My father sat alone on the divan in the enclosed porch area reading El Universal, a national Venezuelan newspaper, as he listened to Aaron Copeland’s Tender Land Suite playing on the record player.

My father’s record collection was not extensive, but later in life, I would evoke the sounds of Beethoven’s and Mendelssohn’s violin concertos, Dvorak’s New World Symphony, and Debussy’s hypnotically enthralling Clair de Lune. I would often recall Van Cliburn’s performing Tchaikovsky and Rachmaninoff in that record whose cover has the famous prodigy seated at the piano as if in an arch, a picture of sublime concentration. There were other records, of course, including anthologies of movie themes such as Laura and High Noon, which I would remember.

But – as my wife and children will attest — I regularly associate the intensely lyrical Tender Land Suite, especially the finale, “The Promise of Living”, with El Pao and with … John Wayne. The Copeland compositions are not directly associated with any of the American actor’s movies; however, those rugged, American-sounding bars, and chords, and melodies summoned scenes from Monument Valley, the Sierra’s, the Rockies, the Shenandoah Valley, and the vast Texas Big Bend. 

Sights I had not yet seen, except in western picture shows which, to my mind, were never as good as when John Wayne was in them. And, to me, John Wayne was America. Especially the West.

Relatively current movies were shown in El Pao twice a week: Wednesdays and Sundays. They’d be flown in from Ciudad Bolivar, formerly Angostura, on the shores of the Orinoco, by helicopter.

The helicopter would seem to hover a bit but would actually be flying in a slow oblong circle above the clearing next to the club grounds, just beyond the swimming pools. Then it would descend onto the field, creating its own whirlwind. Boys sprinted to the clearing to gawk at the descending helicopter.

That was almost more exciting than finding out what pictures would be shown that week. Almost.

Venezuelan censure laws were strict and the American camp abided by them. “A” movies were for all, including children; “B” movies were for audiences 14 years old and above; and “C” movies were for adults 18 years and older.

So, as the pilot emerged from the cockpit, the boys demanded to know the censure rating of the movies he carried. “Well, lads, both movies are ‘C’. Sorry!” Then he’d stare at their hang dog looks as they absorbed the melancholy reality of a week wherein they would not partake of Hollywood’s offerings.

“Hah! Gotcha! Ha! Ha! Ha!” he’d practically scream.

“Very funny!” They’d, relieved, laugh with him.

Then they’d inquire as to the titles.

One of the movies I most recall when hearing Copeland is The Searchers: John Ford’s, and, in the view of many, also John Wayne’s masterpiece.

Scenes from that film were stimulated to remembrance by the record my father often listened to. Memories of a big man, Ethan Edwards, remorselessly searching, for 7 years, for the Comanche Indian, “Scar”, whose reputation for murder and mayhem, terrified even his own devotees.

It was Scar who had butchered Ethan’s brother and sister-in-law and kidnapped his two nieces. Wayne’s portrayal of Ethan, a Confederate army veteran who refuses to take the Union oath because he figures “one oath is enough in the lifetime of one man,” is suffused with barely suppressed rage and focused determination to fulfill his duty to recover the eventually sole surviving niece.

“We’ll find ‘em. As sure as the world turns, we’ll find ‘em,” he mutters as he looks across the desolate, snow covered prairies, rides through majestic Monument Valley, crosses rapids and deserts, and in fury kills buffalo to reduce his quarry’s food supply.

But he also more than intimates that “…it were better for [his niece] to be dead” than to live as a crazed woman with a foot in savagery and another in no-man’s land. In such a condition, would she not pull down the civilization where he would eventually bring her? Would it be better to kill her instead of recover her?  The tension becomes almost unbearable as the movie unrelentingly proceeds, step by step, battle by battle, to its furious climactic scene, filmed in Monument Valley.

It is a movie for adults, but one that was seared in the minds and hearts of children who paid attention when they viewed it in the 1950’s.

As a young boy, my psyche subconsciously drew in the intensely nostalgically played strings and horns of the finale of Copeland’s suite, my mind thrust forward the images of Ethan Edwards persistently, sedulously striding across the wild, savage West, every once in a while coming to catch his breath at outposts of civilization, as if to tell folks, “if it weren’t for men like me, these outposts would cease to exist.”

Maybe it was projection, maybe naïveté or childishness; nevertheless, as a boy, I did respect the men in El Pao. Would there have been such a place in the middle of that jungle were it not for men like these? Would the place survive, as it is, without such men? Or without honoring their memory?

Early years 

Charles M. Barnes (right) and Mr. Trumbour, mining camp controller — circa 1945

John Wayne in The Searchers, 1956