Pasatiempo, Dec. 28, 2012

The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture

December 28, 2012

ST E T ON

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December 28, 2012-January 3, 2013

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December 28, 2012-January 3, 2013

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THE SANTA FE NEW MEXICAN December 28, 2012 - January 3, 2013

ON THE COVER 25 Pasatiempo Writing Contest In mid-October, the floodgates opened, and submissions to Pasa’s annual writing contest began to pile up. Our writers and editors pored over the stories and poems, and after many discussions, arguments, and a few arm-wrestling matches, the winners were chosen. We thank all the writers who submitted their works. Additional thanks go out to the sponsors who provided prizes for the winners: Bee Hive Kids’ Books, Collected Works Bookstore, The Ark, Garcia Street Books, Osteria D’Assisi Ristorante Italiano, San Francisco Street Bar & Grill, and Santa Fe Bar & Grill. Grazie mille. On our cover is Winter Fog by Daniel Morper; courtesy LewAllen Galleries

BOOKS

MOVING IMAGES

12 In Other Words Poetry from Mary Oliver

46 Pasa Pics 50 Screen Gems: Modern Times 52 Chasing Ice 53 Starlet

MUSIC AND PERFORMANCE 14 Terrell’s Tune-Up Year in review 16 Onstage This Week Diva Taylor Dayne 63 Sound Waves Kandi Kids rejoice!

CALENDAR

ART

57 Pasa Week

18 Flow of forms Blair + Ernst 22 Art in Review Printed portraits at Argos Studio

AND 11 Star Codes 54 Restaurant Review

ADVERTISING: 505-995-3819 santafenewmexican.com Ad deadline 5 p.m. Monday

Pasatiempo is an arts, entertainment & culture magazine published every Friday

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CONTRIBUTORS Jon Bowman, Doug Fairfield, Laurel Gladden, Lauren Elizabeth Gray, Robert Ker, Bill Kohlhaase, Jennifer Levin, David Masello, Adele Oliveira, Robert Nott, Jonathan Richards, Heather Roan-Robbins, Casey Sanchez, Michael Wade Simpson, Roger Snodgrass, Steve Terrell

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The Santa Fe New Mexican

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December 28, 2012-January 3, 2013

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Former music director Linda Mack Berven leads an octet of SFDC singers in a joyous, light-hearted program.

NewYearí sEve Concert

Winter Festival 2012 is made possible, in part, by the National Endowment for the Arts; New Mexico Arts, a division of the Department of Cultural Affairs; and the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax.

The music includes Colonial hymns by William Billings; Two Shaker Canons; a trio of Sephardic folk songs; French melodies

by Jean Berger and Claudin de Sermisy; and Auld Lang Syne.

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December 28, 2012-January 3, 2013

163 Years of Trust and Reliability in the Santa Fe Community

P

STAR CODES

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2013 is right in the middle of a bridge made of metamorphic transits that transport us away from the pre-2008 Saturn-Uranus opposition era toward a new era that coalesces around 2015. It’s not time to sweat the details. We need to constantly clarify our internal goals and use those as guideposts when opportunity and challenge arise. And they will. And so will hopeful new beginnings and many opportunities to heal the past.

Uranus now in Aries and Pluto in Capricorn, both cardinal signs for the next few years, want us to stay in the driver’s seat. Individual conscience, karma, and responsibly cannot be set aside; we need to stay involved and support not only our own self-determination but self-determination around the world. It will be tested and forged on many levels in the next few years.

Our deepest attachments may be challenged. We feel vulnerable, afraid we could lose everything we’ve built up. We don’t have to lose it, but we do have to consider the possibility, decide what’s really important, and back that up with the prayer of our effort.

Saturn is in Scorpio all year long and forms a grand water trine with Neptune and Jupiter this summer. People will hunger for mysticism, for the intuitive and the spiritual realm, and those who have been walking the path for a long time are called to help. People who have felt creatively dry may feel the wells fill up. But it’s important for us to stay proactive in our relationships, clearly ask for what we need and be willing to negotiate with tenacity and compassion rather than give in to the Scorpio temptation to withdraw and withhold, to prove we don’t need anyone. Independence is an important starting point, but is a step toward healthy interdependence.

On New Year’s Day, as 2013 dawns, the sun conjuncts transformative Pluto just as Mercury squares change-maker Uranus under a Leo moon.

Make this a deep holiday, rather than a wild or dangerous one. These aspects can make for a moody holiday, as they ask us to make this year tangibly different from last.

We need room to grow in January, and we need to sort threads from the past to decipher which ones serve us and which to let go as Venus conjuncts Pluto and squares Uranus. We may face painful memories and be pushed out of our comfort zone into growth, finding talents and resources we didn’t know we had.

Political progress looks promising as the year begins but may slow down in the springtime as Saturn retrogrades, only to resume again midsummer. Jupiter joins the sun in Cancer and trines Neptune right after the summer solstice, reminding us to stop talking about our plans and start bringing them home to roost. Family dynamics can shift and give us more freedom and support; remember that people can change.

Through midsummer, creative genius meets explosive energy as Jupiter, Saturn, and Neptune form a grand trine. This can lead to an extraordinarily creative time but also bring up power struggles that need to be mediated with creativity. In our home circles and abroad, events get exciting as we dance with power and wild natural forces. Our job will to be as imaginative and compassionate as possible. Look for trouble on the electrical grid, storm damage and overload, which spurs a creative surge in appropriate technologies.

Jupiter trines Saturn during the second half of 2013, encouraging unlikely allies to work together. This trine also supports the slow rebuilding of creative prosperity if we invest our energy without depleting our resources. ◀

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IN OTHER WORDS

A Thousand Mornings by Mary Oliver, Penguin, 96 pages

12

December 28, 2012 - January 3, 2013

through the desert repenting./You only have to let the soft animal of your body/ love what it loves./ Tell me about despair, yours, and I will tell you mine.”

One of the most powerful poems in Oliver’s collection, one that possesses attributes of the force of nature about which she writes, is “Hurricane.” It is a supremely personal work, most likely referencing the ongoing grief she feels about the death several years ago of her longtime partner, Molly Malone Cook.

She describes an actual hurricane whose rain and wind make for “The back of the hand/to everything.” Amid that description of the actual storm, we then come to her own. “This was one hurricane/I lived through, the other one/was of a different sort, and/lasted longer. Then/I felt my own leaves giving up and/falling.

The back of the hand to/everything.”

Perhaps the only poets in America who are self-confident are those with tenure.

While Oliver taught for many years at Bennington College, her confidence is evidenced not by the distinguished endowed chair she occupied but by the language she employs. She uses many words that would be blasphemous in most college workshops — words like beautiful, love, God, and prayer. She has a whole lexicon of such words that she uses repeatedly because they work for her, and she doesn’t care what fellow academics might think. (Maybe that’s why she has yet to be named a poet laureate, though she certainly deserves to be crowned with that metaphorical wreath.) Another of the great American working poets, Ted Kooser, did get the poet laureate seat, for two terms in fact, but talk to many an academic poet and you’ll hear Kooser derided as being slight, which is another way of saying that his poems are accessible and haunting, each powered with an internal engine that carries the lines on and on beyond their pages.

Anyone who reads enough Oliver begins to recognize some of the “characters” who populate her poems. Percy, her beloved late dog, makes many appearances, as do unnamed owls, foxes, herons, and other majestic creatures she encounters in her daily wanderings throughout her longtime Provincetown locale. (She now owns a house in Florida, too.) One of the subtlest and most metaphorically charged creatures, though, is Red Bird — the title of one of her collections from 2008.

There, “Red bird came all winter/firing up the landscape/as nothing else could.”

In the new book’s namesake poem, Oliver writes of a night in which “my heart makes its way/however it can over the rough ground/of uncertainties,” all the while knowing that night is always “overwhelmed by morning,” the time “for redbird/to sing.”

Although the title references a thousand mornings of such joy and relief, we know that life is filled with many more than that.

— David Masello

Timothy Greenfield-Sanders

So, a poet walks down to the seashore, goes the joke Mary Oliver related to the audience at an appearance at New York’s 92nd Street Y this fall. The poet looks to the waves that keep rolling in and says to the surf, “ ‘I am miserable.” “And the sea says in its lovely voice: ‘Excuse me, I have work to do.’ ” Upon reciting these lines from “I Go Down to the Shore,” the opening poem in her new collection, A Thousand Mornings, to the capacity-crowd audience in attendance, Oliver received the kind of sustained laugh a standup on Comedy Central fantasizes about. Which was a surprise. While the 77-year-old Oliver may be America’s most read and adored poet, she is not known for works that elicit a belly laugh — a sigh of awe, perhaps, but not a guffaw.

In the book though, the poem can be read as not necessarily humorous but perhaps sardonic, with a salt-laced, astringent edge of irony. Oliver knows her audience — including the reading one — as well as her own voice. The new collection — which, depending on how you count chapbooks versus full-scale volumes, might tally as her 28th book of poetry — is yet another in which we hear her voice clearly.

Oliver’s poetry is revered for many reasons. It is accessible, unlike the works of many academic poets, such as Jorie Graham, whose lines are so long and convoluted that they require gate-folded pages to contain them, or the Sphinxsolid, riddle-esque blocks of words that appear on a page by former poet laureate Kay Ryan. I remember hearing a professor at the University of Michigan lauding the works of Yusef Komunyakaa because it required her to bring out a pile of reference books to parse the allusions he throws into his poetry. Oliver’s translucent, not transparent, poetry does what the best poems in the contemporary canon do — they are inherently personal while also personable in that the reader sees his or her life reflected. Perhaps her exemplary poem, the one that is a mainstay of new anthologies and one of those works that people memorize, is “Wild Geese” (which first appeared in her 1986 volume Dream Work). Attend any reading of hers, and you’ll see a collective movement of lips as people recite it along with her, a kind of secular Lord’s Prayer that lovers of her work intone: “You do not have to be good./You do not have to walk on your knees/for a hundred miles

book reviews

Almost Invisible by Mark Strand, Alfred A. Knopf/Random House, 56 pages The content of Mark Strand’s poetry has been amazingly consistent over a career that’s approaching 50 years. Beginning in 1964 with Sleeping With One Eye Open, Strand has concerned himself with and made images of air and breath, the sea, literal darkness and the moon’s place in it. He deals in dreamy surrealism and plausible absurdity. Most of all, he considers absence. “Wherever I am/I am what is missing,” he writes in what’s arguably his best-known poem, “Keeping Things Whole” from 1968’s Reasons for Moving. The lines encapsulate Wallace Stevens’ famous distinction between the “nothing that is not there and the nothing that is.” With his own absence inevitably approaching, Strand has collected a series of poems that pulls nearer to what is missing. The title — Almost Invisible — suggests this, and the poems, each an engaging and curious story unto itself, are filled with hollow mountains, vanishing shadows, books with blank pages, “blank stretches of country,” and “in a blast of cold air,” the poet himself gone.

This consistency of theme and image, often attributed to Strand’s youth on the weather-worn shores of Prince Edward Island, has been maintained as he has explored prose poetry, beginning in 1978 with The Monument. Almost Invisible is all prose poems. The form seems especially appropriate for Strand’s narrative approach, which often begins like a promising joke. “A banker strutted into the brothel of blind women” is the book’s first line. “The retired commander was upset” opens “The Emergency Room at Dusk.” This title becomes meaningful as the commander refuses to leave his castle even as his thoughts “swirled in tiny eddies, settling first here, then there, moving as the wind does from empty town to empty town.” Emptiness, mirrored by the commander’s solitary existence, becomes emergency, the nothing that is there.

Sometimes these narratives come from memory: “One summer when he was still young he stood at the window and wondered where they had gone, those women who sat by the ocean, watching, waiting for something that would never arrive” (from “The Buried Melancholy of the Poet”). Often they are setups for humor, especially that of the punch line that’s waiting for us all: “Horace, the corpse, said, ‘I kept believing that tomorrow would come and I would get up, put on my socks, my boxer shorts, go to the kitchen, make myself coffee, read the paper, and call some friends. But tomorrow came and I was not in it.’ ” (“Dream Testicles, Vanished Vaginas”). Despite the title, Strand’s language is so innocent that you can’t help but follow its make-believe.

That he writes in prose doesn’t mean the music of poetry suffers.

His cadences facilitate message. Descriptions come in series, and the exchange of dialogue can be a dance between partners. “The wife gets up and says, ‘If I were an artist, I would paint a portrait of you.’ ‘And if I were an artist,’ says the husband, ‘I would do exactly the same.’ ” Occasional phrases are overly poetic: “dust-filled shafts of sunlight struck the tawny leaves of trees and withered hedges.” But often they are suggestive symbols, descriptive and meaningful. Those women who sat by the ocean? “It was long since he had seen them in their lonely splendor, heavy in their idleness, en-acting the sad story of hope abandoned.” Hyphens, seen in en-acting, al-ready, and elsewhere, are spell breakers. Or do the hyphens represent the absence of words visible in the next line? This humorous and haunted volume, full of the sound of the last laugh, confirms Strand as master chronicler of the nothing that is.

— Bill Kohlhaase

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Featuring: Piping, Celtic Dancing, Readings and Poems from Robert Burns Silent Auction-proceeds from dinner/auction will be donated to the Scottish Rite Center to support continued preservation and operation of the facility.

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TERRELL’S TUNE-UP Steve Terrell

A Tune-Up Top 10 Here are the albums released in 2012 that I enjoyed the most.

1) Meat and Bone by Jon Spencer Blues Explosion. A reunion album that actually works. The first studio album for Jon Spencer’s unholy trio — which introduced a new generation of punk and alt-rock kids to real live razor-fightin’ Mississippi blues — is a true dandy, stuffed full of the maniacal, irreverent, rompin’-stompin’ sounds that shook the free world back in the ’90s. All the old ear-damaging intensity is still there. The Blues Explosion returns loud and trashy and sounding like they’re having a lot more fun than a bunch of middle-aged guys are supposed to be having.

2) Grifter’s Hymnal by Ray Wylie Hubbard.

This album of folksy, blues-soaked redneck rock ’n’ roll breaks little new musical ground, yet it’s refreshing. With his Okie drawl, Ray Wylie Hubbard has a way of sounding wise even when he’s cracking wise. He seems highly spiritual though he may be singing about shady nightclub characters and strippers. He sings proudly of being an upright, sober family man, yet he offers sharp insight into the carnal side of life. Hubbard is one of the very few musicians of his generation who has actually gotten better with age.

3) Locked Down by Dr. John. Hands down, the best record Mac Rebennack has made in decades.This music recalls his early work, but it has a sharp contemporary edge — for which we can thank producer Dan Auerbach, frontman of The Black Keys. It captures the thick, atmospheric, heady hoodoo Night Tripper excursions of his early albums — Remedies; Babylon; The Sun, Moon & Herbs; and especially his classic Gris-Gris. Refreshingly, it doesn’t

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December 28, 2012 - January 3, 2013

sound like a paint-by-numbers recreation of the old sound.

4) Drop Dead by Figures of Light. This is blasting, primitive, raw, two-or-three-chord rock ’n’ roll. Some call it proto-punk, but I think it might even be more proto than that.

Figues of Light, originally based in New York, rose to obscurity in the early ’70s, broke up and revived itself a couple of years ago after Norton Records stumbled upon one of the band’s rare early singles. Singer Wheeler Winston Dixon and guitarist Michael Downey are aided by The A-Bones’ rhythm section (drummer Miriam Linna and Marcus “The Carcass” Natale on bass). And this time out, Mick Collins (of The Gories and The Dirtbombs) plays guitar and produced the album.

5) Slaughterhouse by Ty Segall Band. This is one of three (!) albums the prolific Californian released this year — the others being the recent Twins (listed under just his name, as opposed to the “Ty Segall Band”) and Hair, credited to Segall and White Fence (who is actually just one guy, Timothy Presley). I like Slaughterhouse best because it’s the noisiest and the most relentlessly rocked out, though there’s enough melody to keep it interesting. It’s a wild and thrilling show from the first cut, “Death,” which begins with blasts of crazy feedback before launching into a demonic joyride with guitar and bass riffs that suggest The Stooges’ “TV Eye.” Segall and band do a crunching cover of Bo Diddley’s “Diddy Wah Diddy” and “That’s the Bag I’m In,” performed by The Fabs and dozens of other obscure garage bands but written by Fred Neil, more famous for “Everybody’s Talkin’.”

6) Mighty Lonesome Man by James Hand.

Let’s get right to the point: this is the best basic old-fashioned, honest-to-God heartache and honky-tonk country music of the year. Maybe in the last several years.

7) Old Times There

by South Memphis String Band. The central theme of this album is race. Within the context of the music of old-time string bands and jug bands of the 1920s and ’30s, this integrated band confronts the

topic head on, including songs new and old, some using archaic, and, frankly, racist lyrics that are bound to shock the squeamish. They not only recreate a particular sound from a particular time but force a listener to confront what was going on in the world that gave birth to that music.

8) A Killer’s Dream by Rachel Brooke. Despite her innocent-sounding voice and her pretty melodies, Rachel Brooke’s lyrics reveal a dark, spooky side and are full of stories about the things that make American folk music the deep, mysterious force it is. And for this album, she’s got a band.

9) Americana by Neil Young & Crazy Horse.

This is bound to be my most controversial choice. Lots of people, including many Neil Young fans, just couldn’t get into the selection of dusty old folk tunes like “Oh Susannah,” “Tom Dula” (better known as “Tom Dooley”), and “Gallows Pole” (no, kids, Led Zeppelin didn’t write this song) — plus, for some reason, “God Save the Queen” (not the Sex Pistols song) and the doo-wop classic “Get a Job.” But I love hearing these old songs being given new life. I’m especially impressed at how Young delved into the hoary apocalyptic origins of “She’ll Be Comin’ Round the Mountain,” which started out as a Negro spiritual about the second coming called “When the Chariot Comes.”

(Young calls it “Jesus’ Chariot.”) And this album contains the greatest version of “Darling Clementine” since Huckleberry Hound’s.

10) Glow in the Dark by LoveStruck. This is a basic guitar/bass/drums trio seeped in garage punk with recessive rockabilly DNA led by Danish-born Anne Mette Rasmussen.

The album is full of rocked-out, hooky toughchick tunes, but the best is the title song, a slow, sleazy, minor-key tune that might be best described as “garage noir.”

Honorable Mention ▼ Mr. Trouble by Stan Ridgway ▼ Unsound by Mission of Burma ▼ Thankful n’ Thoughtful by Bettye LaVette ▼ Tempest by Bob Dylan ▼ Falling Off the Face of the Earth by The Electric Mess ▼ Between the Ditches by The Reverend Peyton’s Big Damn Band ▼ Que Wow by Joe King Carrasco ▼ Leaving Eden by The Carolina Chocolate Drops ▼ No Regrets by Johnny Dowd ▼ I Bet on Sky by Dinsosaur Jr. ◀

PASATIEMPO

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ON STAGE Everyone prefers Marilyn

THIS WEEK

The iconic, delectable star Marilyn Monroe is the subject of a show featuring singer Anne Ruth Bransford at the Santa Fe Playhouse (142 E. De Vargas St). Monroe is known for her many films, including Niagara, Bus Stop, and The Misfits, but this program focuses on those which featured her turns as a vocalist — Gentlemen Prefer Blondes and There’s No Business Like Show Business are a couple of standouts. Goddess: Marilyn Monroe Movie Musicals, with Greg Grissom, Campbell Martin, and the Bert Dalton Trio supporting Bransford, hits the stage at 7:30 p.m. Saturday, Dec. 29, and 2 p.m. Sunday, Dec. 30. Tickets are available for a minimum donation of $20.

Call 986-1801 for reservations.

gotta run, tonight’s my farewell performance ... good luck to ya!

Sing with your supper at La Cantina

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La Cantina at La Casa Sena (125 E. Palace Ave.) has a long tradition of ringing in holidays with a night of revelry and music provided by its talented staff of singing servers. To celebrate the end of 2012, cantina director Juli King and staff have cooked up a program called A New Year’s Eve Carol, 20 with a storyline similar to Dickens’ perennial favorite A Christmas Carol, although the song choice — about 20 selections — is a mix of traditional and contemporary favorites. “Mein Herr” from Cabaret, “You Can’t Stop the Beat” from Hairspray, “Hello, Goodbye” by The Beatles, Coldplay’s “The Scientist,” Jason Mraz’s “I Won’t Give Up,” songs by Amy Winehouse and Train, and many other tunes are on tap in the eclectic lineup on two evenings. Shows take place on Sunday, Dec. 30, with 5:30 and 8:30 p.m. seatings, and on Monday, Dec. 31, at 6:30 and 9:30 p.m. Both prix-fixe dinner shows on Sunday cost $50 per person (for dinner — the music is free). On Monday, the 6:30 p.m. show is $65 and the 9:30 p.m. show (including dinner, party favors, and a champagne toast) costs $85. Reservations are required. Call 988-9232.

Wrap up the season with Santa Fe Desert Chorale There’s more to do after Christmas than shop for 50-percent-off sweaters and leftover wrapping paper. From Friday, Dec. 28, to Monday, Dec. 31, the Santa Fe Desert Chorale presents six end-of-theyear concerts. In addition to “Auld Lang Syne,” the program includes Sephardic folk songs, “Two Shaker Canons” arranged by Ron Jeffers, colonial hymns by William Billings, and melodies by Jean Berger and Claudin de Sermisy. Former music director Linda Mack Berven returns to take the helm with a select group of SFDC singers.

Performances take place at Loretto Chapel (207 Old Santa Fe Trail) at 8 p.m. on Dec. 28, 29, and 30 and at the Church of the Holy Faith (311 E. Palace Ave.), at 4 p.m. on Dec. 29 and 30 and at 6 p.m. on Dec. 31. Tickets ($25 to $45) are available from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org).

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December 28, 2012 - January 3, 2013

Flying high for the holidays: Wise Fool Dancers, acrobats, and clowns, oh my! Wise Fool — the zany group that brings us Circus Luminous and inspires children to run off and join the, well, you know — performs A Holiday Cabaret at 2 and 6 p.m. on Sunday, Dec. 30. Bring the family to the Wise Fool Studio (2778-D Agua Fria St., 992-2588) and celebrate the end of 2012 (and the end of Maya calendar madness) in style. The cabaret features aerialists, acrobats, and other folks who swing and dip in the sky. Wise Fool, which received the Santa Fe Mayor’s Award for Excellence in the Arts in 2005, has entertained on local stages since 2000. The organization offers classes for all ages in circus arts and puppetry. Visit www.wisefoolnewmexico.org to find out more, and imagine: it could be you dangling from a ribbon next year. Tickets, sold at the door, cost $10 to $20, with discounts available. Come early, they sell out fast.

