Santa Fe Reporter, March 29, 2023

FOOD FOTO Contest Contest

SFR’s Food Foto Contest is back!

Whether your favorite images are of finely plated restaurant dishes; homecooked successes; gorgeous ingredients from the garden; or other artful interpretations, we hope you’ll share them with the class.

Two grand prize winners earn $100 cash prizes from our advertising partners, and will be featured in our upcoming Restaurant Issue. No limit on entries per photographer. $5 entry fee per photo supports journalism at SFR.

ENTRIES ACCEPTED THROUGH MARCH

SFREPORTER.COM/CONTESTS

OPINION 5

NEWS

7 DAYS, CLAYTOONZ AND THIS MODERN WORLD 6

FARMING WITH FISH 8

How fresh greens get from an office park off Rufina to SFPS cafeteria trays, all year round

SIGN HERE 10

Santa Fe to weigh keeping the city manager’s pandemic power shift in place

COVER STORY 12

DEPTH OF FIELD

With season two of Dark Winds wrapped at Camel Rock Studios, the first tribally owned film studio navigates industry standards and Indigenous sovereignty

CULTURE

SFR PICKS 17

Twitter: @santafereporter

DIY til you die, crying and baseball, Machiavelli-ish and booty-shaking funk

THE CALENDAR 18

3 QUESTIONS 20

With musician Jono Manson

A&C

REMEMBERING THE WACO TRAGEDY 25

Santa Fe filmmaker Tiller Russell’s new Netflix series explores siege 30 years later

SOMEWHERE OUT THERE 26

Newly local artist Alyse Ronayne prepares to drop her first solo show at smoke the moon

THE BOOKSHELF 27

Cat-people budgrowers, a tourist in Hell, and other strange delights of Kelly Link’s new story collection

MOVIES 28

JOHN WICK: CHAPTER 4 REVIEW

Wherein literally everybody gets shot

WE’RE HERE FOR YOU

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JULIE ANN GRIMM

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ROBYN DESJARDINS

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ANSON STEVENS-BOLLEN

CULTURE EDITOR

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SENIOR CORRESPONDENT

JULIA GOLDBERG

STAFF WRITER

ANDY LYMAN

ANDREW OXFORD

CALENDAR EDITOR

SIENA SOFIA BERGT

CONTRIBUTING WRITER

ANNABELLA FARMER

DIGITAL SERVICES MANAGER

BRIANNA KIRKLAND

ADVERTISING REPRESENTATIVE

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THE TALLIS SCHOLARS

Mail letters to PO Box 4910, Santa Fe, NM 87502; or email them to editor@sfreporter.com. Letters (no more than 200 words) should refer to specific articles in the Reporter. Letters will be edited for space and clarity.

ONLINE, MARCH 8: “OBELISK PLAN WILL BE WITHDRAWN”

NOW DO PARK NAMES

As our community continues to come to terms with the legacy of violence, genocide and land theft upon which our city and economy is built it is crucial that we not only LISTEN to the voices of indigenous matriarchs, leaders, and families but also concretely ACT upon their statements and requests. Generations of harm and trauma cannot be healed overnight by removing a monument BUT we can take incremental actionable steps each day to acknowledge, make amends, and change our behaviors to move forward with integrity. Now that the recent proposal to reconstruct the racist and harmful Plaza obelisk has been abandoned our next step could be to systematically consider and make changes to the plethora of street, school, and park names and monuments to genocidal actors such as Kit Carson and Oñate, as well as ending the continuing harmful presence of Fiesta Council visits in our public schools. Indigenous voices have repeatedly asked for these glorifications of conquest and erasure of the indigenous peoples of this land to be removed. Let’s listen and ACT! These must be faced and dealt with before we can truly begin a healing process for all.

JO CHRISTIAN SETTLER RESIDENT ON TEWA LANDS OF O’GA P’OGEH

MORE DANCING

The bandstand is a winner. A state capital filled with music. Just… no bro country, okay?

JOHN CHARLES NIX VIA TWITTER @ HEADINGWESTNOW

NEWS, MARCH 22: “SECRET STANDARDS”

HE SHOULD RESIGN

I have never written a letter in response to an article concerning someone with a DWI. But I am disgusted that a “judge” has not only received a citation, but that he is pleading not guilty. Does he think he is above the law? He does not deserve to be a judge. He should resign. And, use Deborah Walker’s behavior as an example of maintaining a higher standard as a public official.

ROSEMARY MOLNAR SANTA FE

COVER, MARCH 15: “THE FOILIES”

NOTORIOUS LANL DELAYS

Concerning the article “presenting the nationwide look at the last year’s most terrible transparency,” the Santa Fe Reporter could have stayed home and reported on its own backyard. The Department of Energy and the Los Alamos National Laboratory are notorious for their lengthy delays in honoring Freedom of Information Act requests. As a federal judge ruled in one of our FOIA lawsuits, “administrative officials invoke every conceivable delaying technique and force citizens requesting information under the FOIA to resort to expensive litigation for vindication of their rights. Information is often useful only if it is timely. Thus, excessive delay by the agency in its response is often tantamount to denial.”

It once took me eight years to get back a FOIA request about safety issues at a LANL plutonium facility. I have twice had to litigate to get “Performance Evaluation Reports” on contractor performance that American taxpayers pay for. Information is crucial as the Lab and DOE spend tens of billions of dollars on expanded manufacturing of plutonium pit bomb cores for increased nuclear weapons production for a new and more

CONTINUED ON PAGE 7

DAVID ABBEY RETIRING AS HEAD OF LEGISLATURE’S BUDGET OFFICE

It’s a well-earned retirement, but who’s going to do math for our legislators now?

ORGANIZER OF GLORIETA PASS COMMEMORATION

BLASTS ‘WOKE’ MENTALITY AMID OBELISK OPPOSITION

Kids today with their dislike of racism!

MEOW WOLF NOW OFFERING VIRTUAL MINI GOLF

Because nothing ruins a game of mini golf like it physically existing.

NEW CARWASH OPENS AT SANTA FE PLACE MALL

Just in time for the dusty season.

CANNABIS CONTROL DIVISION SAYS GOODBYE TO THIRD DIRECTOR IN TWO YEARS

Forget criminals, let’s get a handle on that revolving bureaucrat door.

FRENCH KEEP ON STRIKIN’ AS PRESIDENT RAISES RETIREMENT AGE FROM 62 TO 64

What’s “retirement” again? Asking for millennials.

CITY HOSTS EASTER “TOUCH THE TRUCK” EVENT No thanks. We’ll just watch from over here.

READ IT ON SFREPORTER.COM

DIRECTOR DEPARTS CANNABIS DIVISION

The acting director of the state’s Cannabis Control Division is leaving his job, the third director in less than two years.

WE ARE WAY MORE THAN WEDNESDAY HERE ARE A COUPLE OF ONLINE EXCLUSIVES:

EAT, DRINK AND FORK

Want irreverant and sometimes helpful food news and info via The Fork? sfreporter.com/signup

dangerous nuclear arms race. The Freedom of Information Act is a wonderful law and I strongly encourage citizens to use it. Now we need to enforce it!

JAY COGHLAN

NUCLEAR WATCH NEW MEXICO

MORNING WORD, MARCH 20: “CITY OF SANTA FE’S LATE AUDIT COMPROMISES CAPITAL CASH, BOND RATING”

LOVE THOSE LINKS

Thank you for your Morning Word updates, in particular your reporting on the ongoing saga of audits at the city. I especially appreciate that you have links in your articles that go directly to relevant source materials; it gives much needed background to the story.

TOM SPRAY

SANTA FE

MORNING WORD, FEB. 24: “DCA IN TURMOIL”

SMALL TOWN SNARK

I am writing to voice my concern for the recent spate of negative, hearsay-based reporting I am seeing in regard to the Department of Cultural Affairs. It’s a sad time for journalism when a letter signed by people—the majority of whom are retired from (some for many years) or left of their own accord, the employ of the State of New Mexico—is held up as the only evidence in this story. It’s also a reflection on our community that female leaders are fair game

for a dog pile—if Cabinet Secretary Debra Garcia y Griego and Gov. Michelle Lujan Grisham were men, their leadership would be seen as decisive, assertive and direct.

Debra Garcia y Griego is one of the most professional, instinctive and intelligent people I have ever had the pleasure to work with in my 30 years in Santa Fe. She knows what is needed for a task and will be the first person to roll up her sleeves and do whatever is necessary to get the job done. She also has an astute sense of how government entities work and how to work within them to affect change when change is due. Anyone who has had the pleasure of working with Debra knows that she is thoughtful in her words and her deeds. I am certain any firings (of which there have been few, check the record) were not carried out without cause. The lack of mudslinging from the state’s side of the aisle speaks volumes about what is really driving this vitriol, hearsay, gossip and small town snark.

JACKIE CAMBORDE SANTA FE CORRECTION

The March 23 story “Sine Bye,” gave incorrect information about the location of House Bill 6 at the end of the session. It died in the House.

Northern New Mexico’s Premier All-Inclusive Cancer Center

SFR will correct factual errors online and in print. Please let us know if we make a mistake: editor@sfreporter.com or 988-7530.

SANTA FE EAVESDROPPER

Hostess: “And what’s a good phone number to reach you at?

Woman: (Gives number)

Hostess: “We will text you as soon as your table is ready.”

Woman: “Don’t do that! I don’t have my phone with me.”

—Overheard at Tomasita’s

Send your Overheard in Santa Fe tidbits to: eavesdropper@sfreporter.com

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Farming with Fish

0.1 acre, if fully built-out, could equal the output of a 4-acre soil-based organic farm—using a fraction of the water.

BY JOHN R. ROBY byJohnRRoby

The women took their lettuce seriously. They watched over shreds of mixed greens sized for kid-portion trays. The shreds filled a clear plastic foodgrade bin almost too big for one person to heft. The just-uncovered bin sat on a countertop in the prep area of Salazar Elementary’s cafeteria on a recent morning. In about an hour, Caesar salad would be on the menu for 170 hungry learners.

“We don’t ever leave it out like this or it would get mushy—not look as fresh as it does now.” The words from Cecilia “Cece” Tapia, cook and cashier at Salazar, came across as a promise. The bin would be covered and chilling if not for the press.

To understand why Tapia and cafeteria lead Paula Herrera gave the produce such care, start by thinking about a typical encounter with lettuce in the wild. Think about that floppy skim coat on a fast food sandwich bun, machine-cut with disturbing precision. This was not that. This looked like what you’d pull from your own garden, if you had the time and space and skill.

The lettuce came from bags stamped Desert Verde Farm of Santa Fe, with a harvest date of two days before.

“Looks good, right?” Tapia said.

“That looks pretty,” Herrera agreed.

It looked like lettuce you’d want your kids eating.

But it probably didn’t arrive in the cafeteria the way you’d expect. About a month before ending up in front of Tapia and Herrera and the hungry 170, the lettuce had sprouted in a cavernous office space near Meow Wolf.

Desert Verde Farm fills 4,700 square feet, about 200 of that being owner Andrew Neighbour’s office. The office is sparse. It’s mostly Neighbour’s desk. The warehouse is lush. That’s where 2,000 heads of various greens become ready for harvest each week. Neighbour calculates his

The farm runs on aquaponics, a blend of techniques from hydroponics and aquaculture with the goal of a system that’s greener and more productive than either alone. Helpful fish get fed, what comes out of the fish feeds the plants and the cycle repeats with little or no need for added chemicals. Neighbour signed his lease in January 2021, and by November was selling his first mixed greens.

A Ph.D. microbiologist and former associate vice chancellor for research at UCLA, Neighbour, 72, sometimes speaks as though he’s reasoning through an argument. After talking out the pros and cons of aquaponics vis-a-vis hydroponics alone, he lands on the former being a form of “pure biology.”

“You see the microorganisms—Daphnia and bacteria and copepods and other things— just chewing up food so that the plants can thrive, and the plants producing food for the community and the fish helping things along the way,” he tells SFR. “The system gets to a point of stability, and it just thrives. That, to me, is magic.”

At Desert Verde Farm, hundreds of Nile tilapia are fed a diet meant to create fertilizer the food plants crave. Aquaponics grows plants deeper than hydroponics because nutrients are less dense. That takes relatively more space. Neighbour grows most of his greens in troughs up to a foot deep, so he stacks the troughs and uses pumps to circulate the nutrient-rich water.

He describes the business model as “skewed toward altruism.” One motivation in starting it, he says, was to give instead of consume.

“I see these farmers who are growing hydroponic lettuce, and what they’re doing is they’re selling it to people who shop at Whole Foods,” he says. “But we’ve got a community hunger problem, and it irks me that more people are not saying ‘we’ve got to figure out how to feed hungry people.’”

Some of Neighbour’s best customers are organizations working to feed hungry people. A major buyer from Desert Verde Farm and the source of Salazar Elementary’s salad greens is the New Mexico Grown Farm to School Program of the state Public Education Department.

