Browsing through the art galleries on La Veta’s Main Street you’ll occasionally hear, “We’re Colorado’s mini Taos.” The Southwest art is seemingly just as prevalent, and almost everybody you run into has some kind of background in art. Even Hwy. 12 from La Veta to Cuchara feels very similar to the High Road to Taos between the tiny art mecca and Santa Fe.
Peggy Zehring and her husband David founded the La Veta School of Arts, which seems to now be the center of the art community, in 2000. “We have been offering creative art experiences for people of all ages ever since,” Peggy said. Workshops at the school range from traditional painting to art welding. Peggy received a fine arts degree from the University of Illinois-Chicago and has been an art teacher since 1977. The following is a conversation with her about “Colorado’s mini Taos.”
PULP: When did the art scene in La Veta really start growing?
Peggy Zehring: Huerfano County has a long artistic tradition. In the 60s many artists moved to communes here from New York City. La Veta has had the Spanish Peaks Arts Council (SPACe) since the 80s, but the scene here really started taking off around 2000 with The La Veta School of the Arts, the expansion of SPACe and many Public Artworks Projects.
PULP: What do you think the big draw is here for artists?
Zehring: Anyone who comes to La Veta is immediately struck by its beautiful setting at the foot of the Spanish Peaks. La Veta itself also has a long and fascinating history.
PULP: Right now there’s a big community project in front of the La Veta School of the Arts. How did that get started?
Zehring: The artists of La Veta claimed what was left of a healthy 100-year-old cottonwood tree after if was taken down in 2013. This spring, the La Veta School of the Arts and the Spanish Peaks Arts Council decided to collaborate making it a Public Artworks Project. A committee was formed which solicited woodcarvers to submit proposals. Dale Gillan’s proposal was selected. Our committee is thrilled with Dale’s work so far and expect to see it finished by fall.
PULP: Are community projects pretty regular and do a lot of people get involved? It seems like almost everybody in La Veta is involved with some aspect of art.
Zehring: You are right. LVSA has sponsored 14 public artworks project banners which have hung on Main Street since 2005 and were originally created by high school students in a collaboration between LVSA and La Veta High School. Now, everyone in La Veta is encouraged to create a banner. In 2007, two local sculptors created two wind-propelled public artworks which hang at both ends of Main Street. Two public works park benches were created by teenagers for the town park in 2001 and 2006. In 2005, 12 grade-school aged children were given nine prepared oil drums to paint for trash collection in La Veta.
Between 2000 and 2008, teenagers painted four outdoor murals, two of which are featured in “The Murals of Colorado: Walls that Speak” by Mary Motian-Meadows and Georgia Garnsey. La Veta also has two bronze sculptures created by a local artist. I believe there is a “walking tour” of La Veta in the making through the chamber of commerce.
PULP: That’s a lot of art. What role does La Veta’s culture play into the economy and tourism?
Zehring: Near the 4th of July every year, SPACe sponsors “Art in the Park” which brings many artists and art-lovers to La Veta. In fact, all spring, summer and fall La Veta has many tourists and art lovers who come to visit the many galleries and see all the public artworks.
PULP: So, do things slow down in the winter?
Zehring: Traditionally, La Veta has a beautiful winter with lots of snow. The artists are happy to be snowed into their studios where they create works for the next tourist season.
PULP: What is the number one thing visitors should know about La Veta’s culture?
Zehring: La Veta loves and welcomes its summer visitors–many of whom have summer cabins here. There are many art classes to take, galleries to visit and even theatrical performances held at the Francisco Theater for the Performing Arts.
PULP: Are there any must-stops you recommend when traveling through La Veta?
Zehring: La Veta’s Main Street should be seen featuring Charlie’s Cash and Carry since the early 1900s with its original ice cream counter and ice cream cones to go. Anyone coming to La Veta should walk Main Street, see the banners, visit the galleries, get an LVSA class schedule and “walking tour guide” from our award-winning library. Also, visit our art-filled public park on Ryus Street.
Acoustic heartbreak in the Colorado San Juans with John Statz
Songs about heartbreak should resinate. And with John Statz they do. They’re equally soft and striking.
His new full-length album “Darkness on the San Juans,” available May 11, takes an acoustic turn from his other recent work. Then, he had full bands in studios. With this project, he gathered a few friends in his living room to record.
Like heartbreak itself, the album is more personal, more raw and more intimate. The Wisconsin native who now calls Denver home said he hasn’t done something quite as stripped down in a while, and when it came to get back into songwriting after the release of his last album last summer, there was also a reason to write.
It was the aftermath of a breakup.
“We retrace our steps. We look at what we thought we knew. We ultimately discover and face the truth under the stories we told ourselves along the way,” he says of the album.