It’s about time At 9 p.m. Monday, Dec. 31, Southwest Care Center, Women’s Health Services, and the Santa Fe Mountain Center present Clock of Ages, Rock of Ages, a fundraiser for the three nonprofit organizations, at Eldorado Hotel & Spa (309 W. San Francisco St.). The event turns back the clock and takes you through decades of music with the Tom Rheams Group, DJ Austin Head, DJ Eldon, and a live performance by ’80s and ’90s pop diva Taylor Dayne, right (remember “Tell It to My Heart”?). The party is hosted by drag personality Momma. Enjoy a smoke in the cigar bar — an odd choice for a health-oriented fundraiser — sip on champagne, and enjoy hors d’oeuvres. Talented and gorgeous dancers, including Colorado dreamboat Topher La Fleur, are on hand to help get your feet moving. Tickets — $50 general admission, $150 for VIP admission with a private hosted bar and a pre-event reception — are available online at https://.southwestcare.ejoinme.org/clockofages and at the door.

Mozart with the mostest While scientists doubt that playing Mozart to infants increases their intelligence, the 18th-century composer nevertheless continues to fascinate more than 200 years after his death. Santa Fe Pro Musica brings Mozart to town on Saturday and Sunday, Dec. 29 and 30, at St. Francis Auditorium (New Mexico Museum of Art, 107 W. Palace Ave.). Featuring soloist soprano Kathryn Mueller, violinist Stephen Redfield, and Kimberly Fredenburgh on viola, the orchestra presents Sinfonia Concertante in E-flat Major and “Exsultate, Jubilate” (which Mozart finished shortly before his 17th birthday).

The program ends in resounding style with Mozart’s Symphony No. 40 in G Minor. The concert begins at 6 p.m. on Saturday and 3 p.m. on Sunday. Tickets ($20 to $65) are available through the Santa Fe Pro Musica box office (988-4640, Ext. 1000) or from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org).

Discounts apply.

Four score: Harlem Quartet This past January, Santa Feans had the pleasure of welcoming the Harlem Quartet to the St. Francis Auditorium. Now, the Santa Fe Concert Association sponsors a return of the quartet on Monday, Dec. 31, in a rousing New Year’s Eve performance. The seasoned artists — Ilmar Gavilan and Melissa White on violin, Juan Miguel Hernandez on viola, and cellist Paul Wiancko — have performed individually with the New York Philharmonic and the Boston Pops. The quartet has also collaborated with esteemed violinist Itzhak Perlman and played for the Obamas at the White House. The Santa Fe performance, at 5 p.m. at the Lensic Performing Arts Center (211 W. San Francisco St.), is followed by a New Year’s Gala at 7 p.m. at La Posada de Santa Fe (330 E. Palace Ave). Tickets for the Lensic performance are $25 to $95, with discounts available. Tickets for the gala ($325) are sold separately.

Call 988-1234 or see www.ticketssantafe.org for tickets to both events.

PASATIEMPO

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December 28, 2012 - January 3, 2013

Paul Weideman I The New Mexican

FLOW OF

FORMS THE PROTEAN ART OF ERNST GRULER BLAIR VAUGHN-GRULER

Above, Blair Vaughn-Gruler: Polarity of a Variable, mixed media on board, 24 x 6 inches; opposite page, Ernst Gruler: Life Line, mixed media on panel, 46 x 58 inches

lair Vaughn-Gruler obviously likes working in whites, judging by the dominant hue in many of her oil paintings. A native of Marquette in Michigan’s Upper Peninsula — where people are accustomed to walking in deep, shoveled-snow canyons during the long winters — it’s logical to assume that the white stuff informs her work.

Maybe not. The light tones of the Southwestern desert are also a powerful influence. She and her artist husband, Ernst Gruler, moved to Santa Fe four years ago and were residents of Sedona for a decade before that. “In the Upper Peninsula, you’re buried in snow for six months,” she said during a recent visit to the couple’s gallery, GVG Contemporary, on Canyon Road. “It started to snow the day we left one January, and it snowed 385 inches over the next six weeks or whatever.

I’m never going back to that. Some of the bigger oil paintings with layers, like Wedding Cake, are responses to the desert and a wind-blown covering-over of layers in the desert.”

Vaughn-Gruler’s palette runs from pasty whites to pastel blues, yellows, and reds to cloudy or smeared putty and slate hues. Among the most memorable forms appearing in her paintings are floating, transparent, and only casually completed three-dimensional geometrical shapes; pale, vertical scratches and grasslike lines; and the more or less regular grids in her Shingles series — on some of these latter works, her daubing deepens into the realm of silvery blacks.

GVG’s exhibition spaces are peppered with Gruler’s sculptural, functional (and comfortable) chairs and tables, and his sticklike floor lamps, which are made from actual saplings, with handmade-paper shades. Many of his dense abstract paintings possess a thick, tapestry-like quality, practically screaming mixed media, although not all of them are. His moods are rarely placid, though many invite contemplation and reward the viewer with their complexities and heady paintishness.

Both artists are former Michiganders. Vaughn-Gruler began her art training at Kendall School of Design, Grand Rapids, in illustration, and then earned a bachelor of fine arts at Northern Michigan University in Marquette. She recently received her master of fine arts degree from Vermont College of Fine Arts, working in Santa Fe with artist-teacher Harmony Hammond.

Talking about her evolution, Vaughn-Gruler said she has been using paints almost all her life.

“I’ve been a painter since I was 8. I got a painting set and went down to the basement and I said, I’ll see you people later. I have stuff to do.”

She was an admirer of Abstract Expressionism in the ’60s but discovered that movement was “over” as she went through the M.F.A. program. “I thought Jackson Pollock and all that emotional blurting was all there was, but it was just one thing. I sort of woke up and realized there’s a whole conversation that’s gone on beyond that that I had to catch up with, and that’s why I went back to school 30 years after my B.F.A. “I’ve been working with these wobbly little geometric shapes. They seem to be a metaphor for a lot of things. I started making them because they were kind of self-portraits, this idea that we construct ourselves in new ways. But then they started to reference the built environment, architecture, and sometimes they look like constellations.” continued on Page 20

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Flow of forms, continued from Page 19 She stressed that this work is process-oriented. As the artist builds up layers, it’s almost more like creating a historical document than making a picture.

“A lot of it is about spreading the paint, drawing, erasing, burnishing, and pushing information back behind the paint, incising in the paint, and letting things be subtle and expose themselves slowly to the viewer. I’m really making it because I want to go through the process.”

Because of the apparently nonlinear, open-ended qualities of paintings such as Polarity of a Variable and Geometric Jellyfish, the observer may wonder (for one thing) how she decides that a painting is finished. “Just one day, its like I’m not going to work on that any more. I try to have it be an anticlimactic moment. I know I could tweak it to death, so I have to stop before I think I’m ready to stop.”

She takes an interestingly different tack on the more dimensional Shingles paintings, which are oil paint on wood on canvas. “The original impulse was I wanted to move away from the expressive drawing of geometric shapes, so I thought I would build it into the object instead,” Vaughn-Gruler said. “That didn’t really work out, because they become a compulsive-organization kind of thing. For me the two bodies of work do spring from the same set of concerns.

It’s order out of chaos or chaos out of order. I’m trying to work that out.”

Her husband went back to college in Batavia, New York, in his mid 30s and studied model making, but at a certain point he realized that he wanted to work not with others’ ideas but with his own and pursued a master of fine art in furniture design at Northern Michigan University. “All his furniture is functional but super-sculptural. He’s been on a progression toward unhinging from the functional,” Vaughn-Gruler said. “The paintings in acrylic and gold leaf have sort of grown out of some of the surfaces he was doing on his tabletops.”

“They play back and forth,” he said. “The painting moves things that change on the furniture and that starts moving things that morph onto my paintings.

I’ve done the structured things for a little over 20 years, and I am enjoying the painting more than the furniture at this point. In my paintings, there’s a lot of movement; it’s almost like a dance. The way I’m painting right now is very fluid, so everything is done on a horizontal. I’m spending a lot of time just watching things evaporate and moving all the time.”

A form that populates Moving From This to That and several other examples of his oils is a “forest” of black treelike structures. They resemble burnt treescapes but perhaps also diagrammatic figures from circuit boards. Gruler hasn’t decided just what they may be, using the words “architectural,” “organic,” and “futuristic” to describe qualities they possibly represent.

The painting Release is more like pure abstraction. “That felt kind of soft, a little less intense than some of the other pieces — more relaxed, like you can just sit with it,” he said. Among its forms is a cascade of fractured flakes of gold leaf. “I have been enjoying that process of laying gold leaf down, and sometimes I paint right past it to the point where it has disappeared altogether, and I’ll wind up coming back over it so sometimes it’s hard to tell it’s even in there.”

This subtractive element of process has some similarity to what his wife does in her abstractions. “I do that in a wash, almost, where I’ll flood it, and that takes things away and leaves trace elements, a pattern,” he said. “I’m a very messy person, painting. It’s almost an erotic experience, like you could cram a handful of raspberries in your mouth and the flavor is so intense.”

Speaking of the sensual and visceral, Gruler moves into that arena with Life Line. The painting boasts a softly psychedelic palette and, as a central character, a horizontal row of whitish forms that look like drippy sacs of connective tissue.

“Just like those with the sort of tree structures, I feel like there’s a spot in between where it’s growing in both directions,” the artist said of the piece. “I work these from different directions. I walk around and I’m painting them from all directions.

I’m constantly circling my table with the pieces on it. I like having two or three or four going all at once.” He also encourages his collectors to try hanging the paintings in all directions. ◀

details ▼ Blair + Ernst: New Paintings by Ernst Gruler and Blair Vaughn-Gruler ▼ Reception 5 p.m. Friday, Dec. 28; through Jan. 15 ▼ GVG Contemporary, 202 Canyon Road, 982-1494

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PASATIEMPO

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ART IN

REVIEW

The Portrait in the History of Printmaking, Argos Studio and Santa Fe Etching Club, 1211 Luisa St. 988-1814; through Jan. 11, 2013

T

he story goes that a woman sitting for her portrait by American painter and printmaker James Abbott McNeill Whistler (1834-1903) was dissatisfied with the result. When asked by the artist whether or not she liked it, she complained, “No, can’t say that I do; you must admit that it’s a bad work of art.”

Whistler agreed: “Yes, but you must admit that you are a bad work of nature.” In another instance, Whistler was once asked if he believed that genius was hereditary. In typical Whistlerian conceit he replied, “I can’t tell you, madam; heaven has granted me no offspring.” Such an attitude toward others and, in fact, about himself is well captured in two prints of Whistler in the exhibit The Portrait in the History of Printmaking at Argos Studio and Santa Fe Etching Club — a show of nearly 100 prints from the collection of Robert Bell.

Sir William Nicholson’s hand-colored woodcut, Portrait of James McNeill Whistler (circa 1898), depicts Whistler in a full-length standing pose, dressed to the hilt in Parisian fashion with one hand in his pocket, his weight on one foot, looking directly at the viewer with a monocle over his right eye. With decided panache — and a raised eyebrow — the artist imports a challenge. One can’t 22

December 28, 2012 - January 3, 2013

help but engage with the man, since the nondescript environment Nicholson has created has no other focal point. The stark, sepia-colored ground upon which Whistler stands, paired with the black background, gives no clue as to location.

In the other portrait of the artist, dated from the 1870s, Sir Leslie Ward (aka Spy) presents Whistler in a color lithograph in a caricature that is no less haughty.

This time, Whistler is wearing a full-length, camel-colored coat with a black tam perched on his head and, again, a monocle over his right eye. One hand is on his hip and the other hand is raised in a mannered gesture holding what must be the world’s longest pipe. Whistler a dandy? Indeed.

The exhibit is a draw for anyone interested in traditional printmaking, let alone portraiture, as it features a variety of methods by myriad printmakers picturing themselves or others beginning from the 1500s to the 1970s. In addition to work executed in woodcut and lithography, there are examples of etching, engraving, drypoint, aquatint, photogravure, and combinations of more than one technique.

Many names are familiar, such as Dürer, Rembrandt, Hogarth, Goya, Daumier, Audubon, Cézanne, Cassatt, Kollwitz, Chagall, Matisse, and Picasso. But some of the less familiar artists in Bell’s impressive collection provide some of the most interesting images, including those by Félix Buhot, Félicien Rops, and Max Klinger.

Self-Portrait With Ovid (1890s), an etching and aquatint by Klinger, may be the oddest — and the most funny — image of the bunch. (Then again, given Klinger’s portfolio of phantasmal images, this may be one of his most tame.) Set along a barren shoreline, the artist stands to the right, posed frontally and garbed in a knee-length toga confronting the ancient Roman poet, whose back is to the viewer, on the left. Ovid sports a leafy crown and is draped in robes — one wrapped around his torso and one hanging from his waist to the ground. In his left hand he holds a sack — contents unknown — and with his right he grips a handmade etching tool the length of a spear, pointed at Klinger. Looking confident about the outcome of this pending duel, Klinger is positioned not unlike Donatello’s David, with his weapon pointed down and inward like a walking stick. But Klinger’s weapon of choice is an outsized stylus — an etching needle the size of a saber. Immediately beyond and between the two figures is an open grave — the final resting place for the soon-to-be departed. And to the far left is an emaciated figure — death — sitting in a skiff awaiting the outcome.

A suite of three small etchings references Buhot. None of the images is larger than 5 x 3 inches. My guess is that one from the 1890s is a double homage. It is executed like a tiny poster with the words “Zigzags d’un curieux par Octave Uzanne” etched above and alongside an image of a man sitting at a table looking at a manuscript. The figure is undoubtedly French publisher, writer, and bibliophile Uzanne. There are more manuscripts piled in front of him, topped by an owl. A further inventory of the scene reveals a darkened room with more owls perched on a ledge above, a few bats flitting about, a black cat walking the floor, and a spider or two in the shadowed corners. Given the placement of Uzanne at the table, the assortment of nocturnal creatures in attendance, and the title-like text, one can’t help but compare Buhot’s picture to Goya’s famous print The Sleep of Reason Produces Monsters, done nearly 100 years prior. The middle print of the three — a full-length portrait of Buhot by Francis Courboin — is a homage in itself as it reads, in part, “dans la mémoire de mon cher maître” (in memory of my dear master).

The most decadent image in the show is Human Detritus by Rops, an 1890s heliogravure with etching and aquatint that offers a bit of social commentary. It’s a biting portrait of a prostitute in a low-light boudoir lying suggestively on a high-back sofa. Wearing merely knee-high stockings and a slip — deliberately arranged to expose her breasts — the woman waits expectantly for her next client. Rops’ use of black for more than 90 percent of the image is exquisite. And don’t miss the skull set between two winglike books pictured below the main image — an added statement about risky business, disease, and death.

Rops’ other print, Don Juan’s Most Beautiful Love, also from the 1890s, depicts a naked woman sitting on the edge of a bed. She appears to be emotionally distressed and physically vulnerable. Towering above her is the apparition of a man whose black cape is seemingly about to envelop her from behind. You’ll recognize the woman — or at least her pose and state of mind — from Edvard Munch’s seminal work Puberty, painted around the same time. Indeed, the artists were well acquainted, and some say Munch appropriated the woman’s image from Rops, rather than the other way around.

These are just a few of the wonderful prints to be seen at Argos’ Luisa St. location, which also serves as studio space for the Santa Fe Etching Club; its members’ portrait work augments the current exhibit. But the main event is museum-caliber and should not be missed.

— Douglas Fairfield

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24

December 28, 2012-January 3, 2013

877- T HUNDER

505-983-5434

Pasatiempo’s 2012 WINTER WRITING CONTEST

F

or this year’s writing contest, the staff at Pasatiempo decided to take down the barriers. We invited contestants to tell us a story in poetry or prose about anything they chose, written in their preferred style. Writers seemed to relish the challenge.

Pasa received 511 entries sent to us from kindergarten students, octogenarians, and all points in between.

A team of Pasa’s writers and editors read, mulled over, and discussed the pieces, often finding it difficult to make a final selection. One conclusion we came to: the tradition of storytelling is secure in New Mexico.

As you turn the following pages, you will read about some special grandfathers, a meeting with a legendary American writer, and a stolen jar of gefilte fish in language that is often rich and elegant, and sometimes eccentric.

We wish to thank everyone who participated. A special thanks goes to the teachers who made the contest a class project and guided their students through the writing process.

Utility Player by Daniel Morper; courtesy LewAllen Galleries

PASATIEMPO

25

1ST PLACE

Reading AIDAN DALY

W

hen I was almost 3 years old, my mom would read me the same book every night. It was called Olivia and the Missing Toy. It was a book that I loved so much that I would ask for it every night. One night my mom was coming to read it to me and I asked her if I could read the book to her. She said that I would just be narrating the pictures since I couldn’t read, but that was not the case. I read it word for word and you have to remember that I was not even 3 so it was pretty amazing; I had memorized all 32 pages! I read that book to my mom almost every night from then on.

My grandfather is known for carrying a book tucked into the back of his pants, not in his back pocket but in his pants. You can even find him on a ski lift or in a movie theater with a book. Even my mom’s best friend who doesn’t even live in Santa Fe jokes about it. It drives my grandma crazy because he is always ripping articles out of newspapers and magazines to read later. He’s constantly reading. On airplanes when we travel with him he gives my mom, my stepdad, my brothers, my grandma, and me something to read. It’s sort of his way to connect with us by finding something that we would be interested in by doing what he loves. READING. A long time ago a person’s most valuable quality was their memory. They didn’t have the ability to read and write so the only way to remember things was by keeping them in their mind. People would connect with each other by talking about their memories.

They would pass them from generation to generation until they weren’t just memories, they were stories of their history. There was once a memory of a boy who could tell stories through pictures, he could read a picture. One day he wrote them in not only pictures but with words. History no longer depended on only memories but something entirely different. If the story was forgotten it was right there in front of you to read. ◀ Aidan Daly, 12, is a student at Santa Fe Prep.

2 ND PLACE

Who Says Dogs and Cats Can’t Be Friends?

TESS HENEGHAN

“T

ravis! Here boy!” Lazily, I slid off the couch onto the floor, dutifully trotting into the kitchen, where the family was all gathered around a cardboard box. The youngest one of the family, a little boy, turned around.

“Travis, come look inside!” I wagged my tail and headed over. His older sister hissed, “No, he’ll scare her!” She was always annoyed at something; I wasn’t surprised she was grumpy now.

I peered into the box, then jumped back as a small paw whacked me in the nose. Intruder! In my house! I growled, and the sister glared at her brother. “Told you so. He’s scaring Donut!” The boy stuck his tongue out at her. “No, he’s not!”

I ignored their squabble and peered back into the box. Inside was a tiny little kitten huddled in the corner, mewling at me.

A cat! It was obviously pure evil, prepared to ensnare the hearts of the family and replace me as Top Dog. I could see it in its little kitten eyes. I glared at it suspiciously.

Over the next few days, the kitten, dubbed Donut, tried to convince me she was innocent. I wasn’t fooled. She would purr at me, bat her little toy mice at me, even sleep on me, but I let her know that I was still Top Dog. However, she was smart. Once, when the family was out, she strolled into the kitchen and knocked everything on the table and counter onto the floor. She even tipped over my food dish. When the family came home, they yelled at me, and called me Bad Dog. I wasn’t a bad dog! Donut was a Bad Cat! But I had a plan to get rid of her once and for all. I nosed open the door to the house, and let her just stroll out. I was rid of her forever!

Even better, it was raining!

I thought of her huddling under a bush, freezing, and suddenly I felt guilty. Donut wasn’t that bad, was she? I decided to let her back in. I slipped out of the doggy door and barked. She didn’t answer with her usual mew. I ran around, worried. It was cold and wet and I lost Donut! After searching the yard with no avail, I came to the conclusion she must have slipped through the fence and out into the street. I ran out, barking, and finally I heard a tiny mew.

Donut! She was behind a trash can, looking scared. I walked over to her and she ran over to me and started purring. She looked ready to burst with happiness, and I decided that maybe she wasn’t that bad after all. She followed me all the way home, and I gave her permission to use me as a pillow.

We lived happily ever after, until the family decided to buy a guinea pig … ◀ Tess Heneghan, 12, is a student at Santa Fe School for the Arts and Sciences.

Taos Mountain by Lawrence Calcagno (1913 - 1993); courtesy Aaron Payne Fine Art

26

December 28, 2012 - January 3, 2013

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Winter Shadows by Z.Z. Wei; courtesy Manitou Galleries

3RD PLACE

The First Snow CLAYTON BARTH

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T

he sand tickles Clay’s feet as he runs down the sunny beach in Malibu, California. Whenever he is not at school, he is at the beach exploring the tide pools, catching hermit crabs and the occasional starfish.

Then one day, his mother tells him the bad news: they are moving away from his beloved beach. There is not enough work for his father, so they must move to the desert — Santa Fe, New Mexico. His large green eyes well up with tears as he hears the news. He has great friends in California, and he does not want to leave them.

A few days later, it is time to start packing. His father leaves early on a plane to scout out New Mexico and to find his family a new house to live in. Clay’s grandfather comes to California from Michigan to help finish packing and to help them drive to New Mexico. It is a long and hot drive to Santa Fe and the car is packed with him, his brothers, his mother and grandfather, and all of their belongings.

When they get to New Mexico, Clay finds no grass to roll in, no lush green trees to climb, and no ocean. The hardship is softened when they get three new dogs, Tess, Cody, and Roxy. Summer turns into fall as the temperature drops, and the leaves on the aspens turn a beautiful yellow. Fall turns to winter, and it gets even colder. On one cold night, it snows. Besides on TV, Clay has never seen snow. It falls so slowly and silently, he could watch it for hours. It blankets the ground, turning everything a beautiful white.

The next morning, he awakens to hear the radio announcing school has been canceled because of the snow. He quickly runs outside bundled up in thermals and big jackets and sweaters to play in the snow. He loves the feeling of the snow in his gloved hands, the taste of it on his tongue, and how the snow sparkles in the sun like it is full of diamonds. He can see trees covered in snow and mountains in the distance that are completely white. His father stays home from work and helps make a huge sled track. He spends the rest of the day sledding and having snowball fights with his brothers in the fresh snow. When he finally comes inside to have hot chocolate by the fire, Clay realized that he had not thought about California once. ◀

Clayton Barth, 12, is home schooled and lives in Santa Fe.