The program allocated $1.2 million to 58 districts and other entities this school year to help procure food from local farmers, according to PED data. That total has more than doubled since 2019, when $450,000 went out. Santa Fe Public Schools’ share was $50,000, up from between $30,000 and $40,000 in recent years.

Betsy Cull, director of student nutrition services, welcomes the increase, noting, “it’ll get spent.” She says having Desert Verde and the district’s other farm partners nearby pays off in a lot of ways.

“Anything picked in the past few days has a much-higher nutrient content than something that’s been on a truck for two weeks,” Cull says. “We’re also creating customers for our local farmers, which in turn benefits the local market, so it’s supporting the community as well.”

Neighbour sells as far afield as Las Cruces via New Mexico Harvest. Most of his customers, like the district, are buying with state support. “Local-forward” Santa Fe restaurants, he says, are less interested than you’d think.

Neighbour also teaches classes part time in Santa Fe Community College’s Controlled Environment Agriculture Program and now hires students from its ranks. On a recent morning, some of those students prepared to harvest the oldest tilapia. The fish live in four 1,000-gallon tanks in the “fish room,” sorted by generation. Neighbour pointed to the tank at the end of the line.

“These are the ones, the big guys,” he says. On this day, Neighbour had a buyer.

Next to the grow room’s vertical troughs sits the “nursery” where Salazar Elementary’s greens were born and nursed for two weeks before they graduated to the grow room.

The nursery is the grow room in miniscule. It runs on a separate, pocket aquaponics system powered by young tilapia, tiny fingerlings that Neighbour brings in 350 at a time to replace the old cohort—baby fish feeding baby greens in a system seeking stability.

Desert Verde’s aquaponics operation has been growing strong since November 2021.

JOHN R ROBY

Hundreds of Nile tilapia are fed a diet meant to create fertilizer for plants. Both fish and plants are sold as food.

COURTESY DESERT VERDE FARM

How fresh greens get from an office park off Rufina to SFPS cafeteria trays

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Sign Here

BY ANDREW OXFORD oxford@sfreporter.com

At the start of the COVID-19 pandemic, when the world seemed to be in free fall and it was unclear how local government would even function, Santa Fe’s mayor and City Council voted to give the city manager additional powers. Instead of having the mayor and council approve purchases over $60,000, for example, the city manager was given authority to sign for contracts up to $200,000.

It was the kind of change that could allow the city to get relief dollars out the door faster in an emergency.

Over the last three years, the past and current city manager have used these powers to sign for about $20 million in spending that previously would have required approval from elected officials. The total includes nearly $7.8 million approved in 2022 by the current City Manager John Blair.

But the expanded authority wasn’t meant to be permanent. The ordinance councilors approved back in 2020 says the city manager only has this authority as long as the state or the World Health Organization has declared a public health emergency. Gov. Michelle Lujan Grisham

says she will let the state’s public health emergency expire on March 31, arguing that the COVID-19 pandemic has turned into a “manageable situation.”

Still, the city manager’s expanded powers may not disappear.

“It’s under review,” Mayor Alan Webber tells SFR.

Webber says the city attorney is examining the pandemic powers and the mayor signaled he is interested in letting the city manager keep the authority to sign for larger purchases rather than taking such requests to a formal vote of the council.

“We have a very cumbersome process as it is with moving contracts,” Webber says. “It’s slow.”

Back in 2020, Webber argued that holding votes on all purchases over $60,000 amounted to extra work for overextended city staff. Contracts already go through a purchasing process at City Hall. For formal votes, staff must prepare additional memos and shepherd the contracts through committee hearings as well as the council.

And councilors have expressed frustration recently with the pace of the city’s governing body, which has seen meetings drag late into the night, gumming up other business in the process.

District 3 Councilor Chris Rivera, says he would also support raising the dollar amount that the city manager can approve on his own from $60,000.

“$60,000 in these days and times might be low,” he says. Still, $200,000 might be a little high, Rivera adds.

The key is to let business move smoothly while ensuring the City Council has adequate oversight, he says.

But some councilors are not convinced.

“I’m open to letting it expire and letting us get back to business as usual,” says District 2 Councilor Michael Garcia.

While the city manager is required to provide monthly updates on contracts he

has approved that are worth more than $60,000, those updates are not posted publicly or included in the council’s agendas and Garcia says that has led to less public awareness about how the city spends taxpayer money.

“Some contracts would have generated some discussion,” he says.

District 1 Councilor Signe Lindell tells SFR the issue merits at least a conversation now. After all, the city manager’s expanded pandemic authority was approved during a glitchy Zoom meeting in March 2020.

“I think it certainly deserves a discussion and a review of the sizable contracts that have been signed. Perhaps it is a good idea and perhaps it contributes to our efficiency,” Lindell says.

After all, it was only in 2018 that councilors agreed to let the city manager approve contracts worth up to $60,000—a cap previously set at $50,000.

Spending approved under the $200,000 limit has included the sort of thing councilors likely expected in the early months of

the pandemic, such as contracts to provide shelter for people living on the streets. But it has also included a range of other contracts, such as exactly $200,000 for marketing the Santa Fe Airport in 2021.

In the meantime, the city has fallen behind on its financial audits to the extent that state officials are withholding funding for capital projects and Santa Fe is at risk of losing its bond rating.

Blair didn’t respond to a voicemail message or an email seeking comment. Webber says any long-term change to the city manager’s powers would be presented to the council.

And other cities in New Mexico have taken similar steps recently. The Las Cruces City Council, for example, voted in February to give the city manager authority to approve purchases up to $100,000, instead of $75,000. Some cities simply give their managers more autonomy. In Rio Rancho, the city manager can sign for some purchases up to $500,000 without approval from the mayor and council.

Santa Fe City Council holds an in-person meeting at City Hall on May 11, 2022.

WILLIAM MELHADO

Santa Fe to weigh keeping the city manager’s pandemic power shift in place

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With season two of Dark Winds wrapped at Camel Rock Studios, the first tribally owned film studio navigates industry standards and Indigenous sovereignty

BY SIENA SOFIA BERGT siena@sfreporter.com

The entrance has the look of a David Lynch location—a Southwestern version of the Silencio from Mulholland Drive, or the midcentury-tinged Slow Club in Blue Velvet. Red and yellow tubes of unlit neon hang at self-determined angles from the doorway. But as in a Lynch movie, the creative, political and symbolic possibilities waiting just inside the arching doors of Camel Rock Studios are both consuming and complicated in ways not immediately visible.

Principal photography for the second season of AMC’s George RR Martin/Robert Redford-produced Dark Winds wrapped weeks ago, but the former bingo hall is still filled with many of the show’s most recognizable sets—including several ‘70s-styled interiors and a full-size hogan. Production assistants crisscross the atrium, scanning the space for unapproved arrivals. Anyone allowed past their patrol must keep phones and cameras tucked away, as AMC and

Tesuque Pueblo each have their own concerns about what outsiders see of their sphere. And curiosity about what’s going on inside the country’s first tribally-owned film studio is spreading.

“I had tour buses that stopped at [the] Valero [gas station across the street],” says Peter Romero, studio stage manager, who notes the facility is never open to the public. “They called the Camel Rock Studios number. Like it’s Universal Studios.”

As the main point of contact between the pueblo and visiting productions, Romero secures approval for non-employees visiting studio property. This afternoon, he’s meeting with Tesuque Pueblo Lt. Gov. Floyd Samuel and Jennifer LaBar-Tapia, commissioner of the Santa Fe Film Office. As the three cheerfully greet each other, it’s increasingly apparent these are not just occasional colleagues—they’re longterm collaborators. And their shared history is directly connected to the facility’s transformation from ‘50s-era casino to film studio.

University of Art and Design, where Garson Studios remains operational following the school’s closure in 2018.

“The [current Tesuque Pueblo] lieutenant governor’s brother, Larry Samuel... and producer, director Chris Eyre were faculty at SFUAD. We were all on the same softball team,” Romero tells SFR. “The three of us actually had the conversation about, ‘they should build a film studio [on the pueblo]’ in

2013 or ‘14. And then, after all those years, it actually came to fruition.”

LaBar-Tapia describes a similar encounter a few years after that conversation.

“I was actually speaking at a conference around 2018, and one of the participants was [former Pueblo of Tesuque lieutenant governor Roman Duran],” LaBar-Tapia says. “And he said to me, ‘What do you think about us turning our casino into a stage or something? Would that work?’ And I’m like, ‘Oh my God, please!’”

But the idea of converting Camel Rock into a studio didn’t catch on immediately. After the pueblo opened its new casino in 2018, several more traditional uses for the old building—including as offices for tribal administration or (more prophetically) a movie theater—were debated, researched and ultimately discarded.

“There were a lot of different options we threw around at the time,” says Samuel, “but the filming industry…nobody looked at it that way.”

When conversation surrounding a possible studio resurfaced throughout the pueblo in late 2018, the tribe brought a host of production professionals from around the country to New Mexico to tour the facility and offer feedback on the property and its potential. The response was strong enough for the Pueblo of Tesuque Development Corporation, which acts as the tribal government’s business arm, to kickstart the building’s transformation into a full-fledged studio with a $50 million dollar investment. The conversion proved surprisingly smooth.

“I don’t think a lot of people realized what a gem this was,” Romero notes. “We have the infrastructure, that’s the main thing: electricity, water, internet, lighting, security; everything is kind of just buttoned up.”

LaBar-Tapia agrees.

“You’ve got a backlot, you’ve got a mill, you’ve got the parking,” she says. “And the very first production was Tom Hanks.”

That project was the Western News of the World, shot during the studio’s infancy in late 2019, when demand for stages in Northern New Mexico vastly outpaced a limited supply. The newly christened Camel Rock Studios moved from the realm of ballgame discussions to a Universal Pictures production in a matter of months.

According to Romero, the story of Camel Rock Studios begins nearly a decade ago, at another facility destined for life as a film set—the now defunct Santa Fe

But much of News’ actual shoot took place on outdoor sets, while the former bingo hall itself housed larger props, including a life-size covered wagon. Appropriately enough, it would take a story about Indigenous people to fully deploy the studio’s interiors on camera. But that would come later—after a multi-month vacancy at the onset of the pandemic.

“I don’t think a lot of people realized what a gem this was.”

Peter Romero came to Camel Rock Studios after serving as director of facilities and security for the Santa Fe University of Art and Design, where he was known for using goats to weed the campus.

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“Natives tend to take their jobs very seriously.”

Local filmmaker DezBaa’ (Diné) joined the set of Dark Winds as an actor, playing grieving mother Helen Atcitty in the show’s first season. But returning as a member of the writers’ room for season two allowed her to experience the Camel Rock set from both sides of the camera. And its approach to COVID safety left a particularly lasting impression.

“I definitely feel like in general, Natives tend to take their jobs very seriously,” she tells SFR. “There was always somebody running up with a mask ready to hand it to me. I don’t know that I actually had anyone do that before. And I think very much it was warranted because of the experience within their own communities, seeing how COVID had taken out a lot of elders and relatives.”

Camel Rock Studios’ shutdown until the arrival of Dark Winds certainly wasn’t unique, but it came at what otherwise would have been a moment of triumph. News of the World had attracted trade coverage in Variety about the success of Tesuque Pueblo’s new venture—with a glowing story published just two days after New Mexico’s first confirmed COVID-19 case on March 11, 2020.

Still, as DezBaa’ says, the pandemic proved disproportionately deadly for Indigenous New Mexicans, which put extra pressure on the studio’s decision to stay shuttered. Hollywood

cast and crew members flying into an otherwise quarantined pueblo community could have led to especially disastrous losses. By the time Dark Winds was ready to begin production on its first season in summer 2021, vaccines offered enough protection to justify reopening the studio gates. And it was logical for an adaptation of Tony Hillerman’s non-Native take on Navajo stories to base itself at an Indigenous studio amid efforts to improve the books’ representation of Native characters.

But other disparities between Dark Winds’ time at Camel Rock and the typical operations of a high budget film set are as practical as they come—tracing back to the legal separation of state from tribal land.

“How can Native lands take advantage of the incentive program?”

It’s appropriate, given actor Zahn McClarnon’s portrayal of self-assured

tribal officers in both Longmire and Dark Winds (and, OK, as Big in Reservation Dogs) that Peter Romero’s first encounter and subsequent reconnection with the star were both occasioned by sharing a wouldbe tribal office.

“You know, the funny thing is, Zahn was in Longmire...at Garson [Studios], and my personal office at SFUAD [became the set for] his tribal police office,” Romero tells SFR. When McClarnon (Lakota and Irish) later came to tour Camel Rock Studios for Dark Winds, Romero greeted him as the manager of a building which would go on to serve as McClarnon’s onscreen jail.