In addition to the post-love songs, the album features a few songs Statz previously worked on but didn’t have a place on an album, and songs that are meant to be more acoustic. “Presidential Valet” is the story of Armistead, President John Tyler’s valet, or slave, who died alongside seven others in an explosion after Tyler and members of cabinet were watching the firing of the “peacemaker” in 1844.
So, this album is about heartbreak. Did that change how you wrote or approached the album at all?
Yeah. It just kind of comes out more — I don’t know — when you’re writing about heartbreak it’s just seems like the easiest type of writing. It’s just pouring out of you. You don’t have to come up with a concept or a story or any of that.
In the bio you released ahead of this album, it references a pretty famous Ernest Hemingway quotation: “Write hard and clear about what hurts.” Maybe as a writer I hear about this all of the time, but there’s definitely a writing style associated with Hemingway — to write very concise and clear. Did you take any of that with you into the songwriting or was it all about the emotion?
You know, it was the emotion part. I didn’t think about that, but the songs are fairly concise and short. So I appreciate that might also be relevant there even though I didn’t intend that.
The title of this album is “Darkness on the San Juans.” Explain that a little bit.
It’s a line in the song “Highways.” Geographical references are all over my songwriting. On every album I’ve ever written. So it’s a song about driving places with someone and either ending up back at those places later and having other memories being their previously. The San Juans was one of those locations that was important.
Why do you think you end up writing about places so much?
I mean, an obvious answer is that I spend a lot of time driving around to gigs, and I’ve been a lot of places because of that. And just for fun. I love roadtripping around Colorado, and camping and that sort of thing. So it’s not a planned thing. I’m living and breathing this lifestyle from A to B to C and that infiltrates the writing. But also, it’s a convenient rhyming scheme. Sometimes it can be hard to find a word, but there’s usually a city that will fill in.
How long did it take you to finish this album, being that the concept is fairly raw?
It all happened pretty fast. The two non-heartbreak songs, “Presidential Valet” and “Old Men Drinking Seagrem’s,” were older. They’re social commentary tunes. But I just hadn’t recorded them to yet and I was waiting for an acoustic album to do that. I started writing in the summer. I decided in December to record them. I called my friend Nate, flew him out in January. And we recorded it in three days in my living room.
Had you recorded like that before?
It’s been a while, but yeah. My first couple albums that I made when I lived in Madison, Wisconsin, were like that: recorded at home and more stripped down with the production and just making use of what we had. The last three albums were full bands or went to a really professional studio. This is how I made records way back.
Why did you decide to do it this way?
The songs mostly had an acoustic feel, and I sing in my living room a lot. I have this open, high ceiling. So I play my guitar and sing in my living room a lot. I think it sounds cool in there. I thought we could make a cool recording there. I liked the idea of making this intimate album in my home. It was a comfortable, cozy way to make an album.
So everything about this album seems more intimate that what you’ve done in the last few years.
Yeah. Definitely. Everything is. There’s only four musicians on this album, and one of those is my roommate who did knee slaps.
I also noticed on the album credits was an oatmeal container.
So I bought a plastic egg shaker because I thought I maybe wanted to some percussion. But it just didn’t sound that cool. I was like, well we have oatmeal around the house. There wasn’t much left in one container and so we shook it and it was a way better shaker sound, you know?
The inspiration for these songs were the feelings that linger after a break-up. Was there a cut-off point there since emotions always evolve, especially in these instances?
It’s a process. A relationship ends and we all go through the phases. Months go by and you change how you feel. The me that wrote those songs and recorded them months back is a different person. I’ve evolved in the process.
Did you have to simmer to write these songs or was it immediate?
I wrote the first song like a month after. I was trying to write again because I write in cycles. I had just put out an album at the beginning of last summer and when I’m in album release mode I’m not writing as much. But when that’s over I want to write. This time I wanted to write again and I had a fresh reason. I find it a little uncontrollable. I’ve never not written about any breakup I’ve ever had. It’s just part of the territory of being writer. I haven’t written anymore since I wrote those. I’m in album-release mode. I think I decided I’m done with these songs on this album. That’s part of the reason why I wanted to get it out. This part of my life is completed and now I will write a bunch of songs about U.S. presidents or something like that.
I noticed on your social media you like presidential biographies.
Yeah, I do. My friend Jeffrey Foucault is a songwriter and he gave me a LBJ biography. I really liked it, so I thought I’d give George Washington a try and I just kept going.
How many are you up to?
I’m almost done with Grant, so 18.
So far do you have a favorite based off of biographies?
Grant has been really interesting. Lincoln was fascinating. Martin Van Buren. Great sideburns.
Back to the album. Do you think the listener can hear an evolution throughout the album?
Yeah, those songs were written at different times, so probably. I’d say it’s a snapshot of what somebody goes through, or at least what I went through. But I think what most of us go through after a breakup.I just think most people have been through it so I hope they can identify.
I just think most people have been through it so I hope they can identify.