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27

HONORABLE MENTIONS

Rat Man CHRISTOPHER MONTOYA

IT

Untitled by Frank Applegate (1881 - 1931); courtesy Gerald Peters Gallery

My Least Favorite Bedtime Story DUNCAN KLIPHUIS

MY

eyes are getting heavy but my brain is still awake. I want to go to bed, but at the same time I don’t. My mind was wandering, and I started to think about my family. My mom, my dad, my dog, my grandpa ... then I sat bolt upright, remembering that it was grandpa’s turn to tell me a story! I thought for a minute, guessing what he would tell me, before shouting “GRANDPA!” It took a few seconds until I saw him waddle into my room. “I was cleaning my dentures,” he said in a weirder voice than usual. I think it was because he wasn’t wearing any dentures. “Grandpa, please will you tell me an interesting story? Anything interesting besides a love story of how you met grandma ... I have an idea! Tell me how you lost your finger!” “How ’bout the story of how I met your grandmother?” he replied. “Grandpa! I just said not to tell me that!” I said in a whiny voice. He reacted to that by speaking in a very condescending voice. I gave him a dirty look. “Now, let’s get on with the story.” He cleared his voice softly, and started to speak. “You know about the Army, right? I was in it. It all started at my base. I was enjoying a beer and a hot dog while my friend was asking me ridiculous questions like: How many freckles do you have on your left side of your right cheek?” Grandpa gave a small chuckle. “Then when I was just going to finish my hot dog, the sirens went on. I dropped my hot dog (even though I got mustard on my pants) and ran to the nearest jeep, and got to the passenger seat. A person was already in the driver’s seat. He put his foot on the gas pedal, and we were off. I don’t remember how many hours it was, but I fell asleep. Later that day I woke up in the hospital with no finger! That was a big downer, but look on the bright side! That’s where I met your grandma! Now go to bed.” ◀

was a cold dreary night in Frankfort, Kentucky, in October when Rat Man heard a cry for help. It was coming from Cassandra Faith, who was in her bedroom with her dogs. Rat Man came down Cassandra’s chimney and asked her, “What is wrong?” and she was out of breath from screaming for help. She said, “My dog is missing, so I only have four dogs.” “Calm down,” said Rat Man. “Did you see the person who stole your dog?” Cassandra said, “Yes, he had a red cape with a capital C, and it looks like a cat.” Rat Man said, “What are you doing? Get on your big girl pants and strong girl shirt and get your butt outside and help me find the cat who stole your dogs!” Rat Man took Cassandra to his house. It was a mighty fine house. It had two love sofas and a table that had the first 15 presidents of Ratopolis, and a beautiful picture of Rat Man and a cat that has a capital C on the belt and a red cape. Cassandra asked, “Who is that?” Rat Man said, “Oh that dirty old hair ball, he was my roommate in college and now he is an evil villain and he steals dogs. Now I don’t know how I could be friends with that lump of trash.” Cassandra said, “What about my dog?” “Oh ya, right!” So they thought — finally Cassandra thought of something. “Aha! I got it!

Look at his paws, and then look at the ones on my lawn. They look alike. Let’s go to his evil lab.” “Do you have a car?” asked Cassandra. Rat Man replied with a simple “Yes, but there is one problem.” “What?” asked Cassandra. “I don’t know how to drive, so that won’t be safe,” said Rat Man. “That’s cool,” said Cassandra, with a sad, sad grin on her face. Rat Man could not stand Cassandra crying like that, so he said, “I will try to drive on only one condition. You will stop crying, and we will find your dog.” He called the ratmobile and Cassandra did not see it, so she asked, “Where is it?” Rat Man replied, “The only bad thing is that it is invisible and only I can see it.” They went to the evil lab of Cat Napper. It was a rat hole. They found Cat Napper and he had the dog in his hand and he just didn’t give the dog to them. He threw 500 dogs at them. They had to find their dog in an hour because there is a bomb in the evil lab and they were searching for the dog. They finally got the dog with one minute to spare and they were running for their lives. If you are brave you get a lot done! ◀

Duncan Kliphuis, 12, is a student at Acequia Madre Elementary School.

Christopher Montoya, 11, is a student at Carlos Gilbert Elementary School.

28

December 28, 2012 - January 3, 2013

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2012 Writing Contest for All Seasons

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PASATIEMPO

29

1ST PLACE

2 ND PLACE

Where Am I Going?

I Don’t Know What to Write

EMMA EHLERS

BETTINA BROYLES

“Where are you going?” they asked I am going to New Mexico where jewelry is lined up on the Plaza Where the flamenco dancers hide behind their dresses Where gloom falls to the ground with a big moan I am going to New Mexico Where every season comes and goes New Mexico is where I go Where the chiles are roasted and fill the air From red to green Through Christmas I am here Like the farolitos that flicker under the shivering trees New Mexico is my Land of Enchantment ◀ Emma Ehlers is 12. She is a student at the Santa Fe School for the Arts and Sciences.

I don’t know what to write While I sit here the words go and bite Here I go again Sit here, think, think, think Wanting to see the keys pop up under my fingers What is soon to be a memory Is now a present feeling Stuck in a little cage I don’t know what to write The article brainwashing my parents Says no more than 500 of these horrendous things That my brain is trying oh so hard to grasp Slipping away just so soon to last I don’t know what to write Now I am at 0 Just a bit more than nothing I presume Boom de boom de boom!

La la la la la Listening to my very own concert of clowns I merrily dance around I know what to write! ◀ Bettina Broyles, 10, is a student at Río Grande School.

3RD PLACE

Types of Light AMARA UVALLE-ORDÓÑEZ Light, light let there be light tonight let the fire flies glow it, let the fire burn bright.

You can use a light bulb .... but that’s a bit normal so .... let the fire flies glow it, let the fire burn bright. ◀ Twelve Months (December “Winter Solstice”) by Kate Krasin; courtesy New Mexico Museum of Art

30

December 28, 2012 - January 3, 2013

Amara Uvalle-Ordóñez, 11, is a 5th-grade student at Santa Fe School for the Arts and Sciences.

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I’m From H.P. Computers MERCEDES JACOBY I’m from H.P. computers from up all night and take me home albums i’m from a loud home small and noisy it sounds real crazy i am from the bunch of red roses in the vase the tea leaves in the kitchen with a strong but sweet smell i’m from eating dinner late and endless talking from Florencia and Damian and Mario i’m from moving place to place and going to bed a little too late from don’t run in the house and clean your room i’m from not knowing a single prayer, but still getting baptized i’m from Argentina empanadas and mate cocido from the crazy stories from my silly grandpa, of alien abduction and being able to see UFO’s the crazy curly hair he has and his wonderful art from the pictures in the photo books i am from drama from family and jokes from playing video games and instruments i am from fun. ◀ Mercedes Jacoby, 12, is a student at Tierra Encantada Charter School.

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PASATIEMPO

31

2 ND PLACE

1ST PLACE

Tide Man: The Cleaner for Society’s Stains

On Thanksgiving Day SARAFINA KIDANE

“G

ranny El!!!,” I heard my niece call from the driveway. I peeked out the window to see my 3-year-old granddaughter, Grace, speed through the front door and disappear into my house. I counted down, “5 ... 4 ... 3 … 2 …

1.” Then, thump, a 30-pound weight dropped on my lap, and I laughed as Grace gave me a great bear hug.

“Hello, Grace!! How have you been?”

“I am great, Granny El! Mommy got daddy and Henry iPhones just like hers, and sometimes Henry lets me play on his!” Grace spoke so fast I could barely understand her.

“Oh, really?”

“Yeah, you want to see?” And Grace was gone before I could even answer.

I slowly pushed my achy 82-year-old body off of my rocking chair and walked over to the front door. The November air was cool against my face, and I slowly walked over to my daughter Sarah’s car to help her, Samuel, and their son, Henry, carry the feast into the house. When I reached over to help, Samuel and Sarah shooed me away, and I reluctantly went back inside and sat again in my rocking chair. I watched as they brought the turkey over to the kitchen and the rest of the food to the table. It was a lot of food, enough to probably feed 10 horses, but I knew that none of it would be wasted, considering the size of our family.

It has been a tradition for as long as I can remember, to have Thanksgiving at the Smith family home, which is my home. I think we decided to use my home because it has the biggest table, even though it didn’t even come close to fitting our whole family.

Grace was suddenly in my face trying to get my attention. “Yes, Grace?”

I ask, delighted she came back.

“I wanted to show you the iPhones,” and with that, she jumped into my lap and started showing me, while explaining all the functions of the iPhone. She seemed very occupied by it so I tried to pay attention to her and look interested as well, but I really didn’t see why it was so impressive. And when Sarah noticed my discomfort she took Grace and asked how I was doing.

“I’m doing quite wel — ,” I started but was cut off by a cellphone ring.

“Oh, sorry, mom, I need to take this. Hello?” and then she disappeared into the kitchen. It wasn’t long after that when my son Rick and his wife, Hannah, made it to my house. I noticed that he seemed a little quiet. When I asked him what was on his mind he said, “I just dropped my iPhone, and I am hoping it is not broken.” Is there something I’m missing? I really don’t understand what is so great about the iPhone. I looked around the room and noticed Henry walking by, looking intently at his phone.

“Hello, Henry, what are you up to?” I asked.

“I’ll talk to you later, OK?” he said as he walked by without even looking up from his phone. I sighed, a little hurt. Emma, my daughter’s sister-in-law, and her family came in and said hello, and then their kids ran over to the couch to play on their iPads. I watched them and thought back to the time when kids played outside in any kind of weather. When there were no iPods, iPads, iPhones, or cellphones. I honestly really miss those times; with all this technology, kids are not as athletic or talkative as they used to be. They used to enjoy playing board games, but now they only seem interested in their phones.

32

December 28, 2012 - January 3, 2013

AUGUST HARKAVY

T

Westside Winter by Seth Winegar; courtesy Meyer Gallery

My thoughts were interrupted by a banging on the door, and my daughter’s sister and brother-in-law, Teddy and Miya, came with their three children.

They were followed by my son Patrick and his wife and children. And surprise, surprise — Patrick’s daughter had an iPhone in her back pocket, which she whipped out to send a quick text and then shoved her iPhone into her back pocket.

When the family was finally here, the grownups started to set the table and bring the food out, but when I tried to help they shooed me away. So, I went and sat down at the head of the table and watched as the parents tried to pull away the iPods, iPads, and iPhones from the kids. I sighed for what felt like the hundredth time and waited for everybody to finally take their seats. We gave thanks for the food and then dug in. The meal was delicious, but something was different about it, and I couldn’t quite put my finger on it. Then Emma’s husband, Elliot, asked, “Sarah, did you make this food? It is quite delicious!”

“Actually, I had to run by Albertsons and grab the food this year,” Sarah answered.

That was it. I knew there was something different about this meal. This was honestly a shock to me; usually we would have made the food at home for Thanksgiving. Now it made sense why, when I asked a couple days ago to help her make the food, she refused my help.

What happened to the days when we all used to play board games and charades and all cooked together? People are not as social these days; they used to jump at the chance to go over to my house, but now, I thought as I looked around the table and saw all the kids playing on their iThings, they are only focused on their electronics. That’s it, I thought, and I stood up.

“Who wants to play charades?” I asked. Surprisingly, everybody was up for it. Though it was quite difficult to play with our 22-person family, we managed to pull it off. I cannot remember ever laughing so hard or seeing my family so happy.

Soon came the time that my family members had to leave. An hour later I was sitting alone in my rocking chair. What a day, I thought, what a day. ◀

ide Man is an elite police officer in the NYPD. He can throw a piece of a doughnut in the air, catch it in his mouth, and then shoot out the tires of a criminal’s getaway vehicle.

It was Black Friday. All of the stores were packed.

Tide Man noticed a disturbance in the Zabar’s holiday shopping crowd. Someone was trying to steal a jar of gefilte fish. Tide Man went into a full sprint, screaming, “If you mess with Zabar’s, you mess with me, punk!”

Tide Man ran out of the store and drew his weapon.

He spotted the thief holding a massive jar of gefilte fish. Then he just had to wait for the right moment. As soon as the morbidly obese pedestrian moved beyond Tide Man’s line of fire, Tide Man raised his weapon and fired a detergent beam. It was a perfect hit to the thief’s feet. The gefilte fish went flying. Tide Man knew that he couldn’t get it on foot, so he fired another detergent beam onto the ground so he could slide under the gefilte fish and catch the jar before it shattered.

It was another day patrolling Zabar’s when Tide Man saw someone pull a knife on another customer over the last jar of dill pickles. Tide Man immediately fired a detergent beam, sticking the attacker to the wall. The attacker was so stunned that he immediately passed out. Tide Man then told the victim of the crime to go purchase the dill pickles.

Tide Man needed a day off. So he went for a jog. After some time, Tide Man stopped to rest. He looked at his surroundings and saw a suspicious man lurking around holding a bottle. Tide Man decided to keep jogging.

After a few minutes, Tide Man saw the man again, walking at a steady pace behind him. After taking a few unsuccessful turns to see if he could lose the suspicious man, Tide Man stopped to confront him. Before Tide Man could even get a word out, the man pulled out a small water gun and started to shoot red wine (the ultimate stain) at him. Tide Man knew immediately who the man was. It was his arch enemy: Roberto Merlot.

Tide Man dodged his shots and made a stealthy move to knock the gun out of his hand. He then took out his pocket-size detergent gun and fired a detergent beam.

His first shot missed. He fired again, this time hitting Roberto Merlot in the face. Roberto fell to the ground

and began to give off smoke. Within minutes, Roberto had disintegrated, because instead of blood Roberto has red wine. And red wine is no match for Tide Man. So remember, kids, don’t be a bunch of punks. Always stay away from wine. Be good children and use Tide to do your parents’ laundry.

So that’s the story of Tide Man: the greatest cop in New York City. ◀

Overlooking the Corner by Daniel Morper; courtesy LewAllen Galleries

August Harkavy, 14, is a student at the Academy for Technology and the Classics.

Sarafina Kidane, 14, is a student at Santa Fe School for the Arts and Sciences.

PASATIEMPO

33

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3RD PLACE

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0BDG= = 8 DA 9 = 8F> 8 / GF = 8< = = B= 3# = 8 G< G< D= D DA 8; > H H= D B= = 8 G< A8 < 8% = D HDGD A wDB B8 8H= ; F = < HDG= > BD% > = 9 = 8F> 8 w= D < w / 8< A8 < 8 B= G H= wDB H = 89G 8 A8 < H8 D 8; > H 9 DA 8 < % w8 ; B wB8 A8 < 8< = BD D=; = 8< HDHD; D HD= % = D= G A= = wDB BD 8D 9 B < wB8 B= < = / 8< ; 8 = > GG > GGw BD 9 B F = wDB H = = % w= D= G wF D< = 9 D< = / ; 8 = > GG 8 F + 2 8< 8" ?

21= 8/ HDE8 %?

20 = = D B= w8" ?

21= 8/ w8 D B= w8 % w8 D B= 3@ B H = < D DD% ?

20B8 < D< < " ?

2 w8 8 > D= ; GG= % ?

20B8 < = B8 H= 8/ A8 < 8" ?

2 ; 8G;G8 = < B= ; < D8 = 8< = B= H B= ; G< > D= B= A D B= 8F % B8< wDA > B= w8 < D< 7 A= D B= < wB= B= = > > B= A% ?

D< = w8 ; B B= wG< 0 = 8F= 8 9 = 8F > H wF > 8 wBDG=8< A ; B8A = 9= > = = = 8< GD= B= wD< wBD G= 8 % GD= A8 < 8 wBD G= 8GA B= A B= 8 < D 8 D= G BH 8GA 8 w= GG%-B= ; GDH 9 B= 89G= C H = = < 8A= C B= H D;8GWicked > A8 < H8 8< A8 < 8% > = B= Bw w= w= 98 ; F D D< = 8< A8 < 8 8 8 BD < = F 8< wF = < 8 ; 8 = < = 89 G > B= G 8HDG % w8 ; B= < 8< GD= = < B= ; BF / ; BF / ; BF > B= w< 9= DA ; 8 = < 8w8 > H B= D=; = wDB B= A H= GG > D= > DGGDA B= 8D 8 < % 8 < H8 ; H = w= 8DA B= ,< 8 9= 8< = GG A A= = 8< % < = 8< wB = = < A 8< ; B8A = > 8H DGG D H E7/ 9 A8 < 8D 8G= 8< < = = < = D; = G wDB BD ; GG8= < BD 8< 9G D=% D = > = ; 8D > 8 = = > D E DAB / wBD;B D wB B= w= 8 G B= 9= G 9 = < = 34

= ; = H9 =

/

3

88

' /

3'

Winter Morning After the Storm - Taos by William H. Dunton (1878 - 1936); courtesy The Owings Gallery

8 w= GG% = 8G w= 8 BD D ; = BDFD A9 / 8< / > ; = / BD D ; = B8 8 w= GG% ;& = w= 8GG ; B8A = < 8< 8 = = 8< A / w= B D B= ; 8 8< B= 8< > > D *= ; B ; B% 8 < 8 8< A8 < H8 8 = = = GDAD / > ; = % > = 8GG/ B= D w8GG8 = > DGG= < wDB 8 > H ; = DGD A > G % > = ; B ; B w= = 8 8 - B= , B= < % - B= = D;= B8 B= * < DA = D< = > B= > 8HDG/ 9 = 8F> 8 D 8Gw8 8 # ' / G ; B D 8Gw8 8 3 ' / 8 < < D = D 8Gw8 8 ( ' % B8< = = D;= < D 9 = > = % 8G D;= < B8 wB= = = w= B8 = < D = G ; B 8 BD A8 8GG/ B= G8 = ; 8 9 = wDB 9 = D A; D< = = < G8 = w8 > D = HD = = 8 G% . 8GG = = = > H w / B = = 8 / 8 < 8GG B= DH B w 8 G=8 3 HD = = 8 G B= G ; F B= > < = B= 89 G= < 8 BD A= G= B8 D = = < = < % * = 8GG/ B= = D G8 = D G8 > 8HDGD8 < = * < DA = % &; = w= w= = < = = 8 D A/ w= B= 8< = < 9 8; F B H= H8F= 8 DGG8 > B= = 0 D = ! 8F = ; = G=98 D 8 D B= H DA % 0 = H8< = 8 DGG8 8 w= GG8 > 8 > G> > DGG8 / ; BDG=/ 9= 8 / D; = / 8< 8H8G= / H: 8 < 8 = < B= = w 8 A B= DA = < D= > = = BDA % 0 = 9 = A8 ; FDA 8< B= w < = > G 8 H 8 > BD H8 > DGG= < B= FD; B= wDB w8H B% 0 = ; F= < G8 = D B= D AB wDB = DB= w < 8 wBD = 9 = F wDA wB8 = 8; B B= w8 BD FD A% > = = = BDA w8 ; F= < 8< = 8< = 8 w= B= 8< = < > > 9 = < wDB HDG= > 8; = / wDFG= D = = / 8< G = D B= 8 % B= 8< = < > > H ; BD 8G8 ; = = 8 B= ; ; B B AB H = G> + 2 8< 8/ ?

21= / HDE8 /?

217 = H B= % ? ; G< 7 A G== = = B AB F = w B8 B= = < 8 w8 0 D = ! 8F = B8< 9= w= GG= = < B8 w G < 9 = B8 8< ; B= = > G% < = ; D< = < wG< wD = 8 9F / 89 F 89 H A8 < 8% , = 8 < 8/ 8 = B= wB GD= D ,8 8 = / wB = < ; DH= / w A> H 9 DG< D A 9 DG< D AG=8 D A B= 98 ; B= > < = GD;D DGG8 wB= = = B= A = / AD DA 9 ; F= > 8 DGG8 ; BDG<= B= = = / 8< ; 8 DA GD G= 9 G > < D>> = = 8 AD = B = wB w= = D = = < / 9 8Gw8 H8FDA D B H= DH= > # ' 9 = 8F> 8 / 3 ' G; B/ 8< ( ' < D= wDB G8 * < DA= > 8HDGD8% $= BDA Fw w8 w8FD A 8 w = ; = H9 = H DA B= H= GG > BD H8 8GG 8< % H= ADA > H H D DGG w ; 8 G= w8GF B AB B= GDDA H > DGG= < wDB 8 > H B= 8< = w8 ; BDA 8 8 9 / B= G = G w8H FD; B= > DGG=< wDB BD H8 / wB= = w8GF = H A8 < 8% , 8< DA H D = / B w H 8H 8 < A8 < 8 8< AD = 8 A = 8 9 DA AD8 9= 8 BA % ◀ Isabel Rodriguez, 13, is a student at the Academy for Technology and the Classics.

HONORABLE MENTION

Different Worlds BAILEY BENTON

I

am half of a whole, half of a heart, half of a soul. I am my sister’s, she is mine, and we are one. There are no secrets that go untold or stories left veiled. I understand the world in ways she cannot, and she sees it in ways I cannot, together, we are complete. I am her light on the path, and she is my melody in the darkness.

The air surrounding me is frigid, finding ways to penetrate the threads covering my body, cutting my skin with its bitter aura. I sense the electricity in the air, hear every vibration that moves about, and smell every log burning in the distance. It is the smell of winter. The snow, which I sit upon, is cold and light, its ice particles quickly melting when they meet my warm, inquisitive hands. The air was cleansed by the frozen precipitation, making everything smell clean and fresh again. A peacefulness swept in. There is no defilement, and the land is content.

I sit at the top of a hill this night, New Year’s Eve, where my parents like to sit back and watch the fireworks. Yet, this year, the snow scared them away and drew me in. Alone time is seldom for me. The only distraction and disorder out here is the crash of the explosives in the air that make me feel alive again when the darkness is eating me away.

The crackles, pocks, and booms in the distance fill my ears, and the sound waves fall on the serenity of the snow.

I hear the melody dancing up the hill, and soon my sister’s footsteps follow. The sound the snow makes when her boots crunch is a symphony, growing louder as she nears. She sits down next to me — I can sense it.

“Come closer,” I say to her. “It’s so cold.”

She scoots up right next to me, our bodies pressing together, and she puts my arm around her shoulder. “I’ve been looking for you,” she says. Our voices are almost identical. She smells like mom’s cooking.

I stroke her hair — it is the same as mine, just like all of the other features she may have.

“Are you enjoying the fireworks?” she says.

“They sound wonderful. Same as always.”

“Have you been thinking of New Year’s resolutions?” she asks. “The fireworks always make me think of them.”

“I haven’t been. Have you?”