It’s another point of interconnection in the studio’s story, and the two men’s reunion has obviously been fruitful. Dark Winds averaged a little more than 1 million television viewers per episode over its first season’s six episodes, according to online data, and has signified changing times when it comes to filming on tribal land. In some cases, things are just plain easier. Beyond the fictionalized tribal forces McClarnon personifies onscreen, Camel Rock Studios’ actual Indigenous jurisdiction means rights are handled by a single governing body rather than the typical patchwork of city, county, state and private interests. In this case, all paperwork funnels through Romero.

CONTINUED ON NEXT PAGE

In addition to six interior standing sets, Camel Rock Studios offers film productions more than 100 acres of undeveloped land and a 130,000 gallon water tank for shooting aquatic scenes.

Shooting Dark Winds (from left): Executive Producer and Director Chris Eyre (Cheyenne and Arapaho); Zahn McClarnon (Lakota and Irish) as Joe Leaphorn; Kiowa Gordon (Hualapai) as Jim Chee; and DezBaa’ (Diné) as Helen Atcitty.

MICHAEL MORIATIS/STALWART PRODUCTIONS/AMC

“So, you go rent Garson, you rent the stage—you need water? You gotta go to the city. There’s another hurdle,” Romero explains. “[Productions at Camel Rock] need water, they make a phone call or shoot me a text, myself or my employee walk down here, we sell them water by the thousand gallons; no problem; it’s a turnkey issue. They come here, they can pretty much get 99% of the things they need.”

On a show like Dark Winds (each episode of which costs roughly $5 million to produce, according to The Hollywood Reporter), such streamlining can make a notable impact on the budget. It’s a crucial financial incentive for the studio to use in attracting business—especially since its location on tribal land means Camel Rock doesn’t actually qualify for any of New Mexico’s state film tax credits.

This is where things get thorny. Locally shot projects can obtain refunds for 25-35% of their qualified in-state spending, an offer the state film office credits with attracting more than 90% of productions being shot in New Mexico. Shows like both Dark Winds and Longmire—with six or more episodes per season and a budget of at least $50,000 each—would usually get a 5% boost from the baseline. Shooting at a qualified production facility, like Longmire’s Garson Studios, earns filmmakers another 5% bump.

And while Camel Rock’s ceiling might be a little lower than a typical studio (it was, after, all built to hold gaming machines, not camera cranes), it could likely meet the state requirements for a qualified facility. If it did, that would mean a project like Dark Winds could receive the maximum 35% back on its spend at Tesuque Pueblo. Yet spending on the studio is ineligible for the same reason it attracted the production in the first place: it’s on Native land.

In practice, a local crew can shoot at Camel Rock with equipment rented in Albuquerque while eating craft services from a Santa Fe

catering company and get money back on everything except what they’ve spent at the tribally-owned studio. This catch-22 weighs on LaBar-Tapia’s mind.

“I think that’s one of the things at the state level,” she says. “How can Native lands take advantage of the incentive program?”

According to LaBar-Tapia and Romero, numerous possible scenarios illustrate how a tax credit program might draw revenue to the pueblo. A hotel for film crew on tribal lands, for example, or reimbursable receipts at the nearby gas station and incentives for productions to rent locations from pueblo citizens. LaBar-Tapia says she hopes lawmakers in a future legislative session will address the topic. For now, the 2023 session has concluded with Senate Bill 12 expanding the state’s film incentive package—tribal lands excepted.

Even so, it will likely take more than legis-

WILL 2023 BE THE YEAR YOU GO SOLAR & LOCK IN ENERGY SAVINGS?

lative action to enact incentive programs for tribal lands, according to the state film office.

“If a property is owned by a tribal entity, it is not eligible for film tax credits because it is not subject to state taxation,” explains Deputy Director Carrie Wells. “Changing that would require federal action and is not something that can be done at the state level.”

No path forward for such an agreement has been identified yet, and the New Mexico constitution doesn’t assume jurisdiction over pueblos. It’s a matter of Indigenous sovereignty.

“A lot of people don’t understand the idea of sovereignty.”

DezBaa’ is surprised to learn money that Dark Winds spends on tribal land isn’t eligible for the New Mexico tax incentive, but she quickly notes the principle underlying the exclusion.

“I mean, it makes sense,” she says. “It’s important we have that ability to draw from the strength in that sovereignty. A lot of people don’t understand the idea of sovereignty and tribal government—it’s basically like dealing with another country.”

The comparison applies on a philosophical level as much as a legal one. Selfdetermination for Indigenous governments like Tesuque Pueblo hinges on recognition as sovereign nations—entities existing alongside rather than underneath state and federal structures. Practically, that means any incentives to support filming on Indigenous land can’t just fold tribal space into existing agreements. Camel Rock’s unique current position at the intersection of Hollywood interests and Native nationhood exposes all sorts of subtler intercultural fissures, too.

“Being on tribal land, you’re gonna run into that particular nation and how they hold themselves, how they execute their protocols,” DezBaa’ explains. “And it may not be the same as what the film industry

Jennifer LaBar-Tapia has been with the Santa Fe Film Office since its formation in 2016. She stepped up to become the organization’s commissioner in 2020.

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I think that’s one of the things at the state level . How can Native lands take advantage of the incentive program?

-Jennifer LaBar-Tapia, commissioner of the Santa Fe Film Office

requires, or wants or requests. You’re not dealing with...this romanticized version of Native Americans and, ‘Oh, we’re doing them a favor.’”

When culturally-sensitive industry requests or needs do arise, they filter through Romero—who then relays them to the Tribal Historic Preservation Office.

“They come out and verify the area and make sure there’s no artifacts, or if it’s a sacred area, they just tell us yes or no,” Romero says. “There’s no questions asked. With respect to the tribe, we have to go through that process every time.”

The production then adapts to the boundaries set by the tribe. Such a relationship is as new and unique for Hollywood as it is for the pueblo. And some refusals take more adjustment than others. Nowhere is the cultural gap more evident than in moments of mourning. Because Tesuque

Pueblo is so tight-knit, the same unified channels streamlining production paperwork stop flowing when the community gathers to grieve the loss of a member.

“Think about life in general outside of the Native community. People pass every day. Nobody honors, [pays] respects to the family or anything,” Romero says. “Here, it’s such a small community. Everybody is connected, everybody knows everybody. That’s the proper thing to do.”

From a non-Indigenous industry perspective, the process of translating lost time to lost money makes the idea of any pause on set inherently nerve-wracking. But if the promise of shooting on Native land continues persuading Hollywood to learn to film by Native rules, Camel Rock Studios’ next few years could spur even more radical changes within the industry than its charged first three.

“How do we create what LA has here?”

Each person to walk through Camel Rock Studios’ uncanny curved glass entrance re-emerges into the sunlight with a different vision of what the building’s future could hold. The lieutenant governor would like to see profits from productions providing health care for tribal citizens.

“Just like anyone else, there’s health issues within the tribal community and, you know, some may not have health insurance,” Samuel says, “so using some of those proceeds to assist them would really benefit not just individuals, but families.”

Romero has made several recent building updates to improve working conditions, including replacing the HVAC filtration system—a relic of the studio’s early and smokefilled casino days. Looking forward, he dreams of new green screen facilities and faster Wi-Fi for late-night data transfers to Burbank.

“The bandwidth required takes 10 to 12 hours in the middle of the night when no one’s online or anything. I think that’s one of the big priorities,” he notes.

In addition to tax incentives for tribal lands, LaBar-Tapia cites the need for in-state post-production facilities to take pressure off rural internet.

Sunshine Eaton, a Tesuque Pueblo tribal member and COVID compliance officer on Dark Winds, wants to see more outreach from Hollywood to her community.

“I definitely think there’s more work to be done,” she says. “I hope there’s a way of figuring out how to make that connection, whether it’s the production offering to put up posters of ‘oh, we’re hiring,’ or reaching out to the tribal leaders, giving them the opportunity to tell [Tesuque Pueblo], ‘Hey, we need some tribal members to work.’”

Others like Dark Winds Hair Artist Kerry Myers (Comanche Nation) call for additional dedicated on-set advocates for Indigenous cast and crew.

“All of these sets need somebody standing there every day to make sure Natives are treated right,” they assert. “People do their best, and sometimes don’t know what’s right and just need to be told. But when production gets rolling, it’s a lot to deal with. And I think that’s its own job.”

DezBaa’s vision is the most extensive.

“I was talking to somebody during the [Legislature’s film industry] meet and greet.” she recalls. “They were saying, ‘Everything comes through LA,’ and I said, ‘Well, I understand that, but how do we create what LA has here?’ What I feel like needs to be done, what we’re working towards is, both the tribal and state are able to create and generate their own income, create and generate their own productions, create and generate their own talent.”

Her hopes for a homegrown production pool touch on a question the studio hasn’t yet had to confront. What will use the space after Dark Winds is gone?

The show hasn’t been picked up for a third season yet, but sets wait in the main hall for its intended return. And so, where other Native film programs like the Cherokee Nation Film Office have created merit-based vetting systems (in that instance, prioritizing movies and TV shows with nuanced Indigenous representation), Camel Rock doesn’t have an established method for picking new projects.

“Since we’ve only had one other production, and we’re hoping that [Dark Winds is] going to be here for several seasons, at this point there’s no way to bet,” Romero says. “But I get phone calls. There’s a need, and there’s a want. Others don’t have what is offered here.”

In addition to her work as an actor and writer on Dark Winds, DezBaa’ was just selected alongside her father to participate in the inaugural Bosque Redondo artist residency.

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Zahn McClarnon as Joe Leaphorn in Dark Winds Season 1, Episode 5.

MICHAEL MORIATIS/STALWART PRODUCTIONS/AMC

THERE IS MOST DEFINITELY CRYING IN BASEBALL

Remember back in ’92, when a still-blossoming Tom Hanks starred in a film about women’s baseball during World War II, but Geena Davis and Lori Petty were actually the best parts of the thing? Director Penny Marshall’s A League of Their Own is still a great watch, and that’s in no small part due to the Beetlejuice and Tank Girl stars. Oh, Hanks is funny enough as the hard-drinking manager with a heart of gold, and it seems the new Amazon series is well-liked, but there’s just something that feels so true and oh-so ’90s about Davis and Petty’s portrayal of sisters during the real-life story of the All-American Girls Professional Baseball League—plus Rosie O’Donnell and Madonna are in there, too. Feed your nostalgia or see it for the first time at the Jean Cocteau Cinema this week. It’s a real feelings fest. (Alex

De Vore)

A League of Their Own: 9 pm Thursday, March 30. $13-$26 Jean Cocteau Cinema, 418 Montezuma Ave., (505) 466-5528

SOMETHING-AVELLIANISM

OK, so we all think we know Machiavelli’s basic deal, right? He was an Italian diplomat and artsy type, plus a bit of a thinker who rabble-roused and such around Florence, Italy, in the 14- and 1500s. In brief—and this is in a real nutshell, mind you—Machiavelli basically posited that evil is gonna evil, and good really exists because there are, otherwise, consequences. Some of Machiavelli’s beliefs have even kind of led scholars to believe maybe he himself was evil, too. You know the guy, trust us! He said, “It is better to be feared than loved, if you cannot be both.” Dang. Anyway, while the trend is reportedly all about Machiavelli being a bad dude, visiting Princeton lecturer Maurizio Viroli heads to St. John’s College this week to tell everybody why he feels the Italian stallion has such a bad image problem. Viroli maybe even thinks Machiavelli was a good man who taught and did good during his Florentine trek to infamy, and that, frankly, sounds incredibly interesting. (ADV)

Machiavelli: A Good Teacher of Goodness: 7 pm Friday, March 31. Free. St. John’s College

1160 Camino Cruz Blanca, (505) 984-6000

MUSIC TUE/4

THINGS THAT GO THUMP

Those who’ve heard Funkadelic’s Maggot Brain pretty much know there’s no music quite like the funk, and it seems no band going today understands the ongoing mission like Los Angeles’ Thumpasaurus. Leaning into the feel-good weirdo-jam action of their forebears like Prince and the aforementioned Funkadelic, this fearsome fivesome exploded onto the scene a mere five years ago with the Polysics-esque electro-pop brilliance and nasty basslines of The Book of Thump. Since then, they’ve honed their sound into a class all its own—one defined by endlessly danceable rhythms and polyrhythms; mental karate and David Byrne-style vocal moments so satisfying it’s almost criminal. This one’s for fans of Bootsy, The Faint, the bleeps, bloops and, yes, the thumps. It feels so nice it’s almost becoming an obsession. (ADV)

Thumpasaurus: 7:30 pm Tuesday, April 4. $18-$20

Tumbleroot Brewery & Distillery, 2791 Agua Fría St. (505) 303-3808

Super 8 Superheroes

The past and present of Santa Fe’s DIY film scene unite on the walls at No Name Cinema

It’s not every day you discover a forgotten historical chapter mirroring your own community arts project. But that was the case when Justin Rhody and Abigail Smith of No Name Cinema first encountered the posters, screen printings and illustrations that now constitute the Moving Image Film Co-op: Vintage Ephemera Santa Fe 1971-72 exhibit, up at No Name through April 16.