You can purchase Darkness in the San Juans at johnstatz.com.
Denver’s Wes Watkins dynamic new future-funk EP is from another planet
Future-Funk Party Starter | Wes Watkins
Dreams Out from Denver’s best kept secret Wes Watkins wears so many musical hats it needs a rack; downtempo G-Funk homage and sweltering nee-Soul / Rn’B are all over this release, all covered with a thicc pop glaze and a penchant for electronic-sonic experimentation that keep every song fascinatingly adventurous while maintaining a danceability and groove that easily, easily warrants multiple listens. Don’t sleep on this one.
Lo-Fuzz Folkie | Hoi Ann
The beauty of Hoi Ann’s Tangenier lies in both what you can hear and what it may want you to not hear. Lo-fi folk and bedroom-pop are easily tangible on its surface, but the buzzy electronic tones that sparingly flourish the 5 songs of this release lie low and create a unique aural atmosphere for listeners, like hidden secrets for your ears only.
Indie-Punk Sweeties | Gestalt
The pop-punk shred-bois in Gestalt are back at it again; The irresistible combo of the Get Up Kids earnest midwestern-emo and smart pop-punk wit of the Wonder Years is strong on the tracks that encompass LongBoix, as is an acute fondness and growing appreciation for the finer indie rock of yesteryear. Well I guess this is growing up.
Psych-Rock Screamcore | Gone Full Heathen
On their criminally good self titled EP, Fort Collins heavies Gone Full Heathen friggin dare you to try and trap them in a single genre. Nice try, but they’ll just chew right through your puny ropes using a gnashing blend of crushing stoner-rock laced hardcore punk and overdriven psych-rock / post-metal induced bite like the righteous rock and roll wolves that they are.
All releases available for purchase now thru Bandcamp. Go Local!
The Haze Craze for Lazy Days
There are many different styles of beer. Ranging from light lagers (think Bud Light) and ales to sours, stouts, and IPAs.
Within those styles, however, are varying styles.
For example, one would think a sour beer is a sour beer, right? Wrong. According to the Beer Judge Certification Program, which defines every style of beer, there are six recognized European sour styles.
For IPAs, there are seven. American beers have four; stouts have three… You get the point.
Even with viewing the list of recognized styles, it’s not a complete list.
Take New England IPAs (NE IPA), as a prime example. Many breweries are currently mass producing this style of beer, and it’s selling like crazy.
You may have heard one of your annoying beer loving friends talk about drinking a “juice bomb,” or a requesting a “hazy IPA” at the pub, and shrugged it off. It turns out, they (sometimes) know what they are talking about.
What makes NE IPAs so popular when compared to a more traditional, West Coast IPA? NE IPAs have all of the hop flavors, without an overabundance of bitterness.
Instead of constantly adding hops throughout the boil to achieve a fruity flavor balanced by bitterness, the NE IPA has a small hop addition at the begging, and then nothing else until after the boil has finished.
That translates into a beer with very little bitterness, and plenty of hop aroma and flavor. Hops like Citra, Mosaic, Mosaic, Galaxy, and El Dorado are most common in NE IPAs, according to the Homebrewers Association. Those hops tend to impart a fruity, and dare I say, juicy flavor profile.
Between the juicy flavor and the seemingly natural haziness to NE IPAs, it’s not far fetched for an NE IPA to look like a tall glass of orange or grapefruit juice, only carbonated and full of alcohol.
NE IPAs are starting to gain momentum here in Colorado, with breweries turning their focus to the haze craze. Specifically, Odd13, WeldWerks, and Epic Brewing coming to mind.
Odd13 is based in Lafayette, Colo. and has a long list of NE-inspired IPAs constantly rotating through the tap room and distributed throughout the state. Codename: Super fan and Noob are two beers that are found in cans, and both offer a different approach to the haze craze.
WeldWerks is based in Greeley, Colo. and has accumulated a cult-like following in just a few short years for its Juicy Bits NE IPA. The brewery just started self-distributing locally, so you’ll have to make the trip to the brewery and pick up a crowler or four. Be sure to check the WeldWerks Facebook page for availability and limits. Yes, they have to place per person limits on how much you can purchase.
Epic Brewing recently announced its NE IPA, which will rotate between four different flavor profiles throughout the year. The cans will look the same but will be different colors as a quick way to tell identify which version you have.
So the next time you walk into a brewery or liquor store, it’s OK to ask for a hazy or juicy IPA. It’s a thing, and, frankly, they are damn good.
On Tap: By the time this hits newsstands, ThunderZone Pizza & Taphouse will have opened on the CSU-P campus. Located at 2270 Rawlings Blvd., the ThunderZone features 32 taps, a carefully curated tap list, and is locally owned.
At the opening, the tap list includes tasty brews from the likes of Florence Brewing and Lost Highway.