“Since the Fourth of July!”

“What are they?”

I can feel her energy plummeting.

“What’s wrong?” I say. The fireworks die down.

Thickness sets in on her voice. “Nothing. My resolution is foolish, anyhow.”

“Tell me!” I beg.

“I just,” she swallows, “want to get into an art school next fall for my painting.”

“Oh,” I say. We sit silent for a few moments, her head leaning on my shoulder. Her breaths are uneven and heartbeat fast. Tension in the air develops, and my envy grows denser.

“Did you think of any resolutions?” she asks.

Untitled by Daniel Kosharek; courtesy the artist

“What gives me reason to think that next year will be better than this one? It’s always the same.”

“You can’t think negatively,” she whispers, and somehow, when she does, it penetrates through my dark heart’s barriers.

“I know,” I agree.

“Think of one,” she whispers again. “Mom is making Mexican hot chocolate again. Come and get some with me.” She knows it is my favorite. She stands up and begins walking down the hill, writing the same symphonies in the snow. The melody travels back with her.

I play with the snow in my hands, throwing it off into the distance when I am done. I lie down, face toward the sky, and ponder all that is blind to me. I build my concepts around my four senses — if only I could reach up and steal a star out of the sky. I would know what it is like.

Curiosity has always grown in me, and I attempt to suppress the urging resentment and envy. The fireplaces, the stringed lights, the farolitos — I feel and study, but I cannot envision them. The fireworks — I can only listen. My sister and I have shared our experiences, yet we have encountered nearly different worlds along the way.

One more firework cracks in the distance, and it reminds me of my other half and her resolutions. I want to do the unexpected, the impossible, so they say. I want to break the rules and stereotypes of what the visually impaired can and cannot do. “I want to learn how to play the piano,” I whisper to myself, hoping it will have the same effect as my twin’s whispers. We are identical in nearly every way, after all. I want to be able to play the melodies my sister writes so she can understand, so she can appreciate our small yet separating differences. I want to suppress the jealousy I experience all at the same time.

I stand up, feeling the electricity in the air, smelling the freshness of the snow. There is no contamination, it is perfect. Snowflakes are not covetous and do not have a sense of competition with their counterparts, their siblings. I yearn to be like the snow. Though my vision fails me, what is blind to the eyes is not hidden to the heart. ◀ Bailey Benton, 17, is in the 11th grade at the Academy for Technology and the Classics.

PASATIEMPO

35

1ST PLACE

Silent Noise LOUVAH SILVER On the heat wave horizon Where huge red clay mountains take form There is my great grandfather’s hogan Stained with memories he can no longer recall Up the smooth, black dirt road There are houses made with metals of a nearby city And the open veranda where young children used to play Is now filled up with broken-down cars and junk One of the houses is my azhe’s My father’s And inside it is filled with the smell of bleach The lemony smell that stings my nose As the kitchen sparkles, I look inside our fridge Finding cans and bottles of The King of Beers I ask him, “Who are they for?”

He claims they are for my uncle But I can tell his sweet smile is a bitter lie I hear a storm of knocks echo in the flawless house I find that my cousins were the cause They ask if I could go to my auntie’s house And of course he says yes, To get off the topic of the beer stock We run as we make red clouds under our feet Hurrying to the calls of my sweet aunt’s voice We barge in while losing our breath And catching the water she threw us The smell of the house was filled with booze And the source of it was my uncle Passed out on the couch With the beer marking its territory of its victim Looking out the window the sun colors blinded us But calling us out to play under it We run outside, laughing and talking on our broken swing set It was not perfect in everyone’s point of view But to us it was filled with the rust of our memory The sun drowsily goes down But we are not ready to go in so early It was pitch dark with the moon as our only light We play our favorite game Hide and Go Seek in the dark But my aunt tells us to come inside For the mountain lion is out prowling, waiting for us We run inside, afraid that it will get us, too The house had a stronger stench of booze And found dozens of people as the fresheners My dad was one of them and saying he has had two But the sweet smile was a bitter lie with the proof at his side We did not mind this For we were used to our parents partying And as well for their stench of the King on them We asked our parents if we can sleep over Since they were almost drunk they said yes The four of us stayed in one room 36

December 28, 2012 - January 3, 2013

My cousin Cree is the hostess of the room We sing along to our music players And sung songs we knew by heart But our singing was not powerful enough To overcome the yells and screams of the party We peek out the door to find what was going on They were chugging beer by the can And many were dogs, yelping in excitement But that’s when the fun came to an end With the sound of a police siren Like a school bell for class to begin The yelling had stopped And the screaming ceased We ran into the bedroom and jumped on the bed Knowing they would come here The house went black as if we were outside And it was like we were outside With nothing but the white moonlight The white light had become a faint yellow As it shined through our blinds Searching for our drunk relatives Everyone was silent Everything was silent Everything in that house had the silent noise We hid from the light as if it were fire We sat frightened for if they found our parents We might never see them again We were not afraid For we had gotten used to this It was like our song We knew it all by heart and knew what was next My cousin was silently crying For I knew she was afraid Because this was her first time She was only four years of age, almost like a baby I could hear her scared little heartbeat I held her, telling her that it was all right Nothing would happen But even I didn’t know what would happen It was at that time that I would soon regret those words It was thundering in the hallway But it was clear outside The thundering got louder as it echoed down the hall Nothing was making a sound Nothing except for the fast drumming heartbeats The thundering stopped and so did the lights We heard the car drive out of the gravel We looked out the window And saw lights reflecting out to the moon in the forest The silence broke with laughter and yelling Noise was around the house Everywhere except the room The laughter could not reach our faces Noise could not come out of our mouths Nothing, except the silent noise. ◀ Louvah Silver, 13, is a student at the Academy for Technology and the Classics.

2 ND PLACE

Train RAELYNN DOLCINE I am a yellow train with Roses in every orange window pane they are not red roses, not a soft blue or sweet pink.

It’s a whisper of white, a foggy White color for a bundle of roses Stems of love are red and there are blue leaves to replace the traditional green. petals like themselves softer than silk no one can say, you are not a little yellow train I a lost little train ... nothing you can do ... ◀

Winter Field by Jurgen Wilms; courtesy Manitou Galleries

Raelynn Dolcine, 14, is a student at Gonzales Community School.

HONORABLE MENTION

I’m From Soccer From 3RD PLACE

The Bloom Within ALEXANDRA HEHLEN Can you see all the ruts pressed in the rug, hear the squeaking wheelchair that put them there?

The laughs of the past, frozen in the air?

See her skin? Doctors have tried every drug.

Drugs pierce holes beneath sleeves constantly tugged down. See her skin? It is too thin to tear, stretches like wet rice paper, slick, with care, like water over fish, slime over slug.

You can see the bones beneath. They glitter.

Scintillate strength and defiance of fear like her eyes with caged frivolity passed.

Within she blooms, refuses to wither.

A flower not to be watered, she tears up. Within she blooms, from pain grows, steadfast. ◀

ISAAC ERIVES I’m from soccer from chelsea and mexico am from the weird family they are silent and barely talkin It felt weird.

I am from grass the grass is green and pockie.

I am from being home and being together from my aunt and my mom and claudia and alejandra.

I am from telling me about el chupacabras and of my parents telling me when I got really sick from them telling me scary stories and told me that el cucuy is going to get me.

I’m from la virgen and it helps you if you pray to her.

I’m from was born in santa fe, my family is from mexico and enchiladas and mole from the day that my uncle died in mexico the body got burned and I keep all my secret stuff in a wood box with a lock.

I am from santa fe new mexico, i am funny and a techno listener. ◀

Alexandra Hehlen, 16, is in the 11th grade at Los Alamos High School.

Isaac Erives, 13, is a student at Tierra Encantada Charter School.

PASATIEMPO

37

1ST PLACE

The Tennessee Waltz GARY DONTZIG

IT’S

1965, and I’m a 100-percent cotton, medium-starch, buttondown Brooks Brothers 19-year-old college junior — who’s just a little conflicted. You see, I’m dating a very sexy freshman named Betsy Wigglesworth; other than the name, she’s everything any insecure junior who wants to be envied dreams about. She has long blond hair, Bermuda blue eyes, a perfect body, and a Southern accent that melts in your mouth like Hershey’s milk chocolate. Hey, it was 1965; years before Godiva galloped into town and we learned what real chocolate was like. Betsy wants me to stay in Washington for Christmas break, but my good friend Jason is going to New York and wants me to join him. Difficult choice. At the train station, I give Betsy a long, deep kiss goodbye. She tells me how much she’s going to miss me, and I tell her the same. Of course I’m not sure I’ll miss her that much, as I have a crush on ... well ... Jason; Jason, with his long blond hair, Bermuda blue eyes, perfect body, and that Southern accent that melts in your mouth like Breyers ice cream. Once again, 1965, a while before we’ll be aware of Häagen-Dazs, an import from somewhere in the Bronx. But I digress. I was telling you about the Christmas of my youth.

There’s no place like New York when you’re young. We’d been hanging out at a bar called Mike Malken’s on the Upper East Side. It was thick with tight-jawed debutantes and their chiseled escorts, all from old money, and old men from new money, trolling the bars for those debutantes or their escorts.

One of the trolling was a big Broadway producer, an ancient 40-year-old, 5-foot-3-inch gnome with an upper lip curled in a perpetual snarl. His eyes were salamanderesque, as was the color of his skin, and his muddy brown hair was wind-swept, all seven strands, but they were each approximately 2 feet long and swept all around his head. His vocal tone was nasal, and he spoke with a constant whine while dropping the names of his close, close friends: Jessica and Hume, Rock and Tab, Gore and Tennessee, and an artist named Andy. After several hours and several Black Russians, Mr. Producer invites us to dinner the following night at his 59th Street penthouse. Why not? We might meet Rock, or Tab, or that artist named Andy.

At 7:30 we arrive at the penthouse, where he shows us his Krasner and Frankenthaler and a can of soup by that artist named Andy, and a portrait by Paul Jasmin that makes him look more than a little like Jack Kennedy. After the tour he casually suggests we head out for dinner at the Four Seasons. Oh, and on our way we should stop by the Plaza and pick up Tennessee. My heart skips a beat; how often does a 19-year-old Brooklyn Jew hear that: “Let’s pick up Tennessee at the Plaza.”

So, a yellow cab later, we’re in the lobby of the Plaza; two ebullient 19year-olds attempting to appear calm at the prospect of touching the hem of the über-famous, and a 40-year-old gnome, also attempting to appear calm at the prospect of touching any part of the not-at-all famous. The doors to the elevator open and off steps Tennessee Williams, another gnome, albeit a brilliant one. He weaves across the lobby, cigarette in hand, reaches us and steadies himself. He pulls back his jacket and places his hand on his hip, turns his head in profile, brings the cigarette to his lips, inhales slowly, exhales even slower, and pronounces with his alcohol-infused Southern drawl, “I’m wearing a tie for a belt.” We look down. Yes, he is wearing a tie for a belt. And we’re off to dinner.

38

December 28, 2012 - January 3, 2013

08 March 2010 by Lynn Boggess; courtesy Evoke Contemporary

By dessert, Tennessee is suggesting we stop by Elaine’s, a new haunt of celebrities and sycophants. While Mr. Producer makes the rounds, proudly displaying Jason, his Southern god, I sit next to Tennessee watching his eyes roll around in his head as he sips his Pernod. What does a sophisticate wannabe say to one of the most famous playwrights in America? That’s easy: “Mr. Williams,” — his eyes narrow and I correct myself — “Tennessee, I love your writing.” His head tilts backward, his eyelids flutter seductively, he brushes the back of his hand across his damp forehead, he opens his mouth to speak, and I wait to hear him say something poetic or profound. His lips move and he slurs, “This Pernod is good.” He takes another sip and then asks, “Would you care to accompany me in a dance?” There is no dancing at Elaine’s, but who am I to tell that to the genius sitting next to me?

We stand, he puts his arms around my waist, he presses his head against my chest; I feel a little moisture wet my shirt near his mouth — he’s drooling — and after a minute he looks up at me with longing and death and says, “Young man, young, young man, you are so beautiful. I shall always remember this night.” He puts his head back on my chest, I see a tear exit the corner of his eye, and I think to myself, “Whoa, I’m dancing with Blanche DuBois.”

Well, in a way; I doubt Blanche would have had two-day-old stubble, damp matted hair, and spittle in the corner of her mouth. Oh, yes, and that bit of spinach clinging to the upper teeth on the left side. I’m Mitch to Tennessee’s Blanche, and with a tear in my eye, for his fading promise and my future pain, we dance, as he continues to drool all over my 100-percent-cotton, mediumstarch, button-down Brooks Brothers shirt. ◀

2 ND PLACE

Georgia Smiles DOUG BOOTES

G

eraldo tenaciously pedals within the narrow bike lane of the snow and ice laden street, passing the descanso of a woman he worked with who was hit by a car just before Christmas last year. As he trolls the murky waters of his memory, he snags her smile and boisterous laugh but not her name. Searching for the elusive answer has consumed the entirety of his mind when a bronze Buick Regal backing out of a driveway clips the rear tire of his bike, sending him and his backpack tumbling over the handle bars into a snow bank.

The elderly woman driver looks nervously in the rear-view mirror, worried for her unknown victim and simultaneously assessing the implications of an 86-year-old hitting a pedestrian. She can’t quite recall where she was going, but she does know this gas guzzler she drove out here upon retirement nearly three decades ago represents her last tendrils of independence.

Quickly she makes her decision and exits the car as she sees the young man struggle to his feet, a trickle of blood tracing a thin crimson line from his forehead. With great effort she crunches her way through the frozen snow heaped along the drive.

Geraldo’s hazel eyes are dazed behind his foggy, thick glasses, which have suffered a cracked lens. He’s covered with wet snow and the rust colored pumicesalt mixture from the road. When he breaks into a gap-toothed smile and starts to laugh, it startles the already worried-looking woman as she approaches him and asks, “Are you OK? I’m so sorry! I couldn’t stop.”

Geraldo wobbles, still smiling goofily. Flecks of saliva spray from his mouth as he stammers, triumphantly exclaiming after a sputtering start, “I’m all right.”

As he struggles to explain that he needs to get to work, his words stumble into the icy air with increasing reluctance as he becomes more agitated. Relieving him of his burden, the woman suggests that he come inside and clean up. He picks up his mangled bike, recently purchased at Big K, and despondently pulls it into the yard, silently accepting her offer.

In contrast to the crumbling exterior, the inside of the small faux adobe house is neat and orderly, vaguely reminding Geraldo of one of the foster homes he grew up in. A scent of mountain breeze air freshener underpinned with moth balls provides an appropriate background for something roasting. A small decorated tree glows in the corner of the living room.

Geraldo is small, five-foot-four and maybe 135 pounds when he’s been taking his medication regularly, but he dwarfs the frail woman who leads him to the kitchen and begins to cleanse his forehead with trembling hands. She determinedly tidies him up, despite his childish flinching.

Courageously, he launches into a lurching explanation of how his iPhone was stolen at the shelter where he is staying, telling her they steal all of his things there and call him retarded, so he works 80 hours a week at two jobs to buy new things. The shower of saliva and facial contortions that construct his painfully broken speech leave them both exhausted by the time he asks to use her phone.

She absentmindedly responds by retrieving a box of Band-Aids and a tube of antibiotic ointment from the bathroom, returning moments later to find him writing very carefully on a torn McDonald’s bag. His face flushes red when she

Setting Sun Glow - Valley of Questa, NM by Carl von Hassler (1887-1969); courtesy Medicine Man Gallery

reappears, and he hurriedly shoves the piece of paper into the backpack, which is threatening to burst with dozens, perhaps hundreds of scraps of paper, all of them completely covered with Geraldo’s careful script.

Like tattered trashcan prayer flags, she thinks as she walks to the oven, opening it to reveal a small brown bird sizzling inside. With no family here, she doesn’t usually bother, but this year something compelled her to perform the ritual stuffing and roasting. Maybe it’s the snow; so much snow, heavy and pressing on the windows, day after empty day.

“What’s your name?” she inquires while attempting to grasp the hot roasting pan with two red chile-shaped mitts.

Geraldo thrusts his name from the back of his throat as he moves toward the stove to help her.

“Mine is Olivia. It’s a pleasure to meet you, Geraldo.”

He smiles as he sets the pan onto the top of the stove, and then lightning flashes behind his eyes.

“Work,” he blurts out, reminding her to get him the phone.

When she hands him the handset, he quickly dials a number, not noticing her pick up a piece of paper that escaped the backpack. At the counter, she places her reading glasses on her sharp nose and reads the words crammed onto the page as if War and Peace had been written on Post-its.

She hears the hollow ring at the other end of the line, feeling her chest tighten as she reads the worn scrap of paper and listens to the recording, “We will be closed for Christmas Eve and Christmas day ...”

Upon hearing he didn’t even need to be at work, Geraldo turns to her and mumbles sheepishly, “SSSSometimes I forget.”

“I do too, Geraldo,” she says gently, realizing the manic, rambling script she’s reading is poetry; sans punctuation, line or stanza breaks, but breathtaking, image-smashing poetry nonetheless. It’s more inspired than much of the work she saw in 30 years of teaching creative writing at Boston University.

Snow begins to whirl outside as the shadows cringe from the savage winter darkness descending on the high desert. Geraldo’s eyes follow Olivia’s out the kitchen window to a figure facing the descanso across the street, nearly hidden in a fold of blowing white. Together they realize it’s a man strumming a guitar, serenading the plastic flowers and laminated photograph of the smiling woman.

As the colored lights on the small tree quietly blink in the next room, Geraldo remembers. Her name was Georgia. ◀

PASATIEMPO

39

3RD PLACE

She Could Never Carry a Tune CATHERINE FERGUSON

S

he wanders the dirt roads. For someone old, she’s young, you can see the dark-haired beauty inside the thin weathered old smile. She wants and wants. She wants, first of all, fruit. Especially pears. Bishop Lamy’s trees belong to everyone. She wants her years back, wants the circle of light on each apple, the glaucous green-purple shadow. She wants to dance with her old husband, to swing his wheelchair up and over the cottonwoods at the river. She wants the bells of his accordion and the pipes of her own voice lilting from the back of hay wagons, from the back of the church, from each room of the cluttered ruin that she and her esposo call home.

I met him by the mailboxes, the new ones stacked like a doll’s apartment building behind the church. He was bound in his chair, could not figure out which box was his, could not reach, or turn the key. I could hear the river of his music run like rusty old blood inside his ragdoll body. I wanted to turn the wheelchair around and face it up the pink hill behind his house.

Sometimes he would be waiting in his chair on the road beside the pink ruin and the pink Ford Fairlane. Someone had parked him there, close to the gardener who would see him and push him inside the green or snow-covered garden, up the bumpy flagstones to the kitchen. What the musician wanted was coffee and a cigarette. Every day, while his wife ran around in the road, swearing at her grandsons and swatting them like flies. Accordion-player bound and trussed as a baby swaddled to a board, packaged into his chair, did not mind at all if you wanted to feed him or give him a drink. Look, he’s part of the sunset, especially that one three nights ago with every color of the rainbow.

She stands in front of the pear tree as a gust of leaves explodes through the branches, raining a curtain pink and ocher behind her. Pink November, her husband is dying, she laughs as the leaves turn into the mustaches he wore since his 30s when she met him bringing in the cattle from the Big ranch.

Her son drives by, swerves to pack her into the cab of his truck. So like hers, his thin neck. Twenty squirrels run along the rock wall that outlines the old graveyard. She’s crying now, tears staining her dark eyelashes are raindrops at the end of each ray of sun. She remembers the baby elk twisted in barbed wire, how the accordion player brought the young creature home and they nursed it until it grew too large and ate all the sunflowers.

He’s sleeping now on the hospital bed in their home, 12 ancient lamps surrounding the ancient TV. She grabs the tambourine and sings her beloved a tune full of cherries and apples. The song floods notes in the wavelets around hill and over the village.

She wrote, sitting in front of the window view of Cerro Pelon, the biggest wave in the basin of smaller waves, slapping their hog-back features across the dry ocean. She wrote to the music in her head he would play on the accordion she would bang with the tambourine in the old dance hall where Penitentes prayed

40

December 28, 2012 - January 3, 2013

Canyon Wrens by Sarah Bienvenu; courtesy Winterowd Fine Art

He could walk then. Once he stood in the doorway, spurs scraping the wallpapered hall. He could not stop her words. They ran up the windowsills like ants. He knelt by her chair. He smelled of pink November and the fires of old roses. He smelled of dust in sheep pens, or sap. He took her hand, unclasped each finger. She had to let go of the pen that fell to the braided rug. He opened her hands as opening her body petal by petal. She sighed.

Her eyes coveted the view of the Ortiz Mountains, as if she were separating the colors of blues, chemically; gold-blues in a drift of snow, green-blues collecting icy water in a basin in the shadiest room of her mind. The words that she could not write, because he was clasping her hands, were humming across the vigas, roping spiders. The words had ant bodies, wore masks of goat faces. The words were secrets that could only be spoken when the moon lay like a little boat over the cross on the gate to the old cemetery.

She waits in the yard between the washing machine and the empty refrigerator. Next door the couple in the emerald and lapis home are decorating their door with Matisse cutouts. She’s waiting for the dance to begin. He will swoop in and carry her to the top of the hill, where she can look at the emerald home from above, see the tin slanting roof of the church catching ice-light, collared doves flying inside the shadows of the four-armed cross. She sees across the treetops by the river to those far mesas where she used to ride horseback with her brothers. She shades her eyes with her hand, rough chapped finger still circled by a gold wedding ring. Her husband nods at the other ghost-musician who stands by the graveyard tuning his guitar and just as the sky turns tangerine and watermelon, he takes her hand, wraps his right arm around her waist, twirls her to the lightning-crackle of their song in the dusk. ◀

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41

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ADULTï STORIES HONORABLE MENTIONS

A Big Box Wars Christmas CASEY ST. CHARNEZ

M

atty, Marco, Luca, and Jonna are — per usual — the first ones to show up for Story Hour.

The skylights settle darkness onto Camp Target, as Lighters bring lanterns to life. While Chef concocts dinner for us 60, I distract the kids from the kitchen’s flames, cauldrons, and steampipes with a tale, any tale for which I have an illustration.

As more children gather in my big tent in the corner, Marco asks, “What are you going to tell us tonight, Lisa?”

“Funny thing,” I say, “since it’s a story with that actor Mark Wahlberg you’re named for.” Marco really isn’t the movie star’s namesake, just as Matty isn’t monikered for the late Matt Damon, or Luca for the Mexican wrestler, or Jonna for a Pres. Deacon names all newborns. I don’t think she had vintage pop-cult in mind for this quartet.