“I didn’t know anything like this had existed that was kind of comparable to what [No Name is] doing,” Rhody notes. “But I organized this panel discussion at CCA last year on microcinemas in New Mexico, and afterwards this guy came up and said he wanted to talk in the parking lot.”

That man was Ray Hemenez, one of the organizers behind the titular former DIY film collaborative and a longtime researcher for Koyaanisqatsi director Godfrey Reggio. Hemenez told Rhody the story of the co-op, and the two immediately bonded over their shared passion for what Rhody terms “things operated in the margins.”

“We wanted to bring films to Santa Fe that didn’t seem to be on anybody’s agenda,” Hemenez explains. “Documentaries, films by women, political films, animation, shorts, home movies…that was the one thing we all agreed on.”

Much like No Name does now, the

co-op passed along profits to local causes, including food cooperatives and women’s health services providers. All workers were volunteers, and the hand-drawn illustrations adorning most posters were donated by local artists. But unlike its modern equivalent, the 1970s organization never had a physical space to call home—until this show collected its curios under one roof. Now the exhibit itself is a manifestation of the communal ethos both No Name and the Moving Image Film Co-op represent.

“When [Justin] asked me if I’d be up for putting up photos, I said, ‘Sure, we’ll just tack it up around town like we used to.’” Hemenez recalls. “He framed it all and gave it a whole different value that really moved me.”

If you consider yourself a film history geek—or even just a lover of Santa Fe’s underground arts history—it’ll likely move you, too. (Siena Sofia Bergt)

MOVING IMAGE FILM CO-OP: VINTAGE EPHEMERA 1971-72

During events or by appt. through Sunday, April 16 Free. No Name Cinema 2013 Piñon St., nonamecinema.org

WIKIMEDIA COMMONS COURTESY BANDCAMP.COM

FILM THU/30

TALK FRI/31

EXHIBIT THROUGH SUN/16

THE CALENDAR

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ONGOING

ART

ALYSSUM PILATO

Artichokes and Pomegranates

Floral Design

418 Cerrillos Road, Ste. 8

(505) 820-0044

Plein air oil paintings of Santa Fe at night.

10 am-4 pm, Tues-Fri;

10 am-2 pm, Sat, free

ARRIVALS 2023

form & concept

435 S Guadalupe St.

(505) 216-1256

A sneak peek at the gallery’s upcoming exhibitions.

10 am-5 pm, Tues-Sat, free

THE ART OF WALKING

BACKWARDS: RODNEY

HATFIELD

Susan Eddings Pérez Galley

717 Canyon Road

(505) 477-4ART

Geometric oil paintings nodding towards primitivism.

10 am-5 pm, Mon-Sat; Noon-5 pm, Sun, free

ATI MAIER

Peyton Wright Gallery

237 E Palace Ave.

(505) 989-9888

Psychedelic twists on universal landscapes.

9 am-5 pm, Mon-Fri; Noon-5 pm, Sat, free

BLAIR: TECHNICOLOR

GLASSES

Iconik Coffee Roasters

1600 Lena St.

(505) 428-0996

Vibrant acrylic portraits of women.

7:30 am-5 pm, free

CALL TO ARTISTS Online whollyrags.org

Submit recycled art by Aug. 1.

DANA HART-STONE AND DANA NEWMANN

Pie Projects

924B Shoofly St. (505) 372-7681

Mixed-media antique ephemera.

11 am-5 pm, Tues-Sat, free

EBENDORF AND THE USUAL SUSPECTS

form & concept

435 S Guadalupe St. (505) 216-1256

Selections from the career of famed jeweler Robert Ebendorf, alongside pieces by former students and mentors including Kathryn Osgood, Kat Cole and more.

10 am-5 pm, Tues-Sat, free

FOTO

HERMAN MARIL

LewAllen Galleries

1613 Paseo de Peralta

(505) 988-3250

Sparse modernist works from the late painter.

10 am-6 pm, Mon-Fri;

10 am-5 pm, Sat, free

INTERCONNECTIONS

Nüart Gallery

670 Canyon Road

(505) 988-3888

Colorful abstracts by Sunny Taylor and Beverly Kedzior.

10 am-5 pm, Mon-Sat;

11 am-6 pm, Sun, free

INVENTORY OF REFLECTION:

C ALEX CLARK form & concept

435 S Guadalupe St. (505) 216-1256

Holograms embedded in glass.

10 am-5 pm, Tues-Sat, free

JAMIE KIRKLAND: WARM AND COOL

Winterowd Fine Art 701 Canyon Road (505) 992-8878

Southwestern landscapes rendered in oil.

10 am-5 pm, free

JESSICA LAUREL REESE

Prism Arts & Other Fine Things 1300 Luisa St., Ste. 3A (248) 763-9642

Steel rod figurative sculptures.

11 am-5 pm, Weds-Sat, free LAND, SPACE AND COLOR: FELIX VOLTSINGER

Santa Fe Community College 6401 Richards Ave. (505) 428-1000

Plein air western landscapes.

8 am-5 pm, Mon-Fri, free

LISA GORDON: WILD THINGS Sorrel Sky Gallery 125 W Palace Ave. (505) 501-6555

Cast sculptures of animals.

9:30 am-5:30 pm, Mon-Sat; 10 am-5 pm, Sun, free

LISBETH CORT

El Zaguán 545 Canyon Road (505) 982-0016

Chromatic collages.

9 am-5 pm, Mon-Fri, free

MERIDEL RUBENSTEIN CONTAINER

FEAR OF FLYING TITLE Gallery

423 W San Francisco St. titlegallery.org

Humans and birds on canvas.

Noon-4 pm, Sat or by appt., free FOTO CUBA

Artes de Cuba

1700 A Lena St., (505) 303-3138

Documenting life on the island.

10 am-4 pm, Tues-Sat, free

Contest

GRAND OPENING

Edition ONE Gallery 729 Canyon Road (505) 570-5385

The gallery celebrates the official opening of its new location with an exhibition of photography by David Michael Kennedy and Jan

Butchofsky depicting Indigenous coming-of-age rites.

10 am-4 pm, Tues-Sat, free

1226 Flagman Way (505) 995-0012

Haunting photography.

11 am-5 pm, Tues-Sun, free

MOVING IMAGE FILM CO-OP No Name Cinema 2013 Piñon st., nonamecinema.org

Ephemera from Santa Fe’s 1970s DIY film scene. (See SFR Picks, page 17)

During events or by appt., free

Encounters with the sacred captured on camera in “Sundance” by David Michael Kennedy, on display this week at Edition One gallery.

DAVID MICHAEL KENNEDY

THE CALENDAR ENTER EVENTS AT SFREPORTER.COM/ CAL

PABLO PICASSO

LewAllen Galleries

1613 Paseo de Peralta

(505) 988-3250

Featuring several of the master’s rare figurative works on paper.

10 am-6 pm, Mon-Fri,

10 am-5 pm, Sat, free

PEDRO REYES

SITE Santa Fe

1606 Paseo de Peralta (505) 989-1199

Multimedia political sculptures.

10 am-5 pm, Sat-Mon, Thurs;

10 am-7 pm, Fri, free

RESONANCES

Currents 826

826 Canyon Road (505) 772-0953

Artists experimenting with futuristic techniques.

11 am-4 pm, Fri-Sun, free

REVERIES AND APPARITIONS

Alberto Zalma Art Shop

407 S Guadalupe St. (505) 670-5179

Croix Williamson shares steel sculptures and works on paper.

11 am-7 pm, Tues-Sat, free

ROSALBA BREAZEALE

Strata Gallery

418 Cerrillos Road (505) 780-5403

Using corn husks and more to interrogate cultural resilience.

10 am-5 pm, Tues-Sat, free

SHADOWS AND LIGHT

ViVO Contemporary

725 Canyon Road (505) 982-1320

Chiaroscuro across media.

10 am-5 pm, free

SOFT

Smoke the Moon

616 1/2 Canyon Road smokethemoon.com

Multidisciplinary takes on the word “soft.”

Noon-4 pm, Wed-Sun, free

STILL BEAUTY

Obscura Gallery

1405 Paseo de Peralta (505) 577-6708

Photographing winter.

11 am-5 pm, free

TERRAN LAST GUN

Hecho Gallery

129 W Palace Ave. (505) 455-6882

Piikani aesthetics meet pop art.

10 am-5 pm, Weds-Sun, free

LA VIE DES ARBRES: JEAN

MARC RICHEL

Santa Fe Public Library Southside

6599 Jaguar Drive (505) 955-2820

Paintings, collages and reverse prints inspired by trees.

10 am-8 pm, Tues-Thurs;

10 am-6 pm, Fri-Sat, free

WINTER ABSTRACTIONS

Gaia Contemporary 225 Canyon Road #6 (505) 501-0415

Mixed-media abstract offerings.

10 am-5 pm, free

WINTER GROUP SHOW

Chiaroscuro Contemporary Art

558 Canyon Road (505) 992-0711

Sculpture, photography and more.

10 am-5 pm, Tues-Sat, free

WED/29

EVENTS

A CIRCLE OF PRESENCE BODY

333 West Cordova Road (415) 265-0299

Aggie Damron reads aloud and leads a group meditation.

5 pm, by donation

EXPLORING WHAT'S NEXT

Montezuma Lodge

431 Paseo de Peralta (505) 954-1566

Women ages 50 and up explore new approaches to life.

10 am-3 pm, $40-$50

FREE KIDS SING-ALONG

Santa Fe Public Library Southside

6599 Jaguar Drive (505) 955-2820

Music games for tots.

3:15-4 pm, free

GEEKS WHO DRINK

Second Street Brewery (Railyard)

1607 Paseo de Peralta (505) 989-3278

Don't call it trivia.

8-10 pm, free

HISTORY CHAT

35 Degrees North

60 E San Francisco St. (505) 629-3538

Local walking tour guide

Christian Saiia leads a geopolitical discussion.

12-2 pm, free

MONTHLY PARENTING CIRCLES

Online tewawomenunited.org/events

Kim Talachy of Tewa Women United gathers parents for mutual support and education.

4-6 pm, free

OPEN MIC COMEDY

Chile Line Brewery

204 N Guadalupe St. (505) 982-8474

Wayward Comedy dares you to make them laugh.

8 pm, free

WEE WEDNESDAYS

Santa Fe Children's Museum

1050 Old Pecos Trail (505) 989-8359

This week's stories explore sensory details about flowers.

10:30-11:30 am, free

MUSIC

JEREMIAH GLAUSER

Cowgirl

319 S Guadalupe St. (505) 982-2565

Country and Americana with a touch of the Emerald Isle.

4-6 pm, free

KENNY ROBY AND THE SO LOWS

Leaf & Hive Brew Lab

1208 Mercantile Road, Ste. A (505) 699-3055

Singer-songwriter.  7 pm, free

NOCTURNAL PLANET

Altar Spirits

545 Camino de la Familia (505) 916-8596

Vinyl DJing from Maxim Trotter.

8-11 pm, free

THE BONES OF JR JONES

El Rey Court

1862 Cerrillos Road (505) 982-1931

American roots.

8-10 pm, free

WORKSHOP

AERIAL FABRIC WITH LISA

Wise Fool New Mexico

1131 Siler Road, (505) 992-2588

Foot lock, drop and pose.

5:30-7 pm, $23-$28

FAFSA WORKSHOP

Online bit.ly/3yTJY1q

Get help with those maddening student financial aid forms.

11 am, free

INTRODUCTION TO WICCA: A PATH OF NATURE, SPIRIT, AND MAGICK

Unitarian Church of Los Alamos

1738 N. Sage St., Los Alamos (505) 695-0278

Learn about the neo-pagan sect's history from the folks at Our Lady of the Woods Coven.

7-9 pm, free

POI WITH ELI

Wise Fool New Mexico

1131 Siler Road, (505) 992-2588

Get those fiery poles a-spinnin'.

7-8:30 pm, $20-$25

ROPES WITH CLARA

Wise Fool New Mexico

1131 Siler Road, (505) 992-2588

Like that rope climbing thing they used to make you do in gym, but so much better.

5:30-7 pm, $23-$28

THU/30

BOOKS/LECTURES

MY DIPLOMATIC JOURNEY FROM VENEZUELA TO EQUATORIAL GUINEA

Collected Works

Bookstore and Coffeehouse

202 Galisteo St. (505) 988-4226

Mark Asquino shares his memoir about his time as ambassador to Equatorial Guinea.

6 pm, free

EVENTS

2023 STATE OF THE CITY

Santa Fe Community Convention Center

201 W Marcy St. (505) 955-6590

Mayor Alan Webber addresses how Santa Fe's doing under his leadership. Sounds like...a time.

6 pm, free

DISTILLERY TOUR

Santa Fe Spirits Distillery

7505 Mallard Way, Ste. 1 (505) 467-8892

Get educated in all things whiskey.

