Channeling City Slickers’ Billy Crystal for a Day

by Fyllis Hockman 

Heels down. Toes out. Squeeze with calves, not knees. Lighten up on the reins. Sink your butt into the saddle. So began my first riding lesson at the Arizona Cowboy College in Scottsdale which was followed by instructions in grooming, shoeing, advanced riding techniques and roping. And this was just a one-day primer to what other “city slickers” experience in their six-day cattle drive at the College -- but more on that later.

First, despite the city’s admonition of 300 days of sunshine, it was cold and rainy when we were there. And for my story, I had my cowboy shirt, hat and boots all on for the requisite photo op but ended up ensconced in multiple layers instead, including winter jacket, wool cap and gloves borrowed from the ranch. Wasn't exactly the fashion statement I was going for.

The day began with some initial instruction from ranch manager and Jigger Boss Elaine Pawlowski, whose main goal seemed to be to keep us from falling off the horse and to avoid getting kicked when not on it.

My experience up to then had been an occasional trail ride where the horse was presented to me all spruced up and saddled and all I was expected to do was mount it. Not so here. Prior to even thinking about actually riding the animal, I was taught how to groom and brush her -- Billie, a brown mare -- and how to do so safely. I had never been this close to a horse from all sides, responsible for the behind-the-scenes handling. Elaine showed me how to pick up Billie’s hooves and clean out the bottom of the horseshoe with a pick, removing the excess dirt, pebbles or nails before taking her out. My first thought was, “You want me to do what?” As I was cleaning out one of her hoofs, I couldn’t help thinking there’s 1200 pounds of horse flesh here that with one thrust of the hoof I’m holding can flatten me. Fortunately, Billie was not so inclined.

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Now Playing in Paris

by Dorty Nowak

Several years ago my husband and I moved to Paris.  Although I was an avid student of French culture and cuisine, my knowledge of the French language was minimal.  Freshman year in college I dropped out of French 101 because partying was much more fun than memorizing vocabulary, a decision I’ve regretted ever since.  Over the years I had accumulated several “French for Travelers” texts, some Berlitz tapes, and enough rudimentary vocabulary to get by on my occasional vacations in France. 

photo via Flickr.com by Luca OrsiConsequently, I arrived in Paris with the linguistic skills of an eight year old.  During the next two years, I attended classes at the prestigious Alliance Française de Paris.  Although a diligent student this time around, I was at least thirty years older than most of the students in the class, and proof positive that older brains are slower to learn new languages. I filled a bookshelf with grammar and vocabulary workbooks in my quest for fluency, and another with novels in French aimed at the pre-teen market.  I also acquired a very active inner critic.

My critic was right there with me every time I spoke.  I felt his grim presence from the time I opened my eyes in the morning until I closed them at night.

“No, no, you idiot,” he would shout in my ear. “You should have used the passé compose, not the present!  Why can’t you remember the word for ‘idiot’?   How many times do I have to tell you to use “vous” instead of “tu” when you answer me?” 

As a consequence of this constant barrage, I became almost tongue-tied.  There were long painful pauses between my words as I frantically ran their “rightness” by my critic.

According to one of my teachers, to become fluent I needed to develop a “French brain.” 

“How will I know when I have one?”  I asked. To which she responded, “When you dream in French.”

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Masters of the Universe

by Judith Fein

When I travel, one of my guilty pleasures is attending master classes. Sometimes I’ll catch an artist who can change young painters’ lives with the flick of a brush. Other times a famous violinist will teach a technically proficient young musician how to bow with more passion, and the latter’s playing transforms before my eyes. This past weekend, there was a master class in my hometown and I dropped everything to attend.

Photo Slide Show by Paul Ross

If there is a dancer with larger shoulders, bigger blue eyes and a closer tie to Bob Fosse, I don’t know who she is. Ann Reinking was in Santa Fe, teaching a master class to excited teens and helping to stir up interest in the New Mexico School for the Performing Arts, which will open in Fall 2010. At one moment, I thought I felt a strange breeze blowing through the Dance Barn where the class took place. It was probably the spirit of Fosse himself, conjured by his illustrious star and ex-partner.

Reinking’s best-known performances include Goodbye Charly, Dancin’, Chicago, A Chorus Line, Sweet Charity and, of course, All That Jazz, which was a fictionalized account of her relationship with the brilliant, chain-smoking, overworked, burned-out, womanizing Fosse. If you haven’t seen the latter, stop reading and go rent the DVD or place your order with Netflix.

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