But I’d never mention that to Marco during Story Hour. I tousle what hair he has, which we all keep short to prevent infestation. You never know what mites might come out of our tunnel to Camp Albertsons. “How about Ted?” “Great!” he exclaims as the others nod approval.

So I begin: “Once upon a time there was a man named John, and he had a stuffed bear named Ted.” “Like me!” beams Jonna, “me and my Annie Rags!”

“Yes,” I say, “and just like you two they were best friends. They played and worked together, and fed and read to each other. They were happy.

Then one day, John met this woman named Lori, and that went OK for a while, but soon Ted noticed that when John was looking at Lori he wasn’t paying attention to Ted. Naturally, this made Ted unhappy, so he and John had a long talk and decided she wouldn’t move into their tent after all.”

As always, I hold up the DVD case with the picture of John and Ted on a couch, laughing and drinking. “See?” I say. “Remember? This is what they looked like. They sure enjoyed their beer, didn’t they!” They giggle. I go on.

I’d seen it way back in 2012, right before the deathly Spill and its murderous sequel, the inter-camp battles we call Big Box Wars. None of these kids was alive then, so they know nothing of movie theaters, much less the grisly fate that befell faraway Camp PetSmart.

Neighborhood video stores like mine have been extinct for decades.

These days, with limited solar power, we have no more electronics, of course, but at least I know plenty of stories from the thousands of titles I once rented to people. It keeps me on the lifeboat.

A few seconds after I recite “And they all lived happily ever after. The End,” the dinnertime cowbell rings and my audience evaporates. Tomorrow night, I think, on Christmas Eve, I’ll tell them E.T. again.

The holidays are characteristically quiet at Camp Target. Chef tries to make the fixins a little more special. There’s only so much that’s feasible with cans, freeze-dried, and MREs. But she tries. We all do.

Tonight is no exception. We sit cross-legged at our dining palettes, slurping fine hot stew. We never ask what kind it is. Deacon intones a homily, and just as we spork in, I realize C.B. wasn’t at Story Hour. He’s not eating either.

42

December 28, 2012 - January 3, 2013

Truchas in Winter by Cecilia Kirby Binkley; courtesy New Concept Gallery

“Anyone seen C.B.?” I ask the congregation.

“Not since Peace Studies yesterday afternoon,” replies Luca. “He was here last night for Story.”

That’s when I’d narrated A Charlie Brown Christmas, showing them the box cover art with the boy and his sad tree. C.B. was hooked on Librarian’s Peanuts collection. Though born Caesar Brutus (Deacon’s deference to Librarian’s Shakespearean bent), he saw himself as Charlie Brown, wearing a T-shirt with a dark stripe across the middle, hand-dyed by Clothier. He’d even shaved his head, which as I said, isn’t a bad thing.

We search for quite a while. He’s nowhere. We look in all the tents, latrines, laundry, poke behind panels, move walls. Nothing.

“Uh-oh,” whispers Matty, pointing at a loosened iron cover hanging from a charcoal filtration duct. Everyone freezes. Scraping sounds from within grow closer. Army takes her crouching defensive stance next to the opening, spear ready. I shake myself out of paralyzing fear and call into the dark hole, “C.B.? Are you there? Is it you?”

“Yes,” comes his voice at last. He crawls out, covered in dust, and mercy knows what more, reaches back in and slowly, carefully pulls something out of the duct. He picks it up and stands it on end.

It is a dead tree, maybe 5 feet tall, some old conifer with a few fronds still hanging.

“It’s my Charlie Brown tree,” he beams. “Merry Christmas everybody!”

Ah. He’s unbolted our protection, and gone Outside to deliver the Yuletide unto us.

Outside: where none of us dares go. Unfiltered air means death. Army rushes to block up the duct, spins around and yells at C.B.: “You’ve probably killed us all! What were you thinking? What?”

Her anger is met with silence. Then Jonna unties the red ribbon from around her neck, and stands on tiptoe, fastening it to the top of the tree.

“I think it’s beautiful,” she says, and kisses C.B. on his smudgy cheek. He smiles. A few others do, too. But many don’t.

For now we must wait a dread-ridden 48 hours to see if the toxic microbes gestate or not. Maybe he’ll live, maybe die, maybe take all of us with him. Or maybe we can all go Outside again.

On Christmas Day, we will know where this little child has led us. ◀

The Branch JUAN BLEA

M

ost every day, her 10-carat, chocolate-diamond eyes could light up a dark Madison Square Garden. But, when she sat down on our couch, her eyes wouldn’t have lit up a hall closet. “Look,” I said. “I’ll make it up to you for Valentine’s Day. We can have a big, heart-themed party, OK?” She picked up a piece of green ribbon and rubbed it between her fingers.

“It’s not the same,” she said, and dropped the ribbon. “I just wish you didn’t hate Christmas.”

What she didn’t know was that it wasn’t Christmas that I hated; it was the entire month of December. Even after four years of marriage, I had never told her that I killed my grandmother the December after my 10th birthday.

Really, I had never told anyone about my crime, and even though I’d spent 30 years trying to forget, December always makes me remember. I said, “I don’t hate Christmas; I just wish December would go away.”

“Why, though? It makes no sense to me; it never has,” she said, and her lip began to quiver.

She was usually comfortable with my need to avoid Christmas. But this year was different. It had been six months since she lost her job as a therapist. A client of hers committed suicide, and she just couldn’t stop blaming herself. Her employer had no choice but to fire her; she stopped going in.

She’d spent the last half of the year coming to grips with things and seemed ready to go back to work. I figured she wanted to host a party as a way to reconnect with people. Maybe she needed the party to show that she’s OK, but I needed to go to Vegas to be OK. Still, I figured that after all this time, I owed her the truth. I walked over to her, sat down next to her, and took her hand. “When I was 10,” I said and looked into her diminished eyes, “I killed my grandmother. It was December 12th, 1981.”

“What?” she let go of my hand and stood up. “I thought she died of cancer? You’re freaking me out right now.”

“Right, cancer may have what physically killed her, but because of me, she lost the spirit to fight.”

She sat down as though she was sneaking up on the couch. “What happened?” she said, and placed her hand on mine.

“When my grandma left San Ildefonso Pueblo, she clipped a small branch off of a piñon tree and saved it in case she ever had a house of her own. In time, she worked and saved enough money to build a small house with a garden in front. She planted that piece of branch and, overnight, a piñon tree had sprung to life. She always said that if anyone were to cut a branch, three more would grow in its place. It was magic. And we all loved that piñon tree; it was my entire family’s Christmas tree. My aunts and uncles and cousins would all bring ornaments and place them on her little tree whenever they’d visit.

“My grandma and I would wait until Christmas Eve to place ours, though. It was something that we did, right before we went to midnight mass. We all loved that piñon tree, my grandma most of all.” I had to catch my breath. The more I thought about those days, the shallower my breathing became. I wanted nothing more than to never think of that tree again.

“On December 12th, 1981, I wanted to see if that tree was really magic.

Road Into Winter by Robert Highsmith; courtesy Marigold Arts

My grandma already knew that branches could grow back, but I wondered what would happen if I cut it down. So, I found an ax in her tool shed, and I hacked and hacked away until the tree fell on top of me. I pushed it off and waited and waited, but nothing started growing.”

“Oh no,” my wife said, and squeezed me into her. “What did your grandma do? Were you in so much trouble?”

“That’s just it. When my grandma saw what I had done, it was like the light just left her eyes. She didn’t even get mad at me. She just caressed my face and kissed my forehead and shook her head. I really wish she would have yelled at me or spanked me or done something, but instead she pulled off a small branch and went inside. Of course, my entire family was really angry with me; they knew that Christmas would never be the same without the tree. And they were right. We didn’t even go to midnight mass that year; my grandma just didn’t have the energy. She died a few months later. I’ve hated December ever since.”

Sometime during my confession I must’ve started crying, because my wife wiped a tear from my cheek. She smiled a little smile and kissed my forehead the way my grandma did and then cupped my face in her hands.

“OK,” she said. “We can go to Vegas. I get it. I felt the same way about work. I just couldn’t face what had happened. I thought I was ready again, but maybe I’m not,” she said, and then went into the kitchen. “What should I make for dinner?”

I had prayed, a million times, for that tree to grow back, and if there was a way I could fix it, I would have. As I watched her gather things for dinner, I saw that our life together is our garden. Maybe I killed my grandmother’s spirit, maybe I didn’t, but I couldn’t let my wife’s spirit fade again. I didn’t want a party; I did, however, want redemption. I walked into the kitchen and hugged her from behind. “So,” I said. “How many people are you inviting to our Christmas Eve party?”

Our house wasn’t dark, but when she turned around, I knew that our house was never quite as bright. ◀

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1ST PLACE

2 ND PLACE

It Wasn’t the Laundry on the Line

Fall of the Anvil KATHERINE DIBELLA SELUJA It was three little bones and how they connected

MICHELLE HOLLAND Today, the ridge line is a stark backbone against a light blue sky morning.

Rain came yesterday, in the late afternoon, the rapid fire of hail first on our tin roof, then sharp, insistent lines of lightning split the flat gray sky.

We sat on the portal and counted the space between the flash and thunder.

something about ringing

Winter Walker by William Hook; courtesy Meyer Gallery

So close.

Later, I walked out in my rubber boots behind Jim’s house to see where the arroyos ran.

While I studied the mud swirls and the water’s path, I heard the spade foot toads begin their machine-like croaking from over the ridge.

They are calling me.

You, though, insist that when you hung up the clothes on the line, that was our white man’s rain dance.

But, I have another take, no less self-centered. Our desire knows no bounds, and yesterday morning, when our Los Conchas fire refugees left, after a week full of a full house, we knew we were alone.

That’s when the clouds began to build, that’s when I touched your shoulder, and you told me you loved me.

And as the storm built, the lights flickered and went out.

No service anywhere, but in our bedroom, where we found each other again, and the rain came. ◀

44

December 28, 2012 - January 3, 2013

Night Snow, January, 2004 by Carol Anthony; courtesy Gerald Peters Gallery

pressure and space some measure of fluid crystals and balance it was hammer, anvil, and stirrup those three bones filled my mother’s ear and left her ringing after the fall.

Nine steps down onto pavement she stumbled the dog enough to break a malleus fracture an incus tumble her stapes send her gyroscope tilting.

Hammer, anvil, and stirrup but later only anvil echoes my ear drowning out sirens my sister wailing the dog licking its paw steady in the background swing and fall of a muscled arm hospital lobby with 48 hour window of let’s wait and see fluorescent lights searing my footsteps pounding the dog cracking its jaw hammer down hallways and cochlear canals form with fire burning and charring the mold of childhood broken. ◀

JANUARY

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Twelve Months (February “Black Mesa From the Río Grande) by Kate Krasin (1943-2010); courtesy New Mexico Museum of Art

RONALD G. HENNIES

I am old now.

I must find someone to teach.

Someone with hands that feel the power of water mixed with earth to shape a bowl.

Study Art History in Greece Info Session

6 to 7 p.m., Room 711 (505) 428-1778 Come and learn about SFCC’s Study Abroad Program in Greece during June 2013 where Greek tour guides will lead a study of art history, architecture and contemporary perspectives.

Winter Holiday – College closed

(505) 428-1000

Spring 2013 Semester Registration

(505) 428-1000

Free Respiratory Therapy Workshop

(505) 428-1723

SFCC campus will be closed for the winter holidays from Saturday, Dec. 15 through Tuesday, Jan. 1, 2013. The campus reopens on Wednesday, Jan. 2.

The Maker of Pots

How many times have I prayed the words, Mother earth, give me of yourself the sacred clay that shapes the vessels your relatives need.

They will be thankful as I am today.

TUESDAY

SPECIAL AND ONGOING EVENTS

3RD PLACE

The path seems steeper now.

I will rest here in this shade.

I brought my best digging stick.

I have a good supply of earth to make fine pots.

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The Three Corn Clan has such a gentle maid.

I must ask her Mother if I may teach the girl this good thing.

It is not easy, but she is patient and will paint the symbols of beauty on the pots I teach her to lead into being.

What is this darkness coming to me in mid-day?

I feel so tired.

Who will mold this clay If I leave?

Ahyee, I am flying over the sacred mesa.

Ahyee I have become the wind. ◀

Registration for NM residents continues. Semester begins Tuesday, Jan. 22.

Free CEU workshop for professional medical practitioners who are responsible for the application and management of mechanical ventilation strategies in the intensive care unit with an emphasis on the Respiratory Care Practitioner. Training occurs Monday, Jan. 7 from 9 a.m. to 12:30 p.m. and is repeated from 2-5:30 p.m. Enrollment is limited and participants must pre-register by emailing rebecca.jeffs@sfcc.edu or call 428-1723.

Carbon Economy Series: Sustainable Tourism(505) 819-3828

The fourth workshop in a series that focuses on sustainable practices, Sustainable Tourism and Development will cover the basics of sustainable tourism, global trends and strategies for how services and products can meet the triple bottom line of people, planet and profits. Friday night talk on Friday, Jan. 11, 7-9 p.m.: Workshops, Saturday, Jan. 12 and Sunday, Jan. 13, 9:30 a.m. to 4:30 p.m. To register or for more information, go to www.carboneconomyseries.com. Sponsored by SFCC.

Free Solar Heating Job Training

(505) 224-5242

Red Dot Gallery’s Winter Exhibit

(505) 820-7338

Learn the basics of solar energy, solar heating and general solar panel installation to prepare you to test for a nationally recognized entry-level credential in this expanding industry. Individuals with solar or plumbing experience encouraged to apply. Training occurs Monday, Jan. 14 through Saturday, Jan. 19 and Monday, Jan. 21 through Tuesday, Jan. 22 at SFCC. Call or contact Andrea at msisneroswichm@cnm.edu.

An exhibition of contemporary art to celebrate the winter season continues at SFCC’s Red Dot Gallery, 826 Canyon Road, Santa Fe, through Feb 17.

HELPING STUDENTS SUCCEED. SERVING OUR COMMUNITY. Produced by SFCC’s Marketing and Public Relations Office. Individuals who need special accommodations should make arrangements by calling the phone number listed for each event.

LEARN MORE

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PASATIEMPO

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MOVING IMAGES pasa pics

— compiled by Robert Ker

Radium Cheung nails the ambience of lazy, wasted youthful summers and the brilliantly blown-out sunniness of the San Fernando Valley. Not rated (contains explicit sexual content). 103 minutes.

The Screen, Santa Fe. See review, Page 53.

now in theaters

I’d rather be taking the Pineapple Express: Seth Rogen and Barbra Streisand in The Guilt Trip, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week CHASING ICE Director Jeff Orlowski follows environmental photographer and one-time climate-change denier James Balog as he launches and maintains his Extreme Ice Survey, a long-term photography project that gives what Balog calls a “visual voice” to the planet’s rapidly receding glacial ice sheets. Visually stunning and horrifying in scope and context, Chasing Ice is at its best when the talking heads of climate-change activism — of which there are way too many here — are not in the picture. At times the film appears to be more about Balog than the planet he’s attempting to save, and although his story and passion are compelling, the ice should be the true star here. 7 p.m. Friday, Dec. 28, show is a fundraiser for Rivers Run Through Us. Rated PG-13. 75 minutes. CCA Cinematheque, Santa Fe. (Rob DeWalt) See review, Page 52.

THE MET LIVE IN HD: LA CLEMENZA DI TITO Elina Garanca, Giuseppe Filianoti, and Barbara Frittoli star in Mozart’s opera, broadcast live from the Met. The cast also includes Marcello Giordani, Dmitri Hvorostovsky, and Ferruccio Furlanetto. 11 a.m.

Saturday, Dec. 29 (no encore). Lensic Performing Arts Center, Santa Fe. (Not reviewed) 46

December 28, 2012 - January 3, 2013

MODERN TIMES Charlie Chaplin’s tour-de-force broadside against the ills of modern society is all Chaplin — he stars in the 1936 comedy, he wrote it, he directed the picture, and he even composed the music. It strides a tightrope, being simultaneously his most realistic comedy and one of his most surreal and abstract, politically pungent and socially sharp, while also a sentimental send-off to his signature character, the Little Tramp. Often hailed as his last “silent” film, it’s actually a veritable fountain of sound — albeit mostly music and wacky effects, leading up to Chaplin’s first spoken words on screen, an infectiously silly gibberish song. Not rated. 89 minutes. Center for Contemporary Arts, Santa Fe. ( Jon Bowman) See Screen Gems, Page 50.

STARLET In this low-key, oddly affecting drama from director and co-writer Sean Baker, young Jane (Dree Hemingway) is bored and has time to kill, so she leaves her bare-bones apartment with her dog and heads out to some local yard sales. At the home of grumpy, elderly Sadie (Besedka Johnson), she buys a thermos she thinks will make a nice vase; back at home, she discovers rolls of $100 bills inside it. Guided by guilt, sympathy, or something else, Jane follows Sadie and forces herself into her life. This is no Harold and Maude, though. The performances and dialogue are easy, natural, and believable, and cinematographer

ANNA KARENINA This is not like any Anna Karenina you’ve ever seen.

Director Joe Wright (Atonement) and screenwriter Tom Stoppard have reimagined and restructured the classic story with a stunningly original vision that treads the border between triumph and disaster and manages to keep miraculously to the side of the angels. An Anna Karenina soars or sinks with its heroine, and while Keira Knightley can charm, swoon, and rage, when it comes to plumbing the depths of Tolstoy’s tragic heroine, she shows the strain of acting. She hits all the notes, but she doesn’t manage to play between the notes. Rated R. 129 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) ARGO Ben Affleck takes a true story by the throat and delivers a classic seat-squirming nail-biter. In 1980, as the world watched the hostages in the U.S. embassy in Tehran, a small group of Americans made it to the Canadian ambassador’s residence and hid out there while the White House and the CIA desperately tried to figure out how to spirit them out of the country.

The plan? Pretend to be making a sci-fi film and disguise the Americans as members of a Canadian location-scouting crew. A terrific cast is headed by Affleck as the CIA operative, with Alan Arkin and John Goodman at the Hollywood end. Rated R. 120 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) CAFÉ DE FLORE This is a supernatural story about love that takes place in ’60s Paris and contemporary Montreal. The film opens in the present, with the seemingly perfect life of Antoine (Kevin Parent), a DJ with two daughters and a sexy girlfriend. The second story follows Jacqueline (Vanessa Paradis) a single mother struggling to raise her 7-year-old son, Laurent, who has Down syndrome. The two are happy, and very close, until Laurent meets a girl who also has Down syndrome, and Jacqueline becomes jealous of her son’s new relationship. Though thoughtful, unusual, and set to an eclectic score, Café de Flore takes a turn for the worse when it tries to bring the two stories together.

Rated R. 120 minutes. In French with subtitles.

The Screen, Santa Fe. (Adele Oliveira)

CIRQUE DU SOLEIL: WORLDS AWAY Those of you who have always wanted to see a Cirque Du Soleil performance in three dimensions without having to drive all the way to Las Vegas, your wait is over. This movie crafts a loose narrative from several of the company’s most beloved acts. Not rated. 91 minutes.

Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. (Not reviewed) CLOUD ATLAS If you see only one film this year, perhaps it should be Cloud Atlas — not because it’s the best movie, but because it’s six movies for the price of one. It serves up some of your favorite actors, sometimes heavily disguised, in a half dozen different roles apiece. David Mitchell’s centuries-spanning 2004 bestseller is a complex challenge that the author thought could never be translated into a movie, and as he himself recently admitted, “I was half right.” Still, there’s no denying the film’s entertainment value and its technical accomplishment. Rated R. 172 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) DJANGO UNCHAINED Quentin Tarantino’s first film since 2009’s Inglourious Basterds is an homage to the Spaghetti Western, but it mixes, matches, and mismatches ideas, themes, and music from a lot of other movies as well. Django ( Jamie Foxx) is a freed slave who partners with a bounty hunter (Christopher Waltz) to find and free Django’s still-enslaved wife.

The performances are solid and often quite terrific (as with Leonardo DiCaprio’s foppish Southern plantation owner), and the blood and humor flow openly throughout. Still, it’s about 25 minutes longer than it ought to be. Rated R. 165 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Nott) THE GUILT TRIP Barbra Streisand and Seth Rogen play an overbearing mother and a neurotic son who travel across the country on a business trip, where they bond over the standard road-movie high jinks. Fortunately, the gags in the movie are much better than the pun in the title, as the comedy of Babs’ Broadway showmanship and Rogen’s snark blend surprisingly well. It’s forgettable, but funny. The overarching dramatic plot, which is expanded well beyond the basic framing device needed to get us from one laugh to the next, is not particularly effective or welcome. Rated PG-13.

96 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) HITCHCOCK Anthony Hopkins dons a fat suit to play the Master of the Macabre at a critical moment in Hitchcock’s career, the making of Psycho (1960). Nobody liked the idea — the studio wouldn’t finance it — so Hitch

mortgaged his house, and went a little crazy making what many consider his masterpiece. Was this the real Hitchcock? Nobody seems to have known him very well. In the end what matters is how well this movie makes its case. For the most part the movie entertains. But there are lapses in judgment, timing, and artistry that keep reminding us that great moviemaking isn’t as simple as it looks. Rated PG-13.

98 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) THE HOBBIT: AN UNEXPECTED JOURNEY If you’re a longtime fan of J.R.R. Tolkien, you’ll be thrilled just to return to Peter Jackson’s imagining of Middle Earth.

This is the first of Jackson’s three films based on Tolkien’s 1937 children’s novel about a hobbit named Bilbo (Martin Freeman) who is recruited by the wizard Gandalf (Ian McKellen) and 13 dwarfs to help slay a dragon. The Hobbit is a breezier book than the Lord of the Rings trilogy, and so the movie is more lighthearted than Jackson’s earlier adaptations — sometimes awkwardly so. Still, the attention to detail, the magnificent effects, the warm cast, and the heartfelt themes make The Hobbit a journey full of expected delights. Rated PG-13. 169 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) JACK REACHER Tom Cruise plays the title character of this movie, which looks as generic as the character’s name. Reacher is one of those ex-Army specialists that you get when you need something fixed. When an ex-Army sniper ( Joseph Sikora) is arrested for murder, possibly on false charges, it’s time for some fixing.

Robert Duvall and Werner Herzog are among the co-stars. Rated PG-13. 130 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos.