3 pm, 5 pm, $20

OPEN MIC POETRY AND MUSIC

Chile Line Brewery

204 N Guadalupe St. (505) 982-8474

Be a modern-day bard.

8 pm, free

CONTINUED ON PAGE 21

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JUNE 7 - 25

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Directed by Robert Benedetti

Direct from last year’s Off-Broadway season.

SEPTEMBER 6 - 24

SEASCAPE by Edward Albee

Directed by Nicholas Ballas

Witty and wonderful Pulitzer Prize winner!

OCTOBER 11 - 29

THE NETHER by Jennifer Haley

Directed by Zoe Lesser

Total sensory immersion as virtual and reality merge.

NOV. 15 - DEC. 3

JQA by Aaron Posner

Directed by Robert Benedetti

This play will challenge your thinking about government!

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Santa Fe-based musician and producer Jono Manson hasn’t released a solo album since 2020’s Silver Moon, but with the forthcoming Stars Enough to Guide Me (out on March 31 from Nashville’s Blue Rose Music), Manson is back with, he says, some of the best songs of his storied career. Part of the recipe was taking a break—though that didn’t mean he wasn’t collaborating, guesting on other productions or writing songs of his own. Manson says he really feels like he’s hit a new point in his career as a singer-songwriter and riding that good feeling that comes from finishing a project. He has assembled a veritable army of guest players for the record, and he’ll unleash some of the songs for the first time live with a show at Santa Fe’s Tumbleroot Brewery & Distillery (7:30 pm Friday, April 7. $15. 2791 Agua Fría St., (505) 303-3808) Before then, we wanted to check in and see how the man (and myth and legend) has been faring. Did you not know Manson’s a super-sweetheart? Well, he is. This interview has been edited for length and clarity. (Alex De Vore)

What’s the impetus behind the record? Is this just, you had enough songs and it organically became a thing, or did you set out to make a record?

Yeah, I did set out to make a record. Y’know, I’ve been so busy in this phase of my professional life curating projects for other people that carving out the creative time for myself has been...I wouldn’t say a chore, but I’ve had to make a conscious effort to do that. When I work on records for other people, I give of myself as if it were my own thing. I really get invested. So what’s different, I think, about this particular project is that I made a conscious effort to steer the focus of my creative energy back to my own process. And I did write a lot of songs as a matter of fact. I wrote and I waited until I had more songs and I picked the ones that would work best in this collection. There are definitely some common themes that run through it. There’s a little bit more of me; a lot more autobiographical stuff than records I’ve

done in the past. There are some songs that speak more directly to where I feel I am in my life at this point, and without the adventures and experiences I’ve had over the past few years—I needed that.

You say it’s more autobiographical than things you’ve done and you say ‘where you are in life in this point.’ Are you feeling a certain way? Are you feeling wistful?

Actually, I feel like, in some ways, I’m really just coming into my own. I don’t feel wistful at all. I feel optimistic and hopeful, you know, at the same time. For example, the last song on my record is called ‘Late Bloomer.’ And that does speak to the subject of self-discovery later in the game. I became a parent later in life, I became a lot of things at this point in my life that are not necessarily typical of someone, you know, in their 60s and also as a songwriter. I feel like I’m really getting better. I feel like I’m still learning and growing. But then, I have a ways to go, which is a good feeling. I think any time you get to the point where you say, ‘This is the best shit I can possibly do,’ that’s when you’re in trouble. Because then it’s like, what are you going to do next? I look at a lot of other successful and well-known songwriters, and you can sort of chart the arc of their creative work to the point where you feel like, OK, they peaked at this point. Maybe there are some peaks and valleys, but I don’t feel like I have reached that peak. I have a-ha moments where I say, ‘Oh! this is how you do it!’ Part of it, I think comes from doing it over many years, and part of it comes from the fact that I did take a break when I was working on records for everyone and their uncle. And then when I went back to my own creative thing...maybe I’m doing it with a fresher perspective.

You’re kind of known for being a collaborator. Is this a similar story on the new album?

The core band on the record are all musicians who are based here in New Mexico. Trevor Bahnson sings with me on a song, and he’s just remarkable as a musician. David Berkeley. There’s a duet with Eliza Gilkyson, though this isn’t my ‘Tony Bennett sings with anybody who shows up,’ record. [Blues Traveler’s] John Popper is on the record, he and I go way back, and Crystal Bowersox, who is an artist I’ve been working with for...years. It’s always a collaborative process, and I think that’s how I function. I don’t have formal training as a musician. I started by forming a band with my friends I was a little kid, you know, and we weren’t good enough to copy songs off the radio, so we wrote our own songs. That’s really how my whole creative process and work ethic was born—getting together with a group of people I felt some form of creative kinship with.

with Musician Jono Manson WILLIAM COUPON

BOOKS/LECTURES

HOLT/SMITHSON

FOUNDATION LECTURE SERIES

New Mexico Museum of Art

107 W Palace Ave.

(505) 476-5072

The second annual lecture on the art of Nancy Holt and Robert Smithson features a keynote by Rebecca Solnit.

11 am-3 pm, free

JAMES MCELHINNEY: SKETCHBOOK TRAVELER

Travel Bug Coffee Shop

839 Paseo de Peralta (505) 992-0418

The author and artist discusses and signs copies of his latest book on plein air painting.

5 pm, free

YOUR BRAIN ON ART

Bishop's Lodge

1297 Bishops Lodge Road

(888) 741-0480

Susan Magsamen and Ivy Ross discuss their new book exploring the intersection of science, technology and the arts.

3:30-5 pm, free

DANCE

ENTREFLAMENCO SPRING

SEASON

El Flamenco Cabaret

135 W Palace Ave.

(505) 209-1302

Come early for din and drinks.

7:30 pm, $25-$45

EVENTS

ANNUAL EASTER EGG HUNT & TOUCH THE BIG TRUCK

EVENT

Municipal Recreation Complex

205 Caja del Rio Road

(505) 312-3003

An egg hunt divided by age, so the littlest ones aren’t left behind. It appears the titular vehicles include firetrucks.

10 am, free

CANINE CONFIDENTIAL MEET 'N GREET FOR HUMANS

Oliver LaFarge Library

1730 Llano St., (505) 955-4860

An opportunity for dog owners to meet and connect, sans pups (unless they're service dogs).

3:45-4:45 pm, free

DISTILLERY TOUR

Santa Fe Spirits Distillery

7505 Mallard Way, Ste. 1 (505) 467-8892

Depending on how much you sample you might forget what you learn on the tour, but you can always retake it.

3 pm, 5 pm, $20

DOCENT TRAINING

Santa Fe Botanical Garden

715 Camino Lejo, (505) 471-9103

Part of a multi-session training series preparing docents-to-be to spit plant facts.

9 am-noon, free

EL MUSEO CULTURAL MERCADO

El Museo Cultural de Santa Fe

555 Camino de la Familia (505) 992-0591

Art and antiques.

9 am-4 pm, free

FOLK ART DONATION DAYS FOR THE FOLK ART FLEA

Museum of International Folk Art

706 Camino Lejo, (505) 476-1200

Drop off gently loved folk art at the museum’s back parking lot.

11 am-2 pm, free

MONOTHON SANTA FE PRINT WEEK

Various locations

Santa Fe, NM monothonsantafe.com

Six local print shops collaborate with artists to create pieces to benefit Partners in Education.

Through April 8.

MEET CORNELIUS

Santa Fe Children's Museum

1050 Old Pecos Trail (505) 989-8359

The aptly-named cornsnake gobbles his weekly snack.

1-2 pm, free

MOUSTACHIO BASHIO

Meow Wolf

1352 Rufina Circle (505) 395-6369

The annual mustache-centric party. Guests are instructed to "dress to confuse and inspire."

9 pm, $40

PUBLIC GARDEN TOUR

Santa Fe Botanical Garden

715 Camino Lejo, (505) 471-9103

Each guide gives special attention to their floral faves, so it's worth taking more than once.

11 am-noon, free

QUIVER & TEMPT SOCIETY PRESENTS ICONS 2: Y2K/90S NOSTALGIA

Tumbleroot Brewery and Distillery

2791 Agua Fria St. (505) 393-5135

An evening of burlesque entertainment in which all your ‘90s faves are overtly gay. 21+, please, and bring single bills for the performers.

7:30 pm, $25

READ TO A PUP!

Santa Fe Public Library Southside

6599 Jaguar Drive (505) 955-2820

Little ones get to practice reading aloud by sharing stories with a therapy dog.

11:30 am-12:30 pm, free

SAANII SKIRT MAKING

Santa Fe Indigenous Center

1420 Cerrillos Road (505) 660-4210

Bring your own materials; the center will feed you and show you the ropes of Saanii making. Register in advance.

10 am-5 pm, free

SCIENCE SATURDAY

Santa Fe Children's Museum

1050 Old Pecos Trail (505) 989-8359

Weekly guest scientists and STEAM instructors share educational experiments  with the little ones.

2-4 pm, free

SECRETS OF THE HEART

Santa Fe Children’s Museum

1050 Old Pecos Trail (505) 989-8359

Social and emotional education for the pre-k crew. This week’s theme is imagination.

10:30-11:15 am, free

SPEAKEASY EXPRESS

Sky Railway

410 S Guadalupe St. (844) 743-3759

Hop onboard and pretend it's prohibition times.

6:30 pm, $109

SPRING CABARET

Wise Fool New Mexico

1131 Siler Road, (505) 992-2588

Students and coaches alike join the April Fools' Day acrobatic and circus arts multidisciplinary extravaganza.

5 pm, $5-$20

THE MYSTO REALLY BIG MAGIC SHOW (ADULT EVENT)

Jean Cocteau Cinema

418 Montezuma Ave. (505) 466-5528

The adults-only edition of Mitch Harwood's show. Just remember, they’re not tricks, people: they’re illusions.   8 pm, $20-$60

THE MYSTO REALLY BIG MAGIC SHOW (FAMILY EVENT)

Jean Cocteau Cinema

418 Montezuma Ave. (505) 466-5528

The family-friendly version of Mysto’s stage magic and closeup sleight of hand show. Makes us curious about the differences between the programs...

4 pm, $20-$60

THE WOMEN'S CIRCLE: WOMEN IN CONVERSATION

Santa Fe Public Library

Main Branch

145 Washington Ave. (505) 955-6780

A women's bonding group facilitated by Betsy Keats. All ages welcome.

3 pm, free

FOOD

MAS CHILE POP-UP

Tumbleroot Brewery and Distillery

2791 Agua Fria St. (505) 393-5135

With the evenings still so cold, don’t you want a smothered burrito to warm you up before you tuck yourself under your own blankets?

4-10 pm, free

MUSIC

BASILARIS

Chile Line Brewery

204 N Guadalupe St. (505) 982-8474

Local jazz fusion.  8 pm, free

BOB MAUS

Inn & Spa at Loretto

211 Old Santa Fe Trail (505) 988-5531

Maus plays piano and sings along to recognizable jazz and blues tunes.

6-9 pm, free

CW AYON

Mine Shaft Tavern

2846 Hwy. 14, Madrid (505) 473-0743

Las Cruces blues.

2 pm, free

CHARLES TICHENOR

CABARET

Los Magueyes Mexican Restaurant

31 Burro Alley, (505) 992-0304

Piano and vocals from King Charles.

6-9 pm, free

HALF-A-SHIPWRECK WITH HENRY AND THE FIDDLER

Leaf & Hive Brew Lab

1208 Mercantile Road, Ste. A (505) 699-3055

Acoustic-electric tunes featuring fiddle and musical saw.

7-10 pm, free

ONE MORE SILVER DOLLAR

Mine Shaft Tavern

2846 Hwy. 14, Madrid (505) 473-0743

Covers of the Allman Brothers.

8 pm, free

PRO MUSICA BAROQUE

ENSEMBLE PRESENTS:

BAROQUE HOLY WEEK

First Presbyterian Church

208 Grant Ave., (505) 982-8544

Cantatas and instrumental pieces by Telemann and Graupner.

7 pm, $25-$65

RON ROUGEAU

Pink Adobe

406 Old Santa Fe Trail (505) 983-7712

‘60s and ‘70s acoustic tunes.

5:30-7:30 pm, free

STANLIE KEE AND STEP IN Cowgirl

319 S Guadalupe St. (505) 982-2565

Blues 'n' rock.

1-3 pm, free

SUNSET SERENADE

Sky Railway 410 S Guadalupe St. (844) 743-3759

Sip specialty cocktails while racing the sunset.

6:30 pm, $109-$129

TERI LYNN & WESTIN LEE

Santa Fe Brewing Company

Eldorado Taphouse

7 Caliente Road, Eldorado (505) 466-6938

Blues and jazz.

6-8 pm, free

THEATER

KATIE'S TALES BY AGNIESZKA

KAZIMIERSKA

Teatro Paraguas

3205 Calle Marie, (505) 424-1601

A one-woman show detailing the title character's encounters with love, history and memory.

