te political power beyond the local. I knew the parties involved were great cha

rmers and would slyly deny any and all ac
cusations, blam
ing someone else
, while our new bus
iness boom would crash slowly

around us without the public, the

• taxpayers, ever knowing why. I called my friend. Sen. Joe Montoya, in Washington
• , D.C. I called other powers there from New Mexico. I called certain trusted friends in our
• state. Calls were descending out of Washington to key state players, local calls from respected people were being ma
• de. It worked. The crap stopped, on this production, at least. The results were revealed in these quote
• s from an article by Laura Robinson in The Albuquerque Tribune headlined "SPENDING $50,000 A WEEK MAKES 'EM ALL GOOD GUYS." "Northern New Mexico is enjoying a glamorous boo
• m with the invasion of Chama, Dulce, Brazos and El Vado." Robert F. Brashar, V.P. of th
• e First National Bank of Rio Arriba said, "We could stand a lot of thi

s kind of prosp

• erity. The money filters through the
• whole state. The money spent in the hotels filters out into all sorts of businesses." Warner Bros, was quoted as saying, "The Company's daily housing tab was over $1,300 with an additional $1,000 a day being sp
• ent in restaurants." Personal money spent from the actors, other than necessities, included out-of-state fishing licenses, jewelry, paintings and other expensive fun. Gov. Cargo played a reporter in the film. He did bit parts in more than a dozen films, driving the "personal connections" to a proven point. Producer Jerry Adler, director Sir Oliver Reed and star Anthony Quinn decided to make screenwriter Clair Huffaker's Nobody Loves A Dr
• unken Indian in Albuquerque and surrounding pue explains the major components of an IED and safety measures to consider with a suspicious device.
• blos. An unexpected type of storm ripped up over the horizon. Many Indians protested publicly and threatened to sue over the title. I have been for Indian beliefs all my life, having lived around them and been friends with them for many years. Woody Crumbo, the great pioneer Potawatomi Indian artist, was my artistic and spiritual mentor, and even today, a third of

my best fri

ends are Indian.

• But this time the Indians were misguided. The protester
• s had not read the book. If they had, they would have found it to be one of the most pro-Indian books ever honestly written. Huffaker had just prev
• iously held a benefit auction in Hollywood for Indian , International Association of Chiefs of Police
• youth. It raised tens of thousands of dollars. I realized that the drinking problems in and around Gallup were increasing and had caused the unjustified u
• proar. It was my first realization of what would become a powerful, sometimes

misused, f

orce called "politi

cally correct." Remember, this was 1969. The film was employing many Indians and other l

ocals as well as giving an extremely positive portrayal of the Indigenous people. The title was changed to Nobody Loves Flapping Eagle and then in one of those unbelievable decisions it was finally released as Flap. Flap was a flop. The

fuss had taken the creative energy out of all the filmmakers involved. The s

• tudio respond@emrtc.nmt.edu
• USPSlost faith in it and threw it away witho

ut any back

ing. Everyone lost in the end

. Films were coming to New Mexico in droves, but only a few of us knew how precarious it all

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