(Not reviewed) LES MISÉRABLES The stage musical version of Victor Hugo’s great novel is the longestrunning musical of all time. It has been seen by more than 60 million people in all sorts of languages and countries. This movie could put an end to all that.

In the hands of director Tom Hooper, who guided The King’s Speech with such subtlety and grace, it is garish, shrill, and breathtakingly over the top. The songs are still there, up close and personal like you’ve never seen and heard them, and be careful what you wish for. The cast (headed by Hugh Jackman and Russell Crowe) performs bravely, if not always wisely or too well.

Rated PG-13. 158 minutes. Regal Stadium 14 and Regal DeVargas, Santa Fe; DreamCatcher, Española; Storyteller, Taos. ( Jonathan Richards) LIFE OF PI Ang Lee’s adaptation of Yann Martel’s best-selling novel is an intriguing exercise in going toward, intense being,

Parental Guidance

and going away. The first and last are the frame in which the story, of a boy on a lifeboat with a Bengal tiger in a wild ocean, is set. That middle part is a fabulous creation of imagination and CGI, and it is riveting. The lead-in sets it up with a promise of a story “that will make you believe in God.” The recessional discusses what we have seen, what it means, what may or may not be true, and what we’ve learned. Whether or not it makes you believe in anything is up to you. Suraj Sharma and Irrfan Khan play Pi, young and older. The real star is a collection of electronic impulses that will make you believe in tigers, at least. Rated PG. 127 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Jonathan Richards) LINCOLN Steven Spielberg’s Lincoln is a surprisingly small film, considering its subject. With the Civil War as background, it focuses on the passage of the 13th Amendment to the Constitution and what was required, politically, to achieve it. The president deals with the false choice of ending the war and ending slavery, criticism from his political enemies, and dysfunction in his own family. Daniel Day-Lewis looks and sounds the part of the 16th president, though sometimes his words and the cadences at which they come feel self-conscious.

Sally Fields as Mary Todd Lincoln and Tommy Lee continued on Page 48

PASATIEMPO

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MOVING IMAGES pasa pics

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Jones as abolitionist Thaddeus Stevens stand out from the ensemble cast. Rated PG-13. 149 minutes.

Regal Stadium 14, Santa Fe; Storyteller, Taos. (Bill Kohlhaase) MONSTERS, INC. Pixar’s 2001 outing — about two beasts (voiced by John Goodman and Billy Crystal) who accidentally bring a young girl (Mary Gibbs) into their monster world — lacks the instant-classic charm of some of Pixar’s more beloved films. But it’s had staying power, in part because of the plush-toy-ready design of the creatures and the loving tribute to movie magic, which is evoked through the monsters’ scare factory. This rerelease expands that magic to three dimensions. Rated G. 92 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. Screens in 3-D at Storyteller, Taos.

(Robert Ker) PARENTAL GUIDANCE Billy Crystal and Bette Midler play an aging couple who try their hand at helping to raise their grandkids, often to comic effect. Rods are spared, children are spoiled, and everyone learns life lessons. Expect observations about the evolution of parenting techniques across generations, coupled with shots of Crystal getting hit in the groin. Rated PG. 105 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) RISE OF THE GUARDIANS This animated adventure stars a super team made up of Santa Claus (Alec Baldwin), the Easter Bunny (Hugh Jackman), the Tooth Fairy (Isla Fisher), and the Sandman. They join together with newbie Jack Frost (Chris Pine) to combat an evil spirit named Pitch ( Jude Law). The plot is tightly woven, the jokes hit, the animation is captivating, and the world is realized with great depth and wonder. I would even say the film is magical — for adults and children alike. If you’re open to a sword-wielding Santa this holiday season, you’ll be won over by this fable. Rated PG. 97 minutes.

Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker)

spicy bland

medium

mild

heartburn

Send comments on movie reviews to pasamovies@sfnewmexican.com.

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December 28, 2012 - January 3, 2013

A ROYAL AFFAIR In the 1760s, wellread English princess Caroline Mathilde (Alicia Vikander) is betrothed to Christian VII (Mikkel Boe Følsgaard), the mentally unstable king of Denmark and Norway. Christian hires a German physician, Johann Friedrich Struensee (Mads Mikkelsen), who comes to court, tends to the king’s health, and (ahem) cures what’s ailing the queen as well. This is an exemplary — if not gripping — period melodrama, with dewy-complexioned women, steely-eyed heroes, and a sweeping score.

Rated R. 137 minutes. In Danish, German, and French with subtitles. The Screen, Santa Fe. (Laurel Gladden) SEARCHING FOR SUGAR MAN Malik Bendjelloul’s film about the search for a talented musician named Sixto Diaz Rodriguez is a portrait of a humble man, a rock documentary, and a detective story all in one. It follows the triumphs and frustrations of a journalist and a record-store owner in their efforts to shed light on the mystery surrounding Rodriguez, a superstar in South Africa but virtually unknown in his native United States. The film packs an emotional wallop. Rated PG-13. 85 minutes.

Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) THE SESSIONS Mark O’Brien ( John Hawkes), a West Coast poet and journalist, has spent most of his life confined to an iron lung. He has a working head attached to a useless rag doll of a body, and he decides at the age of 38 to experience sex with a woman before his use-by date runs out. This movie tells the true story of his sessions with a sex surrogate (Helen Hunt) and recalls, with wry humor and touching tenderness, something of the extraordinary bond of connection and self-awareness that the sex act can access. Rated R. 95 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) SILVER LININGS PLAYBOOK This story centers on Pat Solatano (Bradley Cooper), who after being released from a mental institution moves in with his parents (Jacki Weaver and Robert De Niro) and vows to win back his estranged wife. When friends invite him to dinner, he meets Tiffany ( Jennifer Lawrence), who also has a couple of screws loose.

She agrees to help him patch things up with his wife — but only if he will agree to be her partner in a dance competition. The story swerves hilariously around clichés, and finely honed dialogue, attention to detail, and impressive performances make the film perfect oddball comic relief for the holiday season. Rated R. 122 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden)

SKYFALL In Daniel Craig’s third outing as James Bond, a terrorist declares war on MI6, and the agents go underground, holing up beneath the streets of London. Javier Bardem makes for a memorable, if campy, villain, and the acting from the British cast (including Judi Dench, Ralph Fiennes, and Ben Whishaw) is superb, but the crisp dialogue holds up better than the overall plot. Cinematographer Roger Deakins gives the film a polished, sumptuous look. Rated PG-13. 143 minutes.

Regal Stadium 14, Santa Fe. ( Jeff Acker) THIS IS 40 Pete (Paul Rudd) and Debbie (Leslie Mann), characters spun off from Judd Apatow’s Knocked Up (2007), are turning 40, and their lives are not much fun. Sex can sometimes be good, but just as often not. They have money problems. They have different tastes. They still love each other, but the spark is gone. Mann is Apatow’s wife, and with their two children playing Pete and Debbie’s kids in this movie, it’s no stretch to hazard a guess that Rudd is standing in for Apatow in a story based at least in part on his family life. It may be more about the Apatows than you really want to know. There is a smattering of good laughs in this midlife comedy, but stretched over two hours and a quarter they wear thin. Rated R. 134 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) THIS MUST BE THE PLACE In this jumbled drama, Sean Penn morphs into yet another oddball character, this time playing semi-retired rock star Cheyenne, whose wrinkles, addled speech, and slow gait hint at a celebrity who has seen his fair share of the rock ’n’ roll lifestyle.

When his father dies, Cheyenne heads to the U.S. to take up dad’s favorite pastime: Nazi hunting. Director Paolo Sorrentino is prone to David Lynch-ian forays into the absurd, leaving a bulk of the story’s dramatic tension susceptible to a trip down the subplot rabbit hole. Penn’s comedy-tinged performance is strong, however, as is that of Frances McDormand, who plays Cheyenne’s wife. Rated R. 118 minutes. Center for Contemporary Arts, Santa Fe. (Rob DeWalt) THE TWILIGHT SAGA: BREAKING DAWN — PART 2 In this final installment of “As the Vampire Turns,” our newly bloodsucking heroine Bella (Kristen Stewart) learns to hunt and discovers that her werewolf pal Jacob (Taylor Lautner) has “imprinted” on her newborn daughter, which means they will be mates for life.

Twi-hard fans will appreciate the film’s fidelity to the novel. The rest of us should thank our lucky stars for the levity screenwriter Melissa Rosenberg injects into the story and a gripping battle scene. Rated PG-13.

115 minutes. Regal Stadium 14, Santa Fe. (Laurel Gladden) ◀

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Call theaters or check websites to confirm screening times.

CCA CINEMATHEQUE AND SCREENING ROOM

1050 Old Pecos Trail, 982-1338, www.ccasantafe.org Chasing Ice (PG-13) Fri. 2:45 p.m., 4:30 p.m., 6:15 p.m., 7 p.m., 8 p.m. Sat. and Sun. 1:45 p.m., 3:30 p.m., 5:30 p.m., 7:45 p.m. Wed. 1 p.m., 3 p.m., 5:15 p.m., 7 p.m. Thurs. 2 p.m., 4 p.m., 6 p.m., 8 p.m.

Modern Times (NR) Sat. and Sun. 12:30 p.m.

Wed. 6 p.m.

Searching for Sugar Man (PG-13) Fri. 2 p.m. Sat.

and Sun. 5 p.m. Wed. 1:30 p.m. Thurs. 5:30 p.m.

This Must Be the Place (R) Fri. 4 p.m. Sat. and Sun. 2:30 p.m., 7:15 p.m. Wed. 3:30 p.m. Thurs.

12:30 p.m., 3 p.m., 7:30 p.m.

REGAL DEVARGAS

562 N. Guadalupe St., 988-2775, www.fandango.com Anna Karenina (R) Fri. and Sat. 1 p.m., 4:10 p.m., 7 p.m., 9:45 p.m. Sun. to Thurs. 1 p.m., 4:10 p.m., 7 p.m.

Argo (R) Fri. and Sat. 1:20 p.m., 4:20 p.m., 7:10 p.m., 9:55 p.m. Sun. to Thurs. 1:20 p.m., 4:20 p.m., 7:10 p.m.

Cloud Atlas (R) Fri. and Sat. 3 p.m., 9:05 p.m.

Sun. to Thurs. 3 p.m.

Hitchcock (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:40 p.m., 10 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:40 p.m.

Les Miserables (PG-13) Fri. to Thurs. 12:30 p.m., 4 p.m., 7:30 p.m.

The Sessions (R) Fri. to Thurs. 12:40 p.m., 6:50 p.m.

Silver Linings Playbook (R) Fri. and Sat. 1:10 p.m., 3:50 p.m., 6:55 p.m., 9:40 p.m. Sun. to Thurs.

1:10 p.m., 3:50 p.m., 6:55 p.m.

REGAL STADIUM 14

3474 Zafarano Drive, 424-6296, www.fandango.com Cirque du Soleil:Worlds Away (PG) Fri. to Sun. 12:35 p.m. Mon. to Thurs. 12:35 p.m.

Cirque du Soleil:Worlds Away 3D (PG) Fri. to Thurs. 10:15 a.m., 3:05 p.m., 7:25 p.m., 10 p.m.

Django Unchained (R) Fri. to Thurs. 12:15 p.m., 4:15 p.m., 7 p.m., 8:15 p.m., 10:35 p.m.

The Guilt Trip (PG-13) Fri. to Sun. 11:45 a.m., 2:15 p.m., 4:45 p.m., 7:15 p.m., 9:50 p.m. Mon. to Thurs. 11:45 a.m., 2:15 p.m., 4:45 p.m., 7:15 p.m., 9:50 p.m.

The Hobbit:An Unexpected Journey (PG-13) Fri. to Thurs. 11 a.m., 7 p.m.

The Hobbit:An Unexpected Journey 3D

(PG-13) Fri. to Thurs. noon, 3 p.m., 4 p.m., 8 p.m., 10:35 p.m.

Jack Reacher (PG-13) Fri. to Sun. 10:30 a.m., 1:35 p.m., 4:35 p.m., 7:40 p.m., 10:40 p.m. Mon. to Thurs. 10:30 a.m., 1:35 p.m., 4:35 p.m., 7:40 p.m., 10:40 p.m.

Les Miserables (PG-13) Fri. to Thurs. 11:30 a.m., 3:15 p.m., 7 p.m., 10:30 p.m.

Life of Pi (PG) Fri. to Thurs. 10:20 a.m., 4:15 p.m., 10:15 p.m.

Life of Pi 3D (PG) Fri. to Thurs. 1:15 p.m., 7:15 p.m.

Lincoln (PG-13) Fri. to Thurs. 12:10 p.m., 3:45 p.m., 7:10 p.m., 10:30 p.m.

Monsters, Inc. (G) Fri. to Thurs. 1:50 p.m.

Monsters, Inc. 3D (G) Fri. to Thurs. 11:20 a.m., 4:30 p.m., 7:05 p.m., 9:30 p.m.

Parental Guidance (PG) Fri. to Thurs. 11:20 a.m., 2:15 p.m., 4:40 p.m., 7:15 p.m., 9:50 p.m.

Rise of the Guardians (PG) Fri. to Thurs.

10:45 a.m., 1:20 p.m., 4:20 p.m.

Skyfall (PG-13) Fri. to Thurs. 1 p.m., 7:35 p.m.

This Is 40 (R) Fri. to Thurs. 10:40 a.m., 1:40 p.m.,

4:40 p.m., 7:40 p.m., 10:40 p.m.

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The Twilight Saga: Breaking Dawn - Part 2

(PG-13) Fri. to Thurs. 10 a.m., 4:10 p.m., 10:40 p.m.

THE SCREEN

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com Café de Flore (NR) Fri. to Thurs. noon A Royal Affair (R) Fri. to Thurs. 4:30 p.m.

Starlet (NR) Fri. to Sun. 2:20 p.m., 7:20 p.m.

Mon. 2:20 p.m. Tue. to Thurs. 2:20 p.m., 7:20 p.m.

STORYTELLER DREAMCATCHER CINEMA (ESPAÑOLA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.storytellertheatres.com Django Unchained (R) Fri. to Tue. 12:40 p.m., 4:30 p.m., 8 p.m. Wed. and Thurs. 12:40 p.m., 4:30 p.m., 8 p.m.

The Guilt Trip (PG-13) Fri. to Thurs. 1:05 p.m., 4:15 p.m., 7:15 p.m., 9:20 p.m.

The Hobbit:An Unexpected Journey (PG-13) Fri. to Thurs. 12:45 p.m., 4:10 p.m., 7:40 p.m.

The Hobbit:An Unexpected Journey 3D (PG-13) Fri. to Thurs. 1:15 p.m., 4:45 p.m., 8:10 p.m.

Jack Reacher (PG-13) Fri. 1:10 p.m., 4:05 p.m., 7:05 p.m., 9:50 p.m. Sat. to Thurs. 1:10 p.m., 4:05 p.m., 7:05 p.m., 9:50 p.m.

Les Miserables (PG-13) Fri. to Tue. 12:55 p.m., 4:20 p.m., 7:30 p.m. Wed. and Thurs. 12:55 p.m., 4:20 p.m., 7:30 p.m.

Life of Pi (PG) Fri. to Thurs. 3:50 p.m.

Life of Pi 3D (PG) Fri. to Thurs. 1 p.m., 6:40 p.m., 9:25 p.m.

Monsters, Inc. (G) Fri. to Thurs. 3:55 p.m.

Monsters, Inc. 3D (G) Fri. to Thurs. 1:20 p.m., 7 p.m., 9:10 p.m.

Parental Guidance (PG) Fri. to Tue. 1:25 p.m., 4:25 p.m., 6:55 p.m., 9:45 p.m. Wed. and Thurs.

1:25 p.m., 4:25 p.m., 6:55 p.m., 9:45 p.m.

This Is 40 (R) Fri. 12:50 p.m., 4 p.m., 6:50 p.m., 9:40 p.m. Sat. to Thurs. 12:50 p.m., 4 p.m., 6:50 p.m., 9:40 p.m.

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STORYTELLER CINEMA

110 Old Talpa Canon Road, 575-751-4245 Django Unchained (R) Fri. to Thurs. 4:15 p.m., 7:30 p.m.

The Hobbit:An Unexpected Journey (PG-13) Fri. 4:10 p.m. Sat. and Sun. 1:40 p.m. Mon. to Thurs. 4:10 p.m.

The Hobbit:An Unexpected Journey 3D

(PG-13) Fri. 7:35 p.m. Sat. and Sun. 5 p.m., 8:20 p.m.

Mon. to Thurs. 7:35 p.m.

Jack Reacher (PG-13) Fri. 4:35 p.m., 7:15 p.m., 9:55 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:15 p.m., 9:55 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:15 p.m.

Mon. to Thurs. 4:35 p.m., 7:15 p.m.

Les Miserables (PG-13) Fri. 4:10 p.m., 7:25 p.m.

Sat. and Sun. 1:45 p.m., 5 p.m., 8:15 p.m. Mon. to Thurs. 4:10 p.m., 7:25 p.m.

Lincoln (PG-13) Fri. 4:45 p.m., 7:50 p.m. Sat. and Sun. 1:45 p.m., 4:45 p.m., 7:50 p.m. Mon. to Thurs.

4:20 p.m., 7:25 p.m.

Monsters, Inc. 3D (G) Fri. 4:30 p.m., 7:20 p.m., 9:35 p.m. Sat. 2 p.m., 4:30 p.m., 7:20 p.m., 9:35 p.m.

Sun. 2 p.m., 4:30 p.m., 7:20 p.m. Mon. to Thurs.

4:30 p.m., 7:20 p.m.

Parental Guidance (PG) Fri. 4:40 p.m., 7:10 p.m., 9:40 p.m. Sat. 2:05 p.m., 4:40 p.m., 7:10 p.m., 9:40 p.m. Sun. 2:05 p.m., 4:40 p.m., 7:10 p.m.

Mon. to Thurs. 4:40 p.m., 7:10 p.m.

SPECIAL ENGAGEMENTS NOW PLAYING CHECK DIRECTORIES FOR SHOWTIMES • NO PASSES ACCEPTED

PASATIEMPO

49

Time machine Jon Bowman I For The New Mexican Modern Times; vintage comedy; not rated; Center for Contemporary Arts; 12:30 p.m. Saturday & Sunday, Dec. 29 & 30; 6 p.m. Wednesday, Dec. 31; 4 chiles If not for Mohandas Gandhi, Charlie Chaplin might not have made Modern Times, the 1936 comedy that is considered one of Chaplin’s crowning achievements. The two met in September 1931 in London after Gandhi traveled to England seeking independence for India. Chaplin was in town to promote the British premiere of City Lights.

Chaplin later revealed that he was contemplating retirement at the time. He had just gone through a nasty divorce from actress Lita Grey, his co-star in The Kid. The 42-year-old Chaplin was suffering a severe midlife crisis, aggravated by a belief that he might never work in Hollywood again. Chaplin’s problem: he saw himself as a dinosaur, unwilling to abandon his shtick as a pantomime artist.

Although made four years after The Jazz Singer, the first talkie, City Lights employed music and sound effects but contained no dialogue. When he began shooting, Chaplin argued that sound was a passing fad, destined to be discarded.

He exploded when one journalist asked him why he hadn’t experimented with the new technology: “I never tried jumping off the monument in Trafalgar

50

December 28, 2012 - January 3, 2013

Square, but I have a definite idea that it would be unhealthful. ... For years I have specialized in one type of comedy — strictly pantomime. I have measured it, gauged it, studied. I have been able to establish exact principles to govern its reactions on audiences. It has a certain pace and tempo. Dialogue, to my way of thinking, always slows action, because action must wait upon words.”

By the time Chaplin finished City Lights, he knew sound was here to stay.

He became despondent, fearing his career was over. He extended his City Lights junket by several months, taking a long sojourn in Switzerland. He next journeyed to Asia — first to Japan and then China, where he went searching for a retirement haven.

In the end, Chaplin opted to return to Hollywood to make one last movie, the framework for which grew out of his conversation with Gandhi. The Indian activist told Chaplin that Westerners had become slaves to materialism and the machine.

He explained the many philosophical principles he had adopted from Jainism, including renunciation of worldly goods and compassion for all living creatures.

Critics have called Modern Times Chaplin’s most political film, based on its not-so-veiled fault finding with capitalism in the midst of the Great Depression — whether taking shape as the uncaring Big Brother factory overlord or the club-wielding police who batter striking workers. But rather than a Marxist expression, the film is more accurately perceived as Chaplin’s embodiment of the ideals Gandhi had shared with him.

Chaplin originally intended it as a full-blown talkie and fully wired his sets, but he quickly realized he couldn’t go through with it. Yet he was painfully aware that the public would reject the movie if it were completely silent. He hit on a compromise: an emotional musical score he created himself, funnier sound effects than those used in City Lights, dialogue delivered through radio broadcasts and closed-circuit TV transmissions, and, the coup de grâce, the singing debut of Chaplin’s Little Tramp.

While Modern Times would not be Chaplin’s last movie, it was the swan song for this beloved character, the last time Chaplin would don the bowler hat, the oversized shoes, and the ill-fitting suit to portray the carefree, clumsy vagrant he had introduced all the way back in 1914 in the Keystone comedy Kid Auto Races at Venice. Thus Chaplin settled upon another compromise — he would muddle ahead with his own career but kill off the Tramp.

Film critic Otis Ferguson has rightfully described Modern Times as four movies in one — it’s essentially four separate stories, each lasting about as long as one of Chaplin’s silent two-reelers. The four stories, according to Ferguson, are “The Shop,” “The Jailbird,” “The Watchman,” and “The Singing Waiter.”

The opening segment, “The Shop,” is the most famous set piece. Chaplin is at work on an assembly line in an ultra-modern, Art Deco factory. Everything’s mechanized. Each employee has one small, repetitive task to perform over and

over again. Chaplin’s assignment: tightening two bolts with two wrenches, clasping one in each hand.

He’s good at it, but he comes unglued when the pace grows too hectic.

Soon he’s having a nervous breakdown, prancing after a secretary with the twin wrenches dangling from his head like the antlers of a stag in heat.

(This scene of automation run amok has been repeated many times, notably

by Lucille Ball and Vivian Vance in an I Love Lucy episode. Lucy and Ethel can’t keep up with an assembly line of chocolate goodies, so they start gorging on the sweets and stuffing the candies down their shirts.)