7:30 pm, $15-$25

THE BABY MONITOR

Santa Fe Playhouse

142 E De Vargas St. (505) 988-4262

David Stallings' meditation on race, class and queer parenting.

2 pm, 7:30 pm, $15-$75

WORKSHOP

FREE WRITE: TO HEALTH AND HARMONY

Fruit Of The Earth Natural Health 909 Early St., (505) 310-7917

Ryan Glassmoyer leads a writing circle to help participants move past creative and mental blocks.

11 am-12 pm, $10-$30 suggested

PRANAYAMA SHAKTI YOGA

Four Seasons Rancho Encantado

198 State Road-592 (505) 946-5700

Elementally-focused yoga designed to open (and, apparently, strengthen) chakras.

10:30-11:30 am, $18-$90

THE ENNEAGRAM OF PERSONALITY

Unitarian Universalist Church 107 Barcelona Road (505) 982-9674

Carl Marsak presents on the Enneagram system, which divides personality styles into nine categories.

10 am-4 pm, $75

SUN/2

ART OPENINGS

IN THE CAMP OF ANGELS OF FREEDOM: ARLENE GOLDBARD (OPENING)

Santa Fe Art Institute

1600 St Michael’s Drive, Bldg. #31 (505) 424-5050

Exhibiting the 11 portraits of inspirational figures from Goldbard's recent book.

2-4 pm, free

BY LAYLA ASHER

POLY PROMPTS

Minus the few knuckleheads committed to misunderstanding anything besides monogamous love between a man and woman as a relationship, my inbox has been on fire with positive responses to the column I penned about polyamory in the Feb. 8 Love & Sex Issue of SFR. Most of all, there were oodles of follow-up questions, which is exciting because the world sure seems to have convinced us that those with open minds and hearts are greatly outnumbered. My inbox says otherwise.

I think I would like to explore polyamory but am afraid my wife will shoot it down immediately. Do you have any ideas about how to broach the subject?

-OPEN

TO AN OPEN RELATIONSHIP

First, OTAOR, try and get a firm grasp on her perception and understanding of polyamory as a whole. As we know, often when someone hears poly-anything, minds go wild with assumptions. Saying things like, “So and so (and so) are poly, what do you know or think about that?” might be helpful in determining your wife’s level of insight. Not to toot my own horn too much, but reading my column from last month, “Open Call,” together could also be an effective conversation starter. It is what brought you here, after all.

If she shows a willingness to further the discussion, introduce the idea of learning more about polyamory together. The quicker this becomes a shared experience rather than just your idea, the better. 2012 Showtime series Polyamory gives a nice little glimpse into real and diverse poly relationships, too, with an educational and, dare I say, enticing, flare. There are a number of helpful writings out there as well, including What Does Polyamory Look Like? by Santa Fe’s very own Mim Chapman, whom you might remember as the poly relationship and sex coach from my last piece. Tools and support are everywhere and an integral part of this journey—there’s no need to do it alone.

Lastly, you mentioned feeling afraid of her reaction. If exploring polyamory is something you feel strongly about—if it’s not just a fantasy or something that sounds fun (remember, poly is not solely about sex), like something for which you are truly willing to take the risk and work toward and maintain, be as clear as possible when you finally have that conversation. Sure, it’s OK to baby step it at first to suss out your wife’s interest, but when it gets down to

it—and trust me and my womanhood on this—there is nothing more maddening a man can do than tell half-truths. Say every uncomfortable and scary little bit. And just when you think you’re done, ask yourself “Is there anything else?”

What’s that silly expression? Feel the fear and do it anyway? Feel the fear and say it anyway. Once you start parsing things out to avoid an authentic reaction on her part, you’re entering manipulation territory and not only is that not OK, it will kill any hopes of exploring polyamory, because it simply cannot be done without trust.

I don’t feel drawn to polyamory, but I also don’t know if monogamy is for me. Is there a middle ground?

-NOT SURE WHERE I FIT IN

As I venture back into the dating world after a pandemic-long hiatus, NSWIFI, I’ve had to get radically honest with myself about this very thing. I, too, don’t feel drawn to either, and this has prompted some tough questions.

What if my future partner feels strongly about monogamy or non-monogamy? Am I willing to compromise? If so, how? What are my boundaries? Although not drawn to either, am I open to one or both? If you do meet a like-minded cutie, going about a relationship without a manual like the one that seems to be part and parcel with monogamy could prove challenging. Then again, since when are all relationships identical? You are free to cherry-pick what you like from the relationships around you and ditch what doesn’t serve you.

For example, I resonate with what therapist-finder site GoodTherapy LLC calls the five tenets of polyamory: Respect, communication, honesty, consent and trust. That said, do I want to practice polyamory and have multiple relationships with multiple people? No. However, do I want to be able to fuck someone besides my partner from time to time? Maybe. Is there a way to do that and still uphold the tenets? Absolutely! I just have to create it.

So, whether it’s to expand on the ones we have now or to create new ones tailored to our needs, the broader our relationships can become, the more room there is for our most authentic selves to show up. In doing so, we give other people permission to do the same and for most of us, that’s what it really means to feel safe in our relationships. Honestly, what’s better than that?

Layla Asher is a local sex worker on a mission to spread radical self love to her community and the world. Have further questions after reading this? Want to ask your local sex worker their expert opinion on something? Let’s start a sex positive conversation that keeps respect and confidentiality at the forefront and judgment a thing of the past. Please submit your questions to thenakedlayla@gmail.com and include an alias that protects your anonymity

Somewhere Out There

BY ALEX DE VORE alex@sfreporter.com

Way out in Chupadero, just a little bit past the point where the city feels like a distant memory, Detroit-born artist Alyse Ronayne has crafted herself a little bit of paradise. Most days you’ll find her in her garage-turned-studio just beside the tiny house where she lives; some weekends she works for a friend at the Santa Fe Farmers Market, but with a goal of making her artistic practice a full-time job, we might consider her a homebody.

It’s a far cry from Ronayne’s previous life. She attended undergrad at the Maryland Institute College of Art—which, she says, surprised her family, though they ultimately supported her artistic pursuits. Next came graduate school at Bard College and, after that, New York City. Then, she worked as an artist’s assistant while eking out her own illustrative and painterly practice. She became enamored with charcoals and pastels, and with paper and other products crafted with materials that occur naturally. Still, she says, while she wouldn’t trade her New York days, she only got to spend about 20% of her time on her own work. At the time, she also traveled for her alma mater, MICA, recruiting artsy high school students for the school, which brought her to New Mexico a number of times. Something about that stayed with Ronayne, and when the pandemic struck NYC hard, she found herself dreaming of the high desert. She moved here full time in 2020.

“I didn’t really understand what high desert was,” Ronayne tells SFR at her Chupadero studio, “but it was just so different to any-

Studio Visit: Newly local artist Alyse Ronayne prepares to drop her first solo show at smoke the moon

thing I grew up seeing in Detroit, and it was really different than living in New York. It felt easy to fall in love with New Mexico.”

Ronayne strolls her studio pointing out different pieces in various states of completion. On one wall, she’s working to finish a custom-ordered rug as part of her Opal Rugs commission-based side hustle. When it’s done, it will find its way into a soon-to-open Marcy Street café and natural wine bar dubbed La Mama. For now, Ronayne is still in process.

Outside, her Pomeranian gallops about, taking in one of the warmer days of the season, and there’s an arroyo nearby that Ronayne describes hearing in full flowing effect post-rain and postsnow. Inside her sunny studio, spools of brightly colored yarn spill across a large central table upon which Ronayne has built a scale model of Canyon Road gallery smoke the moon where she’ll open the site-specific solo exhibition Long Live on Friday, April 7.

Between now and then, she’s gathering new work, though much remains in flux. Two in-process pieces best described as abstract rugs and created with a handheld electric tufting machine hang on a makeshift wall. Ronayne is also plotting out how to best craft a piece from rebond foam (think carpet pads, and note that Ronayne is attracted specifically to the material’s strangely beautiful geometric qualities) that will ultimately take over the entire floor of the gallery and become a living piece. According to the model, she’ll have a number of small, temporary walls

floating away from the smoke the moon’s permanent surfaces that will all but require viewers to actively engage with the work by peering around each side. Viewers will have to walk on the rebond to do so, which will mar and change its appearance over time and also create a sort of optical illusion that will seemingly alter the dimensions of the space.

And that’s only the beginning. In some ways, Ronayne says, even she’s not certain about every last piece that will appear in the

show—still, she knows she’d like to subvert expectations and experiences. Fair enough, particularly since smoke the moon itself feels like a subversion to the pomp and circumstance of Canyon Road’s more, shall we say, expensive elements.

“I think this is how the show would have turned out in any gallery space in town, though,” she explains. “I like to respond to the architecture that I’m given in a space. I don’t want to just use a wall because it’s there. Anywhere I install work, I think about that. If I walk into a space and the room looks different or if I have to walk around something, the process seems way more meaningful.”

KATEBARNETT

That doesn’t mean Long Live won’t also feature various smaller and more traditional works and prints hidden farther within the space, rather that Ronayne is searching for a showstopper element that can best display her evolving practice while making viewers question what they see. Whatever finds its way into the show, though, Ronayne is mostly just happy to get it out there.

“There is something really gratifying about being asked to install in a public space,” she says.

All that’s left is for the rest of us to go and see.

ALYSE RONAYNE: LONG LIVE OPENING: 5-7 pm Friday, April 7. Free smoke the moon 616 1/2 Canyon Road, smokethemoon.com

Alyse Ronayne will show at smoke the moon soon, and she does commissions, too. Check out her rug work on Instagram at @opalrugs.

Remembering an American Tragedy

American history that all of us who were alive remember on the 24-hour news and on the front page of every paper, but it was very strange and sort of surreal to go back to it and find myself connecting with all of the people who had lived the story,” he tells SFR. “Wading back into the history of it and trying to bring it alive for a new generation of people that may have heard the word Waco and heard the name David Koresh, but didn’t necessarily know the story; and to use the new access and new materials to sculpt—hopefully—a dynamic and propulsive version.”

The Texas native filmed in Texas and California, not New Mexico, but he hopes to film more often here and says of his pre-pandemic move to Santa Fe: “I’m so happy to be here.” His next project, a limited documentary series about the 2013 Boston Marathon bombing, begins streaming on Netflix next month.

SFR chatted briefly with Russell the day Waco: American Apocalypse began streaming. The following has been edited for style and clarity.

it from the human condition point of view; not passing judgment, not being biased, but let everybody articulate their human and emotional experience.

What were your concerns in terms of showcasing David Koresh?

It’s always dicey with these sort of stories that have a larger-than-life predatory character at the center of it. We faced the same thing with Knight Stalker [about serial killer Richard Ramírez]. When we made that a few years ago, it just felt like: OK, but for this person at the center of it, all of these people’s lives wouldn’t have been changed forever and irrevocably. But at the same time, you don’t want it to be a ‘give them their 15 minutes of fame’ sort of thing. And so really, it became about showing everyone else and what their complex interior lives were like stuck in the middle of this and affected by Koresh and his decisions.

BY JULIA GOLDBERG @votergirl

Thirty years ago, religious cult leader David Koresh faced off against the federal government, armed with hundreds of illegal weapons, in a 51-day siege at the Branch Davidian compound in Waco, Texas that lasted from Feb. 28 through April 19 and ended with the building burning down and 76 Branch Davidians dying. Several members also died in an early shoot-out with Bureau of Alcohol, Tobacco, Firearms and Explosives members, along with four ATF officers.

In conjunction with the 30-year anniversary, a new Netflix three-part documentary began streaming March 22: Waco: American Apocalypse, directed by Santa Fe resident Tiller Russell (Night Stalker: The Hunt for a Serial Killer). The documentary incorporates videotapes filmed inside the FBI Crisis Negotiation Unit, raw news footage filmmakers say was never released to the American public, and FBI recordings. Interviews include: one of David Koresh’s “spiritual wives;” the last child released alive from the compound; and several journalists who covered the story, along with law enforcement agents who played roles in the standoff.

Like most folks who were paying attention in 1993, Russell remembers the Waco standoff: “It’s this iconic piece of

SFR: Were you trying with this series to humanize the people from this enormous American historical event?

TR: From day one, this was this incredible hot button story where everybody seemed to be kind of screaming at everyone else and assigning blame and pointing fingers. And the story seems like it’s been told that way so many times. I also had a bunch of preconceived notions about it and unsophisticated prejudices. But then when I got into it, I was repeatedly struck by the humanity of all of the people involved. And the range went from the woman who was a 9-year-old girl and the last kid to make it out alive to the sniper from the hostage rescue team. They felt like people who were caught in these impossible circumstances. And so I just wanted to approach

We live in fairly tumultuous political times right now. Do you think this story has some relevance for today? Is there current resonance beyond the 30-year-anniversary?

