, book tours with an English speaking guide, get familiar with places deemed newsworthy by those in the know. You see five to seven points of interest, stop and walk, listen to an oral history given by your guide, get picked up at your hotel and dropped off. You don’t worry about driving, parking, fees. Often, you find places you want to return to on your own time.
One of the stops on this city tour is the Costa Rican National Theater that was built by coffee growers in Costa Rica in the 1800’s to showcase their progressive country. Coffee has been the heart of this economy,forever, but it now shares importance with tech, banking and tourism. It takes more cards than one to make a good poker hand and most successful people and countries have more than one revenue stream.
An expedition moment that stands out is a young man holding an umbrella over his significant other’s head while she checks her cell phone in the rain.
Which sex is boss is a question with plenty of wiggle .
Looking back, as we turn a corner and head for the next tour attraction,I see the young man still holding her umbrella, patiently, gently.
Men talk to their stockbrokers.
Women talk to their hairdressers.
Patience is a good quality to have when there are women in your life.
This coffee is cheap, but not the best.
You buy a dollar token at the hotel reception desk, drop the token in the coffee machine’s slot, slide your cup in position, choose your poison, push a button, and wait as a small drizzle of coffee fills your paper cup almost to the top. The machine knows when to cut off so coffee doesn’t go on the floor.
Things introduce themselves all the time. You go about your business, not thinking about much, or looking for anything, and then something comes your way like a present arranged by a benevolent cosmic force that knows you will be delighted. This bold colored sign by the coffee machine is such a present.
” Drink Coffee,” the sign exclaims, “you can sleep when you’re dead.”
While we are waiting for our expiration date, coffee makes the waiting tolerable.
This sign takes me back to the fifties when even the thought of traveling to Uruguay was no where in my mind. Uruguay was just a country on old stamps in my dad’s collection in a box in the garage.
When you sleep in your childhood crib, you don’t have a clue where fate and your feet will take you.
If i had known where I was going, when i was in school, I would have paid more attention.
The Theatro Solis is a renovated landmark in Montevideo dedicated to the performing arts, fine arts, and community awareness of the arts.
It was restored completely in the 1950s and looks now like it did in the 1800s. When you walk inside you are greeted by ushers and today is good to visit because an English speaking tour is beginning and I am hustled along to join it. There is no charge and the two young ladies who take myself and a young man from New Zealand under their wings answer our most boring questions.
Located near Independence Square in Montevideo, in the shadow of the Artigas statue and mausoleum, this theater is not majestic. It looks to me like a Roman 7-11.
My tour begins in a reception area just outside the theater’s Presidential boxes that are reserved for the President, his wife, and important guests.
From the reception room, we are taken into the theater itself.
From the main theater we go next downstairs to a much smaller performing space suited to smaller kinds of performances. A trio comes on stage and sings for us, dances, and acts out a specialty skit.
I’m glad ,when we are done, to have had a chance to see a piece of Uruguay’s culture. Even the old rough pioneer American West had Shakespeare mixed with opera and can can girls. I can’t say I have arrived in Montevideo without seeing a few guide book places. Going to the Big Apple without going up in the Empire State building, for instance, would be a major faux pas.
Next time down to Montevideo, I’ll come back and take in a real play here.
I bet there is gum stuck under the theater seats, and my guess is that it wasn’t put there only by kids.
Pocitos doesn’t awake until ten in the morning.
My first time past the little diner on the corner, a block from the beach, the sign in the window says Cerrado. Doubling back, Albierto is now in its place.
A plaque on the exterior says this establishment, in one form or another, has been open since 1910. A lot can go wrong in a century and surviving progress is not for sissies.
Seated, I do a leisurely check of my E-mails, send a couple of text messages.
My bill for a coffee and a small glass of water is seventy eight pesos. With a tip, the total is a hundred pesos, or somewhere south of five U.S. dollars. My bill is speared on a little nail, and, for a moment, seems to nail down Uruguay accurately.
What we all want is 1950’s prices to come back.
One of the first things I pick up in a new place is a local map.
I find main streets, find plazas, find the river, find the bus terminal or airport, a good place to eat, the farmacia, and someone who knows a little English if I get in a jam. The map the hotel gives me is called the “Plano Urbano de Salto.” One of the things to see close to where I’m staying is the Museo of Bella Arts.
This museum was once a huge home belonging to the woman whose portrait is on the wall when you first enter. The pink colored house is on Uruguay street and is open, free of charge, to anyone who wishes to see inside. Entering the museum, you see that the lady collected art, and, when she passed, left the house and art as her memorial.
One of the smaller, and maybe least ostentatious paintings, is of a gaucho.
In this oil painting, a solitary gaucho poses for his portrait while his horse looks back at him and waits for marching orders.
ThIs cowpoke travels light, has his bedroll and jerky and saddlebags, wears loose fitting and comfortable clothes, and looks ready for anything. Out in the wilderness, alone, he has to solve problems and is reliant on his wits, his experience, and horse to get him through dangerous times.
Being a gaucho must be a little like being a soldier in war. You have days and days of boredom and waiting punctuated with brief episodes of stark terror when bullets fly past your head, and any one of them could send you where you don’t want to go.
Gauchos and cowboys are something that Uruguay and the United States used to have in common.
However, it is hard to see how two countries who admire self reliance and the pioneer spirit have done so much to stamp it out.
The only place we see wild spirits now Is on television and in movies.
When you come towards the end of the winding road that leads you from the highway to the water, you look down and see a turnaround where buses and cars are parked and people are standing on stone walls taking snapshots of the ocean for their scrapbooks.
I am looking for a white pueblo styled house, ” Casa Pueblo” built somewhere on this peninsula.
Not seeing it, I backtrack and ask a lady with her daughter where the Casa Pueblo is? The woman points and moves her hand a little to the right, pointing over a hill I can’t see through.
I walk back down the winding road, go further than I had before, and spy a smaller road cutting away to the right from this main road. A few more steps and I see white adobe style walls that can only be the famous Casa Pueblo built on a cliff overlooking the ocean.
There are vehicles parked along both sides of the narrow road leading up to its entry and people are trekking towards the National Monument like ants following a jungle trail.
Casa Pueblo is home and studio of Carlos Paez Vilaro, Uruguay’s most famous artist.
Whereas art can be done quickly, building takes more time. There are engineering problems, aesthetic questions, debates about whether concrete and wood can do the things you are asking them to do. In New Mexico, as well as here, materials are touched by hands. Cement is mixed and poured by the wheelbarrow load. Walls are plastered with hand tools and left uneven and undulating.
Wandering up and down stairs through the home and studio and gift shop and hotel and museo, inside and out, there are unexpected turns and twists.
For the longest time it is very comfortable for me just to sit on the back observation deck and look at the water below me change colors. I can stand at the deck railing and look at hotel guests in bikinis trying to get brown when the sun is behind a cloud.
Men’s minds are not all made the same way but if my house was built to fit my mind’s interior it would look a lot like this.
Most of us have castles in our minds, but we just can’t afford to buy them, or build them.
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