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box-office frontrunner Men in Black. While Warner Bros, provided the initial seed money for the movie, Laughlin wrested control of the picture away from the studio, and distributed it himself. He had too much at stake to let it die on the vine. Besides starring with

Taylor, he directed Billy Jack (under the pseudonym T.C. Frank), co-wrote it (as Frank Christina) and produced it (as Mary Rose Solti). Billy Jack spawned two sequels in the 1970s, and Laughlin hasn't abandoned hope of reviving his righteous streetfighter for a new millennium. He continues to seek funding to do a new Billy Jack, set on the Navajo Reservation. The '60s flood of independent films slowed to a trickle by the '70s and '80s. During this long, dry spell. New Mexico snared a few offbeat projects, such as the bawdy B-movie

Equipment utilized in the Chemistry Laboratories includes the following:

• Truck Stop Women (1974) showcasing the attributes of former Playboy c
  enterfold Claudia Jennings and the campy Western spoof Lust in the Dust (1985). It wasn't nearly as salacious as the title implied or as might be construed from the pres
• ence of Divine, taking a breather from more demented dut
  ies under the direction of John Waters. One bright spot relieved the monotony - the rise of a new band of small budgeted p
• ictures exploring ethnic themes. Robert M. Young's The B
  The UV-vis uses ultraviolet and visible light to identify molecules (both organic and inorganic) present in sample solutions. This technique is particularly suitable for metal-organic solutions and the UV-vis is able to identify both the molecules present and the concentration of those molecules.
• Differential Scanning Calorimeter (DSC):
  allad of Gregorio Cortez (1982) served as a model for these lean, mean productions. Young holed up in a Santa Fe hotel for six days and nights to hammer out a rough draft of the final script, recasting the thrust of Victor Villasenor's screenplay and Americo Paredes' original nove
• l. With His Pistol in H
  is Hand. Young struggled to bring balance and perspective to his true-life depiction of one of the century's most charged and divisive criminal cases. Borderland balladeers have long sung of the tragedy of Gregorio Cortez, a dirt-poor farmer who became the object of the largest manhunt in Texas history after he was accused in 1901 of gunning down two sheriffs i
• n cold blood. Young wrestled with ways to sustain suspense in a story whose outc
  ome was widely known. He elected to follow the fractured approach of Rashomon, the Japanese classic that reveals its hand slowly, one facet at a time, through the shifting and opposing viewpoints of each character. "The point of telling a story is not to tell people something they know about already," Young says. "I wanted to set it up so you don't know whether Cortez was guilty or not. All along, you think the same thing as th
• e Texas Rangers, and then you
  begin to be let in on an entirely different set of facts, so you are forced to examine the case again and again, with fresh eyes." The Ballad of Gregorio Cortez owes much of its intensity to Edward James Olmos' smoldering, career-making performance as the haunted fugitive
• . But the casting couldn't be much
  better from top to bottom. Young regrets passing on Ed Hams, who auditioned for a role, but the director redeemed himself by picking up such unimpeachable talents as James Gammon, Rosana DeSoto, William S
• anderson, Brion James, Barry Corbin and Pepe Sema. Why use New Mexico specifically the arroyos around Santa Fe and Chama's scenic train and high terrain - to substitute for Texas locales? Young is unapologet

ic about the choice. "We f

• ound we could re-create the historic settings we wanted more easily in New
• Mexico. For us, it really couldn't have worked out any better." L
• ike the bikers in Easy Rider or the
• cross-country road
• racers in Monte
• Hellman's spare Two-Lane Blacktop (1971), th
• e Native American seekers in Powwow Highway (1989) embark on a journey of self-discovery across the natio

n's heartland. But a more pressing mission compels philosophical Philbert Bono (Gary Farmer) and his activistIERA companion Buddy Red Bow (A Martinez). Bonnie (Joannelle Nadine Romero), Buddy's sister, has landed in a Santa Fe jail. Buddy and Philbert load into a wreck of a 1964 Buick dubbed "Protector" and ride off from Montana to the rescue. Buddy wants to make urgent tracks, but Philbert, a gentle bear of a man, follows his own circuitous compa

ss through the Dakotas to visit friends and sacred places so he can get into the right frame of mind for their quest. David Seals' cult novel propelled Powwow Highway, which rode to success atop a visionary blend of magic and comic resilien