The three remaining stories follow the Tramp in and out of jail and in and out of various odd jobs, accompanied by a barefooted orphan known as a Gamin. She’s played by Paulette Goddard, the perky actress who was Chaplin’s real-life rebound love after his split with Grey. Goddard lived with Chaplin for several years, claiming they had married while vacationing in China. Hollywood insiders scoffed at that notion. The hint of scandal didn’t faze Chaplin, but it might have cost Goddard the most plumb role of her career. David O. Selznick wanted to cast her as Scarlett O’Hara in Gone With the Wind, but associates talked him out of it. It’s hard to picture her one-upping Clark Gable, but she’s a decent enough tag-team partner for the Little Tramp. Together, they run circles around the cops, defend the downtrodden, unnerve the swells, and shack up in a shanty that admittedly “isn’t Buckingham Palace.”

As much as it’s a political statement and an affirmation of simple values, Modern Times has stood the test of time by virtue of its many hilarious scenes depicting that most universal of human activities: eating. Notice how each of the four stories revolves around epic mealtime madness. In “The Jailbird,” Chaplin gets hailed a hero when he accidentally ingests cocaine, which transforms him into a hop-head Superman. In “The Singing Waiter,” he battles a throng of dancers, including some would-be football tackles, to deliver a delayed duck dinner.

In Modern Times, everyone’s got to eat. The rub: some people can’t afford to put food on the table. So they battle the machines, which also happen to have voracious appetites, with both comic and tragic consequences. ◀ PASATIEMPO

51

MOVING IMAGES film reviews

On the rocks Rob DeWalt I The New Mexican Chasing Ice, documentary, rated PG-13, CCA Cinematheque, 3.5 chiles Directed by Jeff Orlowski, Chasing Ice holds the potential to be a game-changer in the realm of climate-change denial — but only if the naysayers can be lured to theaters to watch it.

The film follows acclaimed photographer James Balog as he launches and maintains his Extreme Ice Survey, a long-term photography project that gives what he calls a “visual voice” to the planet’s rapidly changing glacial ecosystems. When he completed a master’s degree in geomorphology in the late ’70s at the University of Colorado, Balog was already an experienced climber. It was during his outdoor adventures that he realized he loved science, but he didn’t want to be a laboratory-bound scientist. His true loves were adventure and photography, though he had no contacts in or technical knowledge of the photography world at the time. But, as he remarks in Chasing Ice, “youthful brashness can take you a long way, and make things happen.”

That brashness landed Balog photojournalism assignments with magazines such as National Geographic and Smithsonian. The road to Chasing Ice began with a photo assignment for The New Yorker in 2005, when Balog traveled to Iceland to photograph glaciers. That work led to a 2006 National Geographic assignment to document changing glaciers on a worldwide scale. “The Big Thaw,” a cover story by Tim Appenzeller that appeared in National Geographic in 2007 along with Balog’s photos, remains the most-read story in the magazine in the past five years, according to interviews in the film.

Balog, a former climate-change denier who believed that muddy statistics and hyperbole were at the root of global warming becoming a cause

Climate-change convert James Balog 52

December 28, 2012 - January 3, 2013

Crevasses in Iceland’s Svínafellsjökull glacier

célèbre, changed his mind and became a firm believer when he saw firsthand the grand scale of receding icemelt occurring within Iceland’s Solheim Glacier in 2006. At one time he didn’t think it was possible for mankind to manipulate the basic physics and chemistry of the planet. Upon witnessing the evidence, Balog set out to record what he describes as the most powerful issue of our time. To do so, he would have to improvise, knowing full well he might lose his career, his family, and even his life.

Balog’s initial goal for the EIS was to have 25 cameras working nonstop for three years, taking pictures of glaciers and icemelt every daytime hour in Iceland, Greenland, Alaska, and Montana, and then compressing the pictures into video files. At the project’s outset, however, he didn’t realize much of the equipment would have to be custom-made.

The work was initially funded by grants, but Balog was soon dipping into his own savings to see the project realized.

It may be difficult for some to reconcile the visual beauty that Chasing Ice captures with the troubling scientific realities it also lays bare. Incidents of ice calving (the sudden release and breaking away of a mass of ice from a glacier, iceberg, ice front, ice shelf, or crevasse) caught on tape are becoming more common on the evening news and cabletelevision science channels, but none compare to what Balog and his team of young adventurers captured on Greenland’s ice sheets.

After weeks of waiting, the filmmakers — absent Balog, who was sidelined by a knee condition that worsened with every trip he took to check on his frequently malfunctioning or broken cameras — witnessed 7.4 cubic kilometers of ice calving off Greenland’s Ilulissat Glacier. To put it in perspective, camera crew member Svavar Jonatansson and EIS field coordinator/cameraman Adam LeWinter

described the scene as watching the lower tip of Manhattan swirl into itself and collapse into the water in just 75 minutes. When the crew rappels down Survey Canyon on the Greenland ice sheet to capture images of crystal-clear meltwater rushing down a startlingly bluish moulin (a circular, near-vertical well within a glacier), the vertiginous tension captured on film is nail-bitingly splendid.

Here’s what we learn from the talking heads in the film, of which there are way too many: Animals are going extinct 100 times faster than they were 1,000 years ago. The last 230 years have seen a loss of close to 20 percent of the forest area in Arizona and New Mexico, because of a longer and more extreme fire season that burns hotter. Without cleaner air and water, the planet faces a mass extinction event within the next 200 years, one that will potentially lead to the loss of half of currently existing species.

(In China’s Sichuan province, thousands of villagers are already hand-pollinating their pesticide-rich pear orchards, because there are no bees left to do it).

Balog explains in the film that his work in photography and the EIS has led him to a more “seductive approach” in depicting civilization’s impact on the natural world. His photography and his story — while blatantly self-serving at times — are indeed impactful. Despite Balog’s insistence that statistics won’t change anyone’s mind, he and Orlowski still rely on the numbers game too frequently here.

Today, the EIS has 34 cameras operating year-round at 16 glacier sites in Greenland, Iceland, the Nepalese Himalaya, Alaska, and the Rocky Mountains, snapping pictures of the changing glacial landscape every 30 minutes during daylight, yielding approximately 8,000 frames per camera per year. The images tell the story well enough without the clown car full of experts. With minimal captions and off-camera narration, the film would be more seductive. ◀

MOVING IMAGES film reviews

Another pleasant valley sin day Laurel Gladden I For The New Mexican Starlet, drama, not rated, The Screen, 3.5 chiles On a brilliantly sunny afternoon, willowy Jane (Dree Hemingway) wakes up in her bare-bones bedroom in a flimsy, nondescript apartment building. She steps out onto the balcony to greet the day; what surrounds her is the seedy concrete jungle of California’s San Fernando Valley. This is where director and co-writer Sean Baker sets his low-key, low-budget, oddly affecting drama.

Jane is bored and apparently has plenty of time to kill, and she needs a break from her housemates — melodramatic, manipulative, meltdown-prone Melissa (Stella Maeve) and bossy two-bit hustler Mikey ( James Ransone), who spend most of their time getting high, playing video games, and fighting. Jane takes her cute little dog, Starlet, and heads out to visit some local yard sales, hoping to pick up furniture, art, and knick-knacks to liven up her room.

On her final stop, she spies a big thermos that she thinks will make a nice vase. The seller — grumpy, elderly Sadie (Besedka Johnson) — warns her, “No refunds!” Back at home, Jane discovers several tightly wound rolls of $100 bills inside the thermos.

Does Sadie even know the money existed? Will she ever even miss it?

After buying a few things for herself (and a rhinestone collar for Starlet), Jane decides to return the money. She shows up on Sadie’s doorstep, but she can barely get a word in before Sadie barks, “I told you, there’s no refunds!” and shuts the door

Stella Maeve and James Ransone

Besedka Johnson and Dree Hemingway

in her face. Guided by guilt or sympathy or maybe something else, Jane follows Sadie, offering her rides to and from the grocery store and her weekly bingo game. She forces herself into the elderly woman’s life, and even though Sadie is suspicious, a friendship eventually begins to take shape.

That’s about it. Sure, the rapport between Jane and Sadie has its ups and downs, and Melissa figures in a minor subplot, but Starlet is more a smoldering character study than a plot-heavy melodrama.

And yes, it’s the story of the unlikely friendship that develops between a coltish, somewhat clueless youngster and a crotchety elderly widow, but this is no cloying, heartfelt story in which a young whippersnapper and saintly grandparent type teach each other lessons about life. Sadie couldn’t care less about new friends — she’s so skeptical, in fact, that at one point she sprays Jane with mace. Starlet more closely resembles the “dirty realism” of a short story

by Raymond Carver than, say, Harold and Maude.

The film is surprisingly engrossing, and for that a great deal of credit goes to Johnson (a first-time actor discovered in a Southern California YMCA) and Hemingway (the daughter of Mariel and the great-granddaughter of Ernest). Each woman has a natural onscreen presence, and they share an easy, believable dynamic. Cinematographer Radium Cheung nails the ambience of the languid, freefloating days of wasted youthful summers and the nature of a long solitary life lived in the same place. His sprawling San Fernando Valley is so

brilliantly sunny and blown-out that the audience may squint.

Baker plants you firmly in Jane and Sadie’s world, but not by using numerous close-ups. Sometimes the camera hangs back, lingering around rooms so nonchalantly that you begin to feel like you’re eavesdropping. Baker keeps a few cards close to his chest, waiting until just the right moment to reveal key information. We often learn more about these people from what they do than what they say.

Jane, it turns out, does have a job, and the fact that she stashes her cash in a pair of red vinyl platform boots will probably be your first clue that she isn’t working her way up the corporate ladder. Baker depicts the adult film industry with brutal, honest explicitness that isn’t meant to titillate. The making of a porn film is portrayed in a matter-of-fact, strictly business way. In Jane’s world, it’s just a clockpunching job like anyone else’s, and after work, she jokes around while sharing a drink and a smoke with coworkers, who all behave as though they just finished their shifts at IHOP or a textile mill.

Baker also thankfully refrains from incorporating any cutesy dog tricks. I’ll admit that the fact that the film and the dog have the same name created some simmering tension for me — I kept thinking, “Don’t let anything happen to the dog. Please just don’t let anything happen to the dog.” Don’t worry, though. Starlet isn’t that kind of film. This is the kind of story in which nothing seems to happen, yet everything does. ◀ PASATIEMPO

53

RESTAURANT REVIEW Laurel Gladden I For The New Mexican

It’s a gas

Café Fina 624 Old Las Vegas Hwy., 466-3886 Breakfast & lunch 7 a.m.-3 p.m. MondaysFridays, 8 a.m.-3 p.m. Saturdays & Sundays (café opens at 8 a.m. on New Year’s Day) Drive-through window Takeout available No alcohol Vegetarian options Noise level: quiet café Patio dining in season Credit cards, no checks

!

The Short Order At the junction of U.S. 285 and Old Las Vegas Highway, what long ago was a Fina gas station has been transformed into restaurant space — first occupied by Real Food Nation and, lately,

by Café Fina, which Murphy and Annamaria O’Brien opened earlier this year. The menu is small, but it includes breakfast and lunch items, all of which are available at any hour.

The ambience is exceedingly pleasant, with clean lines and soothing colors, and staff members are helpful, friendly, and hardworking.

Recommended: Mexican mocha, migas, hash browns with chile and cheese, and Mexican wedding cookies.

Ratings range from 0 to 4 chiles, including half chiles.

This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.

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December 28, 2012 - January 3, 2013

More than a decade ago, when I was house hunting with my family, we stopped to refuel at the tiny Fina gas station perched at the junction of U.S. 285 and Old Las Vegas Highway. Since then, that spot has been transformed into restaurant space. It was first occupied

by Real Food Nation, and lately it’s home to Café Fina, which Murphy and Annamaria O’Brien opened earlier this year. The menu is small but includes breakfast and lunch items, all of which are available at any hour.

The café’s interior is extremely pleasant, with clean lines and soothing colors that recall a beach café: natural stone and wood hues, white, light blue, and sea-foam green. The dining rooms are sunny and well lit, with modern fixtures, minimalist art, and not-too-loud background music, often the serene ambient-trancy sort. The café offers free wifi (on every visit, I spied at least one person parked at a table with a laptop). When the weather is warm, the shady patio is an option for alfresco dining and relaxing.

Pastry cases contain scones, croissants, cookies, and tartlets, which must sell out quickly — on one of my early lunchtime visits, half the case was already empty.

We enjoyed a lovely glazed gingerbread cookie and a tender golf-ball-sized Mexican wedding cookie with a heavy dusting of powdered sugar.

If the café is crowded, the staff can get overwhelmed — I overheard a couple of debates about who was supposed to get what food — and someone might end up jogging back and forth between the kitchen and a dining room. Everyone I encountered was helpful, friendly, and undeniably hardworking, though. Aroma Coffee is served in tall fluted white ceramic cups; someone usually makes the rounds offering refills, but unless you regularly order a “venti” at Starbucks, you probably won’t need one. For variety, try the rich, cinnamony-but-not-spicy Mexican mocha.

In the breakfast burrito, which is described on the menu as coming with red or green chile, the bacon is thick and just crispy-toothy enough. I didn’t taste any chile, but the fact that I didn’t actually see any either might explain that. Still, the burrito makes for a satisfying, flavorful breakfast. If you want a different kind of hefty, egg-based meal, try the migas, where still-crunchy bits of tortilla mingle with scrambled huevos and a picante sauce that, to my mind, is a little too garlicky for breakfast. If the sweet, gorgeously poufy ricotta “cloud cakes” had been allowed to linger on the griddle a little longer, they might have been less gummy in the center and would really have lived up to their name.

The tomato, mozzarella, and pesto omelet tasted fresh, and the classic flavor combination is bright and satisfying. The thing is unwieldy, though, with giant, only slightly melty discs of mozzarella clumping in the middle. Buttery golden toast makes a satisfying accom-

paniment, as do shredded-style hash browns with a nice balance of crispy-brown and starchy-soft bits. Though it’s listed as a side, hash browns topped with moderately spicy green chile and cheese would make a fantastic and filling breakfast on its own.

The “Southwest salad” needs a better name. Including chunks of tomato and avocado doesn’t really qualify something as Southwestern. Some of the greens were perky and pristine, while too many others displayed off-putting slimy brown and black spots. Served on the side, the cilantro-lime vinaigrette wasn’t emulsified and tasted overly oily.

The “One for David” sandwich is Café Fina’s rendition of — or, rather, improvement on — the Filet-O-Fish, with flaky white fish breaded in panko and fried. Mine was a little darkly overdone, but the fish’s crispness was nicely offset by the sweet ciabatta bun. Cool nuggets of tomato and crunchy bits of iceberg provide a welcome contrast to the hot fish and the slightly tangy but mostly mayo-y tartar sauce. The pale-golden fries served alongside were far from crispy but were well seasoned, piping hot, and potatoey in an almost meaty way.

The O’Briens may have paved over the extensive gardens maintained by their predecessors, but they’re still following in some of Real Food Nation’s footsteps.

They choose ingredients from local providers like Talus Wind Ranch and New Mexico cheesemakers, they make nearly all of their own baked goods, and they offer food waste to area farmers for composting. It’s been a long time since you could buy gas at this spot, but it’s still a perfectly good spot to refuel. ◀

Check, please Breakfast for three at Café Fina: Coffee ................................................................ $ 2.50 Mexican mocha ................................................. $ 4.00 Migas ................................................................. $ 8.95 Cloud cakes ....................................................... $ 8.95 Breakfast burrito ................................................ $ 8.95 Hash browns with chile & cheese ..................... $ 5.00 TOTAL ............................................................... $ 38.35 (before tax and tip) Brunch for three, anther visit: Tomato, mozzarella & pesto omelet .................. $ 8.50 Southwest salad ................................................. $ 8.95 One for David sandwich .................................... $ 9.75 TOTAL ............................................................... $ 27.20 (before tax and tip)

Santa Fe’s only not-forprofit, community-supported independent theatre, showing the best in world and independent cinema.

1050 Old Pecos Trail ï 505.982.1338 ï ccasantafe.org

Join Jack Loeffler, the Rivers Run Through Us artist-team (Bobbe Besold, Valerie Martínez, Dominique Mazeaud), Felicity Broennan Director of the Santa Fe Watershed Association and local poets (Kyce Bello, James McGrath, Barbara Rockman, Melinda Romero Pike) for a poetry reading and screening of “Chasing Ice”.

This event will be followed by dessert, vibrant conversation with Jack Loeffler and the Rivers Run Through Us project.

7:00p Fri Dec 28 ï $15

SATURDAY, SUNDAY AND MONDAY AT 2:20 AND 7:20; SUN AT 2:20 AND 7:20; TUES WED AND THURS AT 2:20 AND 7:20

GOLDEN GLOBE NOMINEE BEST FOREIGN LANGUAGE FILM

A FORMER ROCKSTAR IS HUNTING DOWN A NAZI CRIMINAL. A Very Chaplin Holiday: THIS COULD BE HIS GREATEST HIT.

“DAZZLING TO BEHOLD.” , ANTHONY LANE

SEAN PENN

FRI, SAT AND SUN AT 4:30; MON AT 4:30; TUES, WED AND THURS 4:30 FROM AWARD-WINNING DIRECTOR

PAOLO SORRENTINO

WINNER

CANNES FILM FESTIVAL PRIZE OF THE ECUMENICAL JURY

HARRY DEAN STANTON JUDD HIRSCH

EVE HEWSON AND FRANCES MCDORMAND

ThisMustBeThePlaceFilm.com

Fri Dec 28 2:00p - Sugar Man 2:45p - Chasing Ice* 4:00p - This Must Be the Place 4:30p - Chasing Ice* 6:15p - Chasing Ice* 7:00p - Rivers Run Through Us fundraiser with Jack Loeffler and Chasing Ice $15 8:00p - Chasing Ice*

Sat-Sun Dec 29-30 12:30p - Chaplin: Modern Times 1:45p - Chasing Ice* 2:30p - This Must Be the Place 3:30p - Chasing Ice* 5:00p - Sugar Man 5:30p - Chasing Ice* 7:15p - This Must Be the Place 7:45p - Chasing Ice*

MODERN TIMES 12:30p Sat & Sun Dec 29-30 & 6:00p Weds Jan 2 with a lecture by Lois Rudnick!

ARTWORK©2012 THE WEINSTEIN COMPANY. ALL RIGHTS RESERVED.

Mon-Tues Dec 31-Jan 1 Closed for holiday

Weds Jan 2

1:00p - Chasing Ice* 1:30p - Sugar Man 3:00p - Chasing Ice* 3:30p - This Must Be the Place 5:15p - Chasing Ice* 6:00p - Chaplin: Modern Times, with lecture by Lois Rudnick 7:00p - Chasing Ice* * indicates show will be in The Studio at CCA

Thurs Jan 3

12:30p - This Must Be the Place 2:00p - Chasing Ice* 3:00p - This Must Be the Place 4:00p - Chasing Ice* 5:30p - Sugar Man 6:00p - Chasing Ice* 7:30p - This Must Be the Place 8:00p - Chasing Ice*

Concessions Provided by WHOLE FOODS MARKET

FRI, SAT AND SUN AT 12:00; MON AT 12:00; TUES, WED AND THURS AT 12:00 Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®

D I G I T A L

SURROUNDï EX

SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com

Bargain Matinees Monday through Thursday (First Show ONLY) All Seats $7.50 PASATIEMPO

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CRITICS’ C HOICE AW ARDS NOM INEES BE

(DRAMA)

BEST C ST ACTOR P OMEDY AUL RUDD B EST ACTRE SS LESLIE IN A CO MEDY

&

IN A CO MEDY

© 2012 UNIVERSAL STUDIOS

ARTWORK © 2012 THE WEINSTEIN COMPANY. ALL RIGHTS RESERVED.

NOW PLAYING EVERYWHERE CHECK DIRECTORIES FOR SHOWTIMES • NO PASSES ACCEPTED

MANN

CHECK LOCAL LISTINGS FOR THEATERS AND SHOWTIMES MOBILE USERS: For Showtimes – Text FORTY with your ZIP CODE to 43KIX (43549)!

No charge from 43KIX, Msg&data rates may apply. Text HELP for info.

Pueblo Pottery

From the Collection of Mr. and Mrs. Dwight P. Lanmon

651 Canyon Road | Santa Fe, New Mexico 87501 | zaplinlampert.com | 505-982-6100 Photo credit: Benjahmin Sandoval

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December 28, 2012-January 3, 2013

pasa week 28 Friday

CLASSICAL MUSIC Santa Fe Desert Chorale A Toast to the New Year, Sephardic folk songs, French melodies, and colonial hymns, 4 p.m., Church of the Holy Faith, 311 E. Palace Ave.; 8 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $25-$45, 988-1234, ticketssantafe.org, encores at Loretto Chapel and Church of the Holy Faith through Monday, Dec. 31.

Santa Fe Pro Musica Baroque Orchestra A Mozart Holiday, 6 p.m., featuring soprano Kathryn Mueller, violinist Stephen Redfield, and violist Kimberly Fredenburgh, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$65, discounts available; 988-1234, ticketssantafe.org.

GALLERY/MUSEUM OPENINGS Brad Smith Gallery 634 Canyon Rd., 983-1133. Have You Herd?, paintings by Karen Whitmore, reception 5-8 p.m.

David Richard Gallery 544 S. Guadalupe St., 983-9555. Material Distillation, paintings and sculpture by Eric Zammitt; Suspended Mobility, glass mobiles by Philip Baldwin and Monica Guggisberg, reception 5-7 p.m., through Feb. 9.

Gebert Contemporary 558 Canyon Rd., 992-1100. New Year’s Exhibition!, group show of gallery artists, reception 5-7 p.m., through Feb. 3.

GVG Contemporary 202 Canyon Rd., 982-1494. Blair + Ernst: New Paintings, works by Ernst Gruler and Blair Vaughn-Gruler, reception 5-7 p.m., through Jan. 15 (see story, Page 18).

A Sea Gallery 407 S. Guadalupe St., 988-9140.

Reviewing the Old, Welcoming the New, group show of gallery artists, reception 5-7 p.m.

IN CONCERT Carlton Pride and Mighty Zion Reggae/soul/funk band, 10 p.m., doors open at 8:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, holdmyticket.com.

Goddess: Marilyn Monroe Movie Musicals Anne Ruth Bransford, Greg Grissom, Campbell Martin, and the Bert Dalton Trio, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20, 986-1801, encore Sunday, Dec. 30.

CLASSICAL MUSIC Santa Fe Desert Chorale A Toast to the New Year, Sephardic folk songs, French melodies, and colonial hymns, 8 p.m.