I think there’s huge resonance to today. History is at its most compelling and meaningful when it echoes with what you’re seeing in the world today. And I think so much of the seeds of what we are contending with as a culture were planted at Waco. This is a story about God and guns in America and how it affects our children. And those questions are as vital and polarizing and gripping today as they were 30 years ago; frankly, as they were in the founding of this country. I think they’re kind of eternal, American questions that we all have to grapple with, and that it’s kind of our responsibility to have these periodic reckonings with our uncomfortable history and to stare it in the eyes so that we don’t make those same mistakes again.

Fire consumes the Branch Davidian compound in 1993.

COURTESY NETFLIX

Santa Fe filmmaker Tiller

Russell’s new Netflix series explores the Waco siege 30 years later

BY ANNABELLA FARMER @boeinbrief

It’s the season of high-speed wind, freak snowstorms and inconceivably large hailstones, which means that I, for one, have spent a large portion of the month inside, reading. A redeeming factor in March’s favor is that Kelly Link has a new book out, and it doesn’t disappoint.

White Cat, Black Dog (March 2, Penguin Random House), is a collection of reimagined fairy tales that draw inspiration from the stories of the Brothers Grimm, 17th-century French lore and Scottish ballads. But even with its roots in these age-old tales, Link’s stories are inextricably entwined with the anxieties, hopes and longings of the modern world.

Link is the author of the story collections Stranger Things Happen, Magic for Beginners, Pretty Monsters and Get in Trouble. She’s also a 2018 MacArthur Fellow, co-founder of Small Beer Press and co-editor of the occasional zine, Lady Churchill’s Rosebud Wristlet (which, if you haven’t checked out already, I’d recommend you do post-haste).

Which is all to say Link knows precisely what she’s doing. The first story in White Cat, Black Dog, “The White Cat’s Divorce,” reads like Marie-Catherine d’Aulnoy was a writer on HBO’s Succession. Based on Countess d’Aulnoy’s literary fairy tale, “La Chatte Blanche,” “The White Cat’s Divorce” is the story of a rich man who sets his three sons a series of improbable tasks, ostensibly with a view to choosing an heir, but really in an effort to stave off his own mortality. He has begun to dream he has a fourth child whose name is Death, and the sight of his three adult sons becomes a memento mori. To get them out from underfoot, he asks them

to spend a year searching for the smallest, most wonderful dog to be his companion. The youngest son sets off in a cherry red roadster and makes his way to Colorado, where he encounters a community of cat-people budgrowers who help him with his quest. The tale continues in this

vein, an alloy of biting observational hu mor and a plot combining the fantastical and real in a way that makes the reader question the bounds of their own reality.

“The White Cat’s Divorce” sets the tone for the rest of the collection, which leads us through the stories of a man named Prince Hat who is promised to Hell, a troupe of entertainers whose world draws close to a lurking road where monsters walk and a woman who comes to understand fear in an airplane bathroom (understandable). The stories are exquisitely preposterous and continue down Link’s road of magical realism via death-defying billionaires and canceled Delta flights.

If I had to give these stories

an overarching theme, it would be in how they exist so close to the taut line of apocalypse, which sings through the tales like a plucked string. Some hit just-this-side of it: “The Girl Who Did Not Know Fear,” “The Lady and the Fox.” Some exist just on the other side: “The White Road,” “The Game of Smash and Recovery.” But they all feel pulled inescapably, magnetically toward the end of days in a way that is uncomfortably familiar.

There is also a grief and poignancy that flows through many of Link’s tales related to the climate crisis. It’s subtly but effectively wrought in “The Lady and the Fox,” a reimagining of the legendary Scottish ballad Tam Lin, and maybe my favorite of them all. The protagonist, Miranda, sees a mysterious man on Christmas day outside the home of family friends. The man returns each year on Christmas, but only when it snows. Each year as she anticipates his visit, she worries that this will be the year it won’t snow. Each year grows warmer.

Link’s stories deal with many of the same anxieties that underlie their forebears: the fear of, and fascination with, the unknown. But Link’s unknown differs in scale, spanning time, galaxies and the ever-expanding reach of human power. Her characters are drawn to this dimension, an impulse that leads both them and her readers through other worlds: worlds where dogs are born from the shell of a Macadamia nut, worlds where corpses keep death at bay for the living, worlds that contain portals to Hell: but Hell isn’t what we thought it would be. Maybe we were there all along.

Writer Kelly Link’s new compendium of stories is a real doozy.

SHARONA JACOBS PHOTOGRAPHY

Cat-people budgrowers, a tourist in Hell, and other strange delights of Kelly Link’s new story collection

John Wick: Chapter 4 Review

Wherein literally everybody gets shot

BY ALEX DE VORE alex@sfreporter.com

Keanu Reeves is back as John Wick in the aptly titled John Wick: Chapter 4, and it is everything we’ve come to expect from director Chad Stahelski’s franchise over the past near-decade. We rejoin Mr. Wick hot on the heels of his last foray, which found him traipsing the globe in search of forgiveness from the shadowy High Table order of assassins after he’d killed someone at the Continental, a neutral ground hotel for assassins wherein so-called “business” is strictly prohibited. Turns out Mr. Wick didn’t quite earn his freedom despite lopping off a finger in deference in the last movie, so the leaders of the High Table dispatch the Marquis (It star Bill Skarsgård) to kill the guy with all of their nefarious resources at his disposal. A hail of bullets and tempest of blades follows.

We must first assign credit to Stahelski, where it is most assuredly due thanks to his fresh take on action films. Throughout the John Wick series, there has rarely been a lull. Bodies pile up in these films through no shortage of creative martial arts, swordplay and

gun-fu, but it’s the broader world of assassins that keeps things interesting. We don’t know much about the High Table, nor can we—but therein lies much of the fun. Through storytelling devices, we know Mr. Wick is likely Belarusian, he’s about the best killer ever and he belongs to a clandestine universe of ritual-obsessed sects of killers lurking in plain site. Neat!

Beyond that, all that matters is the onslaught of fight scenes meticulously choreographed like a bloody ballet. The addition of martial arts cinema legend Donnie Yen as former Wick associate Caine only ups the ante. Yen takes part in the long-running canon of blind swordsmen that includes such iconic entries as Zatoichi and Ninja Scroll. In tandem with Wick’s blend of over-the-top insanity...well, let’s just say there’s something satisfying about a blind guy beating everyone’s ass.

Back in the fray are other longtime franchise favorites like Continental manager Winston (Ian McShane) and his concierge, Charon (Lance

Reddick, rest in power!), plus Reeves’ Matrix co-alum Laurence Fishburne and, thrillingly, veteran character actor Clancy Brown (The Shawshank Redemption). Together, they represent the various bits and pieces of the otherwise enigmatic Mr. Wick; they, too, are badass. Even so, there’s such a thing as diminishing returns, and the 50th fight starts to overstay its welcome. As for the overhead tracking shot that reads like 2012 video game Hotline Miami? Brilliant. Beautiful. As Stahelski leaves Wick behind (at least for now) and moves on to his next project, an adaptation of the Ghost of Tsushima video game, fans of the series will find an organic and satisfying conclusion. Turns out homeboy did it all for love, and that’s an OK reason enough to blast fools, right?

JOHN WICK: CHAPTER 4

Directed by Stahelski With Reeves, Skarsgård and Yen Violet Crown, Regal, R, 169 min.

BOSTON STRANGLER

6 + FASCINATING PREMISE; CINEMATOGRAPHY - RUN-OF-THE-MILL JOURNO THRILLER

When last we checked in with Keira Knightley (which wasn’t recent; it’s not like we just follow her career all the time), she was starring in 2019’s Official Secrets, a sort of bland based-on-a-true-story journalism movie about the US’s nefarious intro to war in the Middle East circa 2003. Therein, she played a British government worker who leaked information to the press, and this time, Knightley’s on the other side of the fence in Boston Strangler, a movie about—get this—the Boston Strangler, a purported serial killer who terrorized women in Boston the 1960s and, later maybe, in Michigan.

In Strangler, Knightley plays real-life journo Loretta McLaughlin, who, along with also-real-life journalist Jean Cole (portrayed here by Gone Girl’s Carrie Coon), dug into the enigmatic and seemingly patterned killings that gripped the Massachusetts metropolis. Contending with everything from institutional misogyny, impatient husbands, ineffective cops and so forth, McLaughlin and Cole became part of the story themselves (sadly, in a “look at this dog that can stand on its hind legs!” sort of way at first) and made enemies of the police force, but ultimately did that kind of kick-ass journalism to which we all aspire.

Writer/director Matt Ruskin (Crown Heights) helms the historical drama, and though he does delve into the ways in which women were forced to fight

for a place at the table, be it at work or in society, his main focus remains on the tenacity of his subjects. Without McLaughlin and Cole, we learn, the public might have been kept in the dark much longer, and though a known Boston scumbag confessed to the crimes, launching later-disgraced attorney F. Lee Bailey into the public sphere, Strangler contends that humanity’s need for comfort often supersedes our pursuit of truth. The bulk of the Boston Strangler murders remain unsolved to this day—and many question whether the confessor, Albert DeSalvo, truly was the guy. Ruskin posits that we much prefer tying a neat bow on things to accepting there is real and ongoing evil in the world.

Knightley cuts a sympathetic enough character in her performance as McLaughlin, and her obsession becomes our own. Coon wows, though, all tough shouting and dogged reporting. Boston Strangler even manages a few truly scary moments akin to David Fincher’s Zodiac, from which this one obviously takes more than a few cues. But rather than straying from the newspaper thriller formula set down by movies like All the President’s Men, Ruskin opts to paint by numbers. This is disappointing, even if the film’s final moments are cause for conversation. Regardless, one wonders why Ruskin’s film went straight to Hulu rather than a theater near you, particularly in its brilliant cinematography from Ozark alum Ben Kutchins. Some moments look almost like Renaissance paintings, but they can’t save a middling movie. Still, it’s fun to see McLaughlin and Cole take on the cops and to see Knightley run around doing journalism. (ADV) Hulu, R, 112 min.

SCREAM VI

7 + FUN AND WEIRDLY FUNNY - EVEN FOR SATIRE, SOMETIMES GETS SILLY-SERIOUS

Oh, good—the original Kevin Williamson/Wes Craven Scream film is 27 years old. Great. Wonderful. That’s fun. But even as some of us struggle to contend with how we were pretty sure it just came out a minute ago, there’s no denying its indelible mark on horror cinema, its self-referential stab (#swish) at dissecting the genre’s tropes and repackaging them with sly nods and—spoiler alert for a nearly 30-yearold movie—more than one killer slashing their way through teens played by folks in their late-20s.

Jump to today, and the franchise now runs six deep while somehow staying fresh (or fresh adjacent). Scream VI is a hell of a good time.

In VI, we follow the so-called core four, survivors of 2022’s Scream (side note, why do we let filmmakers give later entries in a franchise the same title as earlier entries?) as they move from small town life in the fictional Woodsboro, California, to New York City for college. Their leader, so to speak, Samantha (Melissa Barrera), is still holding onto the things that happened to everybody last time (killings, et al), plus she struggles with the whole thing where she’s the daughter of the original film’s big bad, Billy Loomis (Skeet Ulrich), and this means therapy.

Her sister (the increasingly adored Jenna Ortega) attends college, her pals do, too, and everyone tries to put the events of their hometown

slayings to bed. Even Courteney Cox is there, reprising her role as unscrupulous newswoman Gale Weathers. Ruh-roh, though, because copycat types are still obsessed with the ’97 murders and those who survived, so the principal cast starts getting creepy phone calls again. More murders follow.

Look, no one is saying the Scream franchise is fine art or high-minded cinema, but what it lacks in pretentiousness or even seriousness is secondary to how hard it leans into exactly what it is. There are no growing pains here or identity issues. In fact, Scream VI has some of the best cinematography in the genre, an arresting score and solid performances from pretty much everybody. Directors Matt Bettinelli-Olpin and Tyler Gillett know precisely what to do here, which is to get a bunch of young people running around terrified while a knife-wielding maniac takes them down one by one; all the while, the very movie itself winks knowingly at us, as if to say, “These films are fun, stop being so up your own ass about so-called cinema!”

Instead, find some of the more grounded yet shocking death scenes in recent movie memory, a hysterical appearance from Dermot Mulroney as a cop and Hayden Panettiere at the height of her powers in a genre-busting turn (no spoilers). Oh, they won’t win Oscars and this certainly won’t be the last Scream, but it is among the most fun yet in the series, even if series mainstays Neve Campbell and David Arquette bowed out ages ago. (ADV)

Violet Crown, Regal, R, 122 min.

INCREDIBLE ACTION; GORGEOUS, ACTUALLY; BADASS - DIMINISHING RETURNS

48 Islands instrument

49 Opponent in Risk

50 It may be checked at the door

52 Special someone, slangily 53 Version of a North African semolina dish in Turkish cuisine (it sounds the same)

56 “Say hello to my little friend” movie

61 Landing guess at LAX

62 Hit HBO show (adapted from a video game) that illustrates the six theme answers

64 Thanksgiving starch

65 Gasoline hydrocarbon with six carbon atoms

66 Mineral sources

67 “___ sells seashells ...”