Loretto Chapel, 207 Old Santa Fe Trail, $30-$45, 988-1234, ticketssantafe.org, encores at Loretto Chapel and Church of the Holy Faith through Monday, Dec. 31.

TGIF recital Organist James Rasmussen, cellist Quinn Boyack, and harpist Bethany Roper perform classical arrangements and English carols, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544.

IN CONCERT Cosmic Awakening Sound Meditation Benefit concert for the Santa Fe Harmony Center featuring Renée LeBeau and Jennifer Kinney, 7-8:30 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $15, 989-2507.

THEATER/DANCE Zircus Erotique Burlesque Company Featuring Gilded Cage Burlesk, Burlesque Noir, Godiva Blue, and Kevin Atkinson, 9 p.m., doors open at 8 p.m., The Lodge at Santa Fe, 750 N. St. Francis Dr., $15, VIP tickets $20, zeburlesque.com, 18+.

EVENTS Georgia O’Keeffe Museum holiday family program Crafts made from recycled materials (supplied), 1-4 p.m., 217 Johnson St., by museum admission, reservations, 946-1039 or okmuseum.org.

Pasa’s Little Black Book......... 58 Elsewhere............................ 59 Exhibitionism...................... 60 At the Galleries.................... 61 Libraries.............................. 61 Museums & Art Spaces........ 61

compiled by Pamela Beach, pambeach@sfnewmexican.com

Santa Fe Capitol Winter, by Woody Galloway, New Concept Gallery, 610-A Canyon Rd.

NIGHTLIFE (See Page 58 for addresses) ¡Chispa! at El Mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30 p.m., no cover.

Club 139 at Milagro DJ Alchemy, sol therapy and Chicanobuilt, 9 p.m., $5-$7 cover.

Cowgirl BBQ Americana/blues guitarist Jim Almand, 5-7:30 p.m., no cover. The Bus Tapes, folk-rock, 8:30 p.m., no cover.

El Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover.

El Farol Rockabilly band Rob-A-Lou, 9 p.m., $5 cover.

Hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover.

La Fiesta Lounge at La Fonda Jazz trumpeter Ryan Montano, 8-11 p.m., no cover.

La Posada de Santa Fe Resort and Spa Nacha Mendez Trio, pan-Latin rhythms, 6:30-9:30 p.m., no cover.

The Mine Shaft Tavern Open-mic night, 7-11 p.m., no cover.

Pranzo Italian Grill Geist Cabaret with pianist David Geist, 6-9 p.m., $2 cover.

In the Wings....................... 62 People Who Need People..... 63 Under 21............................. 63 Short People........................ 63 Sound Waves...................... 63

Tiny’s Anthony Leon & The Chain, country angst, 8:30 p.m.-close, no cover.

Upper Crust Pizza Singer/songwriter Eryn Bent, 6-9 p.m., no cover.

Vanessie Pianist Doug Montgomery, selections from the Great American Songbook, 6-8 p.m., no cover.

John Rangel Duo, jazz, 8:30 p.m., call for cover.

29 Saturday GALLERY/MUSEUM OPENINGS Case Trading Post — Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636.

Sales show with Santa Clara Pueblo potters Jennifer and Mike Moquino, demonstrations 10 a.m.-3 p.m., talk 10:15 a.m.

Red Sky/New School Studios 1519-1521 Upper Canyon Rd., 301-9142.

Red Crow Collective open studios, 2-5 p.m., continues Sunday, Dec. 30.

OPERA IN HD The Met Live in HD Mozart’s La Clemenza di Tito, 11 a.m., Lensic Performing Arts Center, 211 W. San Francisco St., $22-$28, discounts available, ticketssantafe.org, 988-1234.

BOOKS/TALKS Opera Breakfast Lecture Tom Franks discusses Mozart and the music of Le Clemenza de Tito, part of an ongoing series of pre-opera lectures in conjunction with The Met at the Lensic season, 9:30 a.m., Collected Works Bookstore, 202 Galisteo St., $5 donation at the door, 988-4226.

Scottish Highlands, Handlebars, and Boots Slide presentation by Judy Costlow, 5 p.m., Travel Bug Books, 839 Paseo de Peralta, 992-0418.

EVENTS The Flea at El Museo Holiday Market 8 a.m.-3 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through April.

Santa Fe Artists Market 8 a.m.-2 p.m., Saturdays through March at the Railyard plaza between the Farmers Market and REI, 310-1555.

Santa Fe Farmers Market Shops 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098.

A Very Chaplin Holiday Center for Contemporary Arts presents a Charlie Chaplin film festival through Wednesday, Jan. 2, Modern Times, 12:30 p.m., 1050 Old Pecos Trail, $9.50, discounts available, 982-1338. ▶▶▶▶▶▶▶▶

calendar guidelines Please submit information and listings for Pasa Week

no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. Follow Pasatiempo on Facebook and Twitter.

PASATIEMPO

57

NIGHTLIFE (See addresses below) ¡Chispa! at El Mesón Trumpeter Chief Sanchez and his Latin-jazz quartet, 7:30-10:30 p.m., $5 cover.

Club 139 at Milagro DJ Poetics, hip-hop/house/Latin, 9 p.m., $5-$7 cover.

Cowgirl BBQ Bluesman Kenny Skywolf, 2-5 p.m., no cover.

Soulstatic, R & B and funk, 8:30 p.m., $5 cover.

El Farol Rock and blues band The Rattlerz, 9 p.m.-close, $5 cover.

Hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover.

La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.

La Fiesta Lounge at La Fonda Jazz trumpeter Ryan Montano, 8-11 p.m., no cover.

La Posada de Santa Fe Resort and Spa Jazz vocalist Whitney and guitarist Pat Malone, 8-11 p.m., no cover.

The Mine Shaft Tavern Anthony Leon & The Chain, country angst, 7-11 p.m., no cover.

Pranzo Italian Grill Pianist David Geist with vocalist Julie Trujillo, 6-9 p.m., $2 cover.

Stats Sports Bar & Nightlife DJ Feathericci spinning cross-genre dance music, 10 p.m.-2 a.m., no cover, 21+.

PASA’S LITTLE BLACK BOOK d Wine Bar 315 Restaurant an 986-9190 il, Tra 315 Old Santa Fe nt & Bar Anasazi Restaura Anasazi, the of Inn d oo Rosew e., 988-3030 113 Washington Av nch Resort & Spa Bishop’s Lodge Ra ., 983-6377 Rd e dg 1297 Bishops Lo ón ¡Chispa! at El Mes 983-6756 e., Av ton ing ash W 3 21 gro Club 139 at Mila St., 995-0139 o isc nc Fra n Sa .

139 W Q BB rl gi Cow , 982-2565 319 S. Guadalupe St. lton El Cañon at the Hi 811 8-2 100 Sandoval St., 98 Rd., 983-9912 El Farol 808 Canyon ill El Paseo Bar & Gr 848 2-2 208 Galisteo St., 99 Evangelo’s o St., 982-9014 200 W. San Francisc Santa Fe de Hotel Chimayó 988-4900 e., Av ton ing ash 125 W Hotel Santa Fe ta, 982-1200 1501 Paseo de Peral La Boca 2-3433 72 W. Marcy St., 98 ina nt Ca La Casa Sena 988-9232 e., Av e lac Pa E. 5 12

58

December 28, 2012 - January 3, 2013

Taberna La Boca Nacha Mendez Duo, pan-Latin rhythms, 6:30-9:30 p.m., no cover.

Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover.

Vanessie Pianist Doug Montgomery, selections from the Great American Songbook, 7 p.m.-close, no cover. Zenobia & Company, blues/soul/R & B, 8:30 p.m.-close, call for cover.

30 Sunday GALLERY/MUSEUM OPENINGS Red Sky/New School Studios 1519-1521 Upper Canyon Rd., 301-9142.

Red Crow Collective open studios, 2-5 p.m..

CLASSICAL MUSIC Santa Fe Desert Chorale A Toast to the New Year, Sephardic folk songs, French melodies, and colonial hymns, 4 p.m., Church of the Holy Faith, 311 E. Palace Ave.; 8 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $25-$45, 988-1234, ticketssantafe.org, encores at Loretto Chapel and Church of the Holy Faith through Monday, Dec. 31.

Santa Fe Pro Musica Baroque Orchestra A Mozart Holiday, 3 p.m., featuring soprano Kathryn Mueller, violinist Stephen Redfield, and violist Kimberly Fredenburgh, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$65, discounts available; 988-1234, ticketssantafe.org.

La Fiesta Lounge at La Fonda 100 E. San Francisco St., 982-5511 La Posada de Santa Fe Resort and Spa 330 E. Palace Ave., 986-0000 The Legal Tender at the Lamy Railroad Museum 151 Old Lamy Trail, 466-1650 Lodge Lounge at The Lodge at Santa Fe 750 N. St. Francis Dr., 992-5800 The Matador 116 W. San Francisco St., 984-5050 The Mine Shaft Tavern 2846 NM 14, Madrid, 473-0743 Molly’s Kitchen & Lounge 1611 Calle Lorca, 983-7577 The Palace Restaurant & Saloon 142 W. Palace Ave, 428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 986-0022 Pranzo Italian Grill 540 Montezuma Ave., 984-2645 Rouge Cat 101 W. Marcy St., 983-6603 San Francisco Street Bar & Grill 50 E. San Francisco St., 982-2044

IN CONCERT Goddess: Marilyn Monroe Movie Musicals Anne Ruth Bransford, Greg Grissom, Campbell Martin, and the Bert Dalton Trio, 2 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20, 986-1801.

THEATER/DANCE Julesworks Follies The local-talent showcase series continues with roots-rock guitarist Jono Manson; Julesworks’ new short play Waiting for Someone; Tone Forrest reading ’Twas the Night Before Christmas followed by holiday songs; and more, 6 p.m., Rouge Cat, 101 W. Marcy St., $5 at the door.

Wise Fool New Mexico Circus arts and puppetry troupe in A Holiday Family Cabaret, 2 and 6 p.m., WFNM Studio, 2778-D Agua Fría St., $10-$15 sliding scale, kids $5, 992-2588.

BOOKS/TALKS Faren Dancer The Unicopia Green Radio host in conversation on Projecting a Positive Vision for the Year Ahead & Adapting to These Accelerated Times of Personal and Global Transition, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

EVENTS The Flea at El Museo Holiday Market 9 a.m.-3 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through April.

Hearts for Newtown National project gathering people to decorate hearts with words of support to be mailed to Newtown, Connecticut for display in that area’s businesses, 11 a.m.-4 p.m., Whole Foods Market Community Room, 753 Cerrillos Rd. To donate art supplies or postage contact Stede Barber at soulartadventures@gmail.com.

International folk dances 6:30-8 p.m. weekly, followed by Israeli dances 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, beginners welcome.

Railyard Artisans Market 10 a.m.-4 p.m. weekly, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 983-4098 railyardartmarket.com.

Santa Fe Farmers Market Shops 10 a.m.-4 p.m., 1607 Paseo de Peralta, 983-4098.

A Very Chaplin Holiday Center for Contemporary Arts presents a Charlie Chaplin film festival through Wednesday, Jan. 2, Modern Times, 12:30 p.m., 1050 Old Pecos Trail. $9.50, discounts available, 982-1338.

NIGHTLIFE (See addresses below) Cowgirl BBQ Joe West and friends, theatrical country/folk, noon-3 p.m., no cover. Texas singer/songwriter Bob Cheevers, 8 p.m.-close, no cover.

El Farol Nacha Mendez and guests, pan-Latin rhythms, 7 p.m.-close, no cover.

La Casa Sena Cantina New Year’s Eve show, piano and vocals, 5:30 and 8:30 p.m., call for cover.

La Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7-10 p.m., no cover.

Vanessie Pianist Doug Montgomery, selections from the Great American Songbook, 7 p.m.-close, no cover.

31 Monday GALLERY/MUSEUM OPENINGS Santa Fe Sol Stage & Grill 37 Fire Pl., solofsantafe.com Second Street Brewer y 1814 Second St., 982-3030 Second Street Brewer y at the Railyard Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 989-3278 The Starlight Lounge RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781 Stats Sports Bar & Nightlife 135 W. Palace Ave., 982-7265 Taberna La Boca 125 Lincoln Ave., Suite 117, 988-7102 Thunderbird Bar & Grill 50 Lincoln Ave., 490-6550 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 The Underground at Evangelo’s 200 W. San Francisco St., 577-5893 Upper Crust Pizza 329 Old Santa Fe Trail, 982-0000 Vanessie 427 W. Water St., 982-9966 Zia Diner 326 S. Guadalupe St., 988-7008

Pop Gallery 142 Lincoln Ave., Suite 102, 820-0788. Celebration Seuss, Theodore Seuss Geisel originals and production work from the 1966 film How the Grinch Stole Christmas, closing reception 5-7 p.m.

CLASSICAL MUSIC Harlem String Quartet Contemporary classical music ensemble performs at the Santa Fe Concert Association’s New Year’s Gala, 5 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $25-$95, 988-1234, ticketssantafe.org.

Santa Fe Desert Chorale A Toast to the New Year, Sephardic folk songs, French melodies, and colonial hymns, 6 p.m.

Church of the Holy Faith, 311 E. Palace Ave., $30-$45, 988-1234, ticketssantafe.org.

EVENTS 22nd annual Light Up a Life The Hospice Center of Santa Fe’s sale and lighting of hundreds of farolitos celebrating the lives of loved ones past and present, ceremony 5:30-6 p.m., entertainment with Melissa Salazar Porter, Bee Zollo, and Patti Schultz, on the Plaza.

Farolitos for sale in advance by calling 988-2211 or purchase at the event. Bring a photo of a loved one to personalize your farolito.

Weekly all-ages informal swing dances Lesson 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance only $3, lesson and dance $8, 473-0955.

EVENTS

Drepung Loseling Monks of Tibet mandala sand painting closing ceremony After weeks of creating the symbol of peace, the monks dismantle the mandala in a closing ceremony, 10:30 p.m., Seret and Sons Gallery, 121 Sandoval St., $12 suggested donation, call Marcia Keegan, 660-3352.

World peace meditation session Join in this global event, 4:45-6 a.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, no charge, 983-5022.

Marking Time Calendar-making workshop for all ages, 10:30 a.m.-2 p.m., New Mexico Museum of Art lobby, 107 W. Palace Ave., by museum admission, children 16 and younger no charge, 476-5072.

NIGHTLIFE (See Page 58 for addresses) ¡Chispa! at El Mesón Pianist John Rangel in duets, 7-9 p.m., no cover.

Club 139 at Milagro Noches Latinas with DJ Dany, 9 p.m., $5-$7 cover.

La Fiesta Lounge at La Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover.

Taberna La Boca Nacha Mendez, pan-Latin chanteuse, 6:30-9:30 p.m., no cover.

Tiny’s Joe West and friends, theatrical country/folk, 8 p.m. -midnight, no cover.

Upper Crust Pizza Balladeer J. Michael Combs, 6-9 p.m.; joined by daughter Eagle Star 7-8 p.m.; no cover.

Vanessie Pianist Doug Montgomery, selections from the Great American Songbook, 6-8 p.m., no cover. Jazz pianist Bert Dalton and his ensemble, 8:30 p.m.-close, call for cover.

NEW YEAR’S EVE NIGHTLIFE

Clock of Ages/Rock of Ages New Year’s celebration Taylor Dayne and Tom Rheams Group, 9 p.m.-2 a.m., Eldorado Hotel & Spa, 309 W. San Francisco St., $50 and $150, 216-1541, southwestcare.ejoinme.org.

Doug Montgomery and David Geist New Year’s Eve dinner party with the pianists, 6-9 p.m., Vanessie, 427 W. Water St., $125, 982-9966.

Manzanares David and Michael Manzanares celebrate the release of their album, Gitarra Latino, with their Latin-rock band; Kanoa Kaluhiwa on saxophone, Kevin Miller on conga, Mikey Chavez on drums, José Romero on bass, and Chief Sanchez on trumpet; private VIP pre-concert reception for the first 100 ticket holders 8:30-9:30 p.m., concert follows, Bishop’s Lodge Ranch Resort & Spa, 1297 Bishops Lodge Rd., $30, couples $50, holdmyticket.com.

Neoglyphica 2013 Art/music collective Meow Wolf’s New Year’s Eve party with light sculptures/installations, live video projections, DJs, and light show, doors open at 8 p.m., Molly’s Kitchen & Lounge, 1611 Calle Lorca, $10 in advance online at thevibehut.blogspot.com, $15 at the door.

Cowgirl BBQ Broomdust Caravan, juke joint honky-tonk and biker bar rock, 8 p.m.-close, call for cover.

El Farol Canyon Road Blues Jam, with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover.

Evangelo’s Rock cover band Chango, 9 p.m.-close, $10 cover.

La Casa Sena Cantina New Year’s Eve show, piano and vocals, 6:30 and 9:30 p.m., call for cover.

La Fiesta Lounge at La Fonda Zenobia & Company, blues/soul/R & B, 7:30 p.m., no cover.

The Mine Shaft Tavern Joe West’s band Pa Coal and the Clinkers, Susan Holmes, and Johny Broomdust, Archie West, and Laurianne Fiorentino, 8 p.m.-close, $10 cover.

Santa Fe Sol Stage & Grill New Year’s dance, all ages event, 3:50 p.m., no charge.

Thunderbird Bar & Grill C.S. Rockshow with Don Curry, Pete Springer, and Ron Crowder, 9:30 p.m., no cover.

Tiny’s Anthony Leon & The Chain, country angst, 9 p.m.-1 a.m., no cover.

1 Tuesday GALLERY/MUSEUM OPENINGS Santa Fe Public Library — Main Branch 145 Washington Ave., 955-6780. Faces From an American Dream, B & W photographs by Martin J. Desht, through January.

▶ Elsewhere ALBUQUERQUE Museums/Art Spaces

Hunters in the Snow, by Elena Zolotnitsky, Selby Fleetwood Gallery, 600 Canyon Rd.

OUTDOORS New Year’s Day hike at Cerrillos Hills State Park Leisurely hike with interactive frivolity featured, 1 p.m., 16 miles south of Santa Fe off NM 14, parking area about a half mile north of the village of Cerrillos, fees waved, 474-0196.

NIGHTLIFE

(See Page 58 for addresses) La Fiesta Lounge at La Fonda Zenobia & Company, blues/soul/R & B, 7:30-11 p.m., no cover.

Second Street Brewery at the Railyard Acoustic open-mic nights with Case Tanner, 7:30-10:30 p.m., no cover.

Tiny’s Open-mic nights presented by 505 Bands, 7:30 p.m.-close, no cover.

2 Wednesday EVENTS

Club 139 at Milagro DJ MayRant and friends, electronic dance music, 9 p.m., $5-$7 cover.

El Farol Salsa Caliente, 9 p.m., no cover.

La Boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover.

La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.

La Fiesta Lounge at La Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover.

La Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7-10 p.m., no cover.

The Pantry Restaurant Acoustic guitar and vocals with Gary Vigil, 5:30-8:30 p.m., call for cover.

Tiny’s 505 Jam hosted by Synde Parten, John Reives, and M.C. Clymer, 7:30 p.m.-close, no cover.

Zia Diner Americana singer/songwriter Eryn Bent, 6-9 p.m., no cover.

A Very Chaplin Holiday Center for Contemporary Arts presents a Charlie Chaplin film festival through Monday, Jan. 2, Modern Times, 6 p.m., 1050 Old Pecos Trail, $9.50, discounts available, 982-1338.

3 Thursday

NIGHTLIFE

GALLERY/MUSEUM OPENINGS

(See Page 58 for addresses) ¡Chispa! at El Mesón Flamenco guitarist Joaquin Gallegos, 7-9 p.m., no cover.

Commissioner’s Gallery — New Mexico State Land Office 310 Old Santa Fe Trail, 827-5762. Paintings by Carlos Salazar, through January.

Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-243-7255.

Taos artist Agnes Chavez and curator Andrew Connors discuss Chavez’s project (x)trees in the exhibit ISEA2012 Albuquerque: Machine Wilderness (closing Jan. 6), 11 a.m. Wednesday, Jan. 2. Open 9 a.m.-5 p.m. Tuesday-Sunday; adults $4 ($1 discount for NM residents); seniors $2; children ages 4-12 $1; 3 and under no charge; the first Wednesday of the month and 9 a.m.1 p.m. Sundays no charge.

Indian Pueblo Cultural Center 2401 12th St. N.W., 866-855-7902. 100 Years of State & Federal Policy: The Impact on Pueblo Nations, through February ï Challenging the Notion of Mapping, Zuni map-art paintings, through August. Open 9 a.m.-5 p.m. daily; adults $6; NM residents $4; seniors $5.50.

National Hispanic Cultural Center 1701 Fourth St. S.W., 505-246-2261. Via Nuestros Maestros: The Legacy of Abad E. Lucero (1909-2009), paintings, sculpture, and furniture, through January ï Stitching Resistance: The History of Chilean Arpilleras, a collection of appliqué textiles crafted between 1973 and 1990, longterm ï ¡Aquí Estamos!, items from the permanent collection. Open 10 a.m.-5 p.m. Tuesday-Sunday; adults $3; seniors $2; under 16 no charge; Sundays no charge.

New Mexico Museum of Natural History & Science 1801 Mountain Rd. N.W., 505-841-2804. ISEA2012 Albuquerque: Machine Wilderness, international group show of prints, interactive installations, and sculpture, part of the International Symposium of Electronic Art, through Jan. 6 ï Dinosaur Century: 100 Years of Discovery in New Mexico, showcases of new finds change monthly through 2012. Open 9 a.m.-5 p.m. daily; adults $7, seniors $6, under 12 $4; NM seniors no charge on Wednesdays.

pasa week

continued on Page 63

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EXHIBITIONISM

A peek at what’s showing around town

Grant Hayunga: Beside You, 2012, mixed media on canvas. Gebert Contemporary (558 Canyon Road) presents a New Year’s exhibition of a selection of work by gallery artists including Grant Hayunga, Tim Craighead, and Xavier Mascaró. There is a 5 p.m. opening reception on Friday, Dec. 28. Call 992-1100.

Brad Price: Fall Afternoon at Las Placitas, 2012, oil on canvas.

Art Exchange Gallery celebrates its 20th anniversary with a show by more than 20 artists including Brad Price, Mike Mahon, and Kay McCarthy.

The Art Exchange Gallery was founded in Massachusetts in 1992 and relocated to Santa Fe in 2004. The gallery is at 60 E. San Francisco St., Suite 210. Call 603-4485.

Marc Baseman: 4th Street Bridge, 2011, graphite and dry pigment on paper; collection of