68 Came down softly?

69 Errands list heading

1 Floor coverings

2 Sailing on the ocean

3 Teller’s

by Matt Jones

PSYCHICS

MIND BODY SPIRIT

Rob Brezsny Week of March 29th

ARIES (March 21-April 19): Sometimes, I give you suggestions that may, if you carry them out, jostle your routines and fluster your allies. But after trying out the new approaches for a short time, you may chicken out and revert to old habits. That’s understandable! It can be difficult to change your life. Here’s an example. What if I encourage you to cancel your appointments and wander out into the wilderness to discuss your dreams with the birds? And what if, during your adventure, you are flooded with exhilarating yearnings for freedom? And then you decide to divest yourself of desires that other people want you to have and instead revive and give boosts to desires that you want yourself to have? Will you actually follow through with brave practical actions that transform your relationship with your deepest longings?

TAURUS (April 20-May 20): You have done all you can for now to resolve and expunge stale, messy karma— some of which was left over from the old days and old ways. There may come a time in the future when you will have more cleansing to do, but you have now earned the right to be as free from your past and as free from your conditioning as you have ever been. APRIL FOOL! I lied. In fact, you still need to spend a bit more time resolving and expunging stale, messy karma. But you’re almost done!

GEMINI (May 21-June 20): Businessman Robert Bigelow hopes to eventually begin renting luxurious rooms in space. For $1.7 million per night, travelers will enjoy accommodations he provides on his orbiting hotel, 200 miles above the Earth’s surface. Are you interested? I bet more Geminis will be signing up for this exotic trip than any other sign. You’re likely to be the journeyers most excited by the prospect of sailing along at 17,000 miles per hour and witnessing 16 sunsets and sunrises every 24 hours. APRIL FOOL! In fact, you Geminis are quite capable of getting the extreme variety you crave and need right here on the planet’s surface. And during the coming weeks, you will be even more skilled than usual at doing just that.

CANCER (June 21-July 22): The coming weeks will be a favorable time for you to become the overlord of your own fiefdom, or seize control of a new territory and declare yourself chieftain, or overthrow the local hierarchy and install yourself as the sovereign ruler of all you survey. APRIL FOOL! I was metaphorically exaggerating a bit—but just a bit. I do in fact believe now is an excellent phase to increase your clout, boost your influence, and express your leadership. Be as kind you can be, of course, but also be rousingly mighty and fervent.

LEO (July 23-Aug. 22): In his poem “The Something,” Charles Simic writes, “Here come my night thoughts on crutches, returning from studying the heavens. What they thought about stayed the same. Stayed immense and incomprehensible.” According to my analysis of the astrological omens, you Leos will have much the same experience in the coming weeks. So there’s no use in even hoping or trying to expand your vision. APRIL FOOL! I lied. The truth is, you will not have Simic’s experience. Just the opposite. When your night thoughts return from studying the heavens, they will be full of exuberant, inspiring energy. (And what exactly are “night thoughts”? They are bright insights you discover in the darkness.)

VIRGO (Aug. 23-Sept. 22): If there will ever come a time when you will find a gold bullion bar on the ground while strolling around town, it will be soon. Similarly, if you are destined to buy a winning $10 million lottery ticket or inherit a diamond mine in Botswana, that blessing will arrive soon. APRIL FOOL! I was exaggerating a bit. The truth is, I suspect you are now extra likely to attract new resources and benefits, though not on the scale of gold bullion, lottery winnings, and diamond mines.

LIBRA (Sept. 23-Oct. 22): Do you have a muse, Libra? In my opinion, all of us need and deserve at least one muse, even if we’re not creative artists. A muse can be a spirit

or hero or ally who inspires us, no matter what work and play we do. A muse may call our attention to important truths we are ignoring or point us in the direction of exciting future possibilities. According to my astrological analysis, you are now due for a muse upgrade. If you don’t have one, get one—or even more. If you already have a relationship with a muse, ask more from it. Nurture it. Take it to the next level.

SCORPIO (Oct. 23-Nov. 21): Dear Valued Employee: Our records show you haven’t used any vacation time over the past 100 years. As you may know, workers get three weeks of paid leave per year or else receive pay in lieu of time off. One added week is granted for every five years of service. So please, sometime soon, either take 9,400 days off work or notify our office, and your next paycheck will reflect payment of $8,277,432, including pay and interest for the past 1,200 months. APRIL FOOL! Everything I just said was an exaggeration. But there is a grain of truth in it. The coming weeks should bring you a nice surprise or two concerning your job.

SAGITTARIUS (Nov. 22-Dec. 21): Sagittarian poet and artist William Blake (1757–1827) was a hard-working visionary prophet with an extravagant imagination. His contemporaries considered him a freaky eccentric, though today we regard him as a genius. I invite you to enjoy your own personal version of a Blake-like phase in the coming weeks. It’s a perfect time to dynamically explore your idiosyncratic inclinations and creative potentials. Be bold, even brazen, as you celebrate what makes you unique. BUT WAIT! Although everything I just said is true, I must add a caveat: You don’t necessarily need to be a freaky eccentric to honor your deepest, most authentic truths and longings.

CAPRICORN (Dec. 22-Jan. 19): Some of my friends disapprove of cosmetic surgery. I remind them that many cultures throughout history have engaged in body modification. In parts of Africa and Borneo, for example, people stretch their ears. Some Balinese people get their teeth filed. Women of the Indigenous Kyan people in Thailand elongate their necks using brass coils. Anyway, Capricorn, this is my way of letting you know that the coming weeks would be a favorable time to change your body. APRIL FOOL! It’s not my place to advise you about whether and how to reshape your body. Instead, my job is to encourage you to deepen and refine how your mind understands and treats your body. And now is an excellent time to do that.

AQUARIUS (Jan. 20-Feb. 18): I invite you to make a big change. I believe it’s crucial if you hope to place yourself in maximum alignment with current cosmic rhythms. Here’s my idea: Start calling yourself by the name “Genius.” You could even use it instead of the first name you have used all these years. Tell everyone that from now on, they should address you as “Genius.” APRIL FOOL! I don’t really think you should make the switch to Genius. But I do believe you will be extra smart and ultrawise in the coming weeks, so it wouldn’t be totally outrageous to refer to yourself as “Genius.”

PISCES (Feb. 19-March 20): Your body comprises 30 trillion human cells and 39 trillion microbial cells, including the bacteria that live within you. And in my astrological estimation, those 69 trillion life forms are vibrating in sweet harmony with all the money in the world. Amazing! Because of this remarkable alignment, you now have the potential to get richer quicker. Good economic luck is swirling in your vicinity. Brilliant financial intuitions are likely to well up in you. The Money God is far more amenable than usual to your prayers. APRIL FOOL! I was exaggerating a bit. But I do believe you now have extra ability to prime your cash flow.

Homework: What’s the best blessing you could give someone right now?

Newsletter.FreeWillAstrology.com

Go to RealAstrology.com to check out Rob Brezsny’s Expanded Weekly Audio Horoscopes and Daily Text Message Horoscopes . The audio horoscopes are also available by phone at 1-877-873-4888 or 1-900-950-7700.

© COPYRIGHT 2023 ROB BREZSNY

PSYCHIC/TAROT READINGS & SPIRITUAL COUNSELING

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Mar. 14 - Overcoming a Tight Mind

Mar. 21 - Give to Others Skillfully Mar. 28 - Protecting Others from Fear

Apr. 4 - Giving Love & Practical Advice

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SANTA FE WELCOMES

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STATE OF NEW MEXICO

COUNTY OF SANTA FE FIRST JUDICIAL DISTRICT COURT

CASE NO: D-101-CV-2023-00502

IN THE MATTER OF A PETITION FOR CHANGE OF NAME OF MATTHEW DAVID

SLAUGHTER NOTICE OF CHANGE OF NAME TAKE

NOTICE that in accordance with the Provisions of Sec. 40-8-1 through Sec. 40-8-3 NMSA

1978, et seq. The Petitioner, Matthew David Slaughter, will apply to the Honorable Francis J. Mathew, District Court Judge of the First Judicial District at the Santa Fe Judicial Complex, remotely via google meet at 11:45 am, on the 10th day of April, 2023 for an ORDER FOR CHANGE OF NAME from MATTHEW DAVID SLAUGHTER to JORDAN MATTHEW ROCKLAND

KATHLEEN VIGIL, District Court Clerk

persons having claims against the estate of the decedent are required to present their claims within four (4) months after the date of the first publication of any published notice to creditors or sixty (60) days after the date of mailing or other delivery of this notice, whichever is later, or the claims will be forever barred. Claims must be presented either to the undersigned personal representative at the address listed below, or filed with the Probate Court of Santa Fe County, New Mexico, located at the following address:

P.O. BOX 1985, Santa Fe, N.M. 87504

Dated: Mar 16, 2023

Mario Dean 2983 Franklin Oaks Dr. Herndon, VA 20171

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By:

Court Clerk

Marina Sisneros Deputy

FIRST JUDICIAL DISTRICT COURT

STATE OF NEW MEXICO COUNTY OF SANTA FE

April Greene Petitioner/Plaintiff, vs. Brad Stephen Duncan Respondent/ Defendant.

Case No.: D-101 DM-2022-00446

NOTICE OF PENDENCY OF SUIT

STATE OF NEW MEXICO TO Brad Stephen Duncan. GREETINGS: You are hereby notified that April Greene, the above-named Petitioner/Plaintiff, has filed a civil action against you in the above-entitled Court and cause, The general object thereof being: to dissolve the marriage between the Petitioner and yourself. Unless you enter your appearance in this cause within thirty (30) days of the date of the last publication of this Notice, judgment by default may be entered against you. April Greene 505-451-1763

STATE OF NEW MEXICO COUNTY OF SANTA FE

FIRST JUDICIAL DISTRICT Monique Clark Petitioner Plaintiff, Vs. Bryan Wayne Miller Respondent/ Defendant.

COURT CASE NO: D-101-DM-2022-00625

NOTICE OF PENDENCY OF SUIT.

STATE OF NEW MEXICO to Bryan Wayne Miller GREETINGS: You are hereby notified that Monique Clark, the above named Petitioner has filed a civil action against you in the above-entitled Court and cause. The general object thereof being: to dissolve the marriage between the Petitioner and yourself. Unless you enter your appearance in this cause within thirty (30) days of the date of the last publication of this Notice, judgment by default may be entered against you.

KATHLEEN VIGIL, District Court Clerk

By: Esmeralda Miramontes Deputy Clerk

STATE OF NEW MEXICO

IN THE PROBATE COURT

SANTA FE COUNTY

IN THE MATTER OF THE ESTATE OF Amos S. Dean, DECEASED.

No. 2023-0039

NOTICE TO CREDITORS NOTICE

STATE OF NEW MEXICOIN THE PROBATE COURT SANTA FE COUNTY IN THE MATTER OF THE ESTATE OF VICTORIA ELENA APODACA, DECEASED. No. PB2023-0016 NOTICE TO CREDITORS

NOTICE IS HEREBY GIVEN that the undersigned has been appointed personal representative of the estate of the decedent. All persons having claims against the estate of the decedent are required to present their claims within four (4) months after the date of the first publication of any published notice to creditors or sixty (60) days after the date of mailing or other delivery of this notice, whichever is later, or the claims will be forever barred. Claims must be presented either to the undersigned personal representative at the address listed below, or filed with the Probate Court of Santa Fe County, New Mexico, located at the following address:

P.O. BOX 1985, Santa Fe, N.M. 87504 Dated: Mar 14, 2023 Melisendro Francisco Denis Apodaca ℅ Sheri Raphaelson 512 S. Riverside Dr. Suite B Espanola, NM 87532

STATE OF NEW MEXICO IN THE PROBATE COURT SANTA FE COUNTY IN THE MATTER OF THE ESTATE OF No. 2023-0068 MECHIOR PETER AMACHER, A/K/A PETER AMACHER, DECEASED.

NOTICE TO CREDITORS

NOTICE IS HEREBY GIVEN that the undersigned has been appointed personal representative of the estate of the decedent. All persons having claims against the estate of the descendants are required to present their claims within four (4) months after the date of the first publication of any published notice to creditors or sixty (60) days after the date of mailing or other delivery of this notice, whichever is later, or the claims will be forever barred.

Claims must be presented either to the undersigned personal representative at the address listed below, or filed with the Probate Court of Santa Fe County, New Mexico, located at the following address:

100 Catron Street, SantaFe, NM 87501.

Dated: March 14, 2023.

John Gault Amacher c/o Walcott, Henry & Winston, P.C. 150 Washington Avenue, Suite 207 Santa Fe, NM 87501 (505) 982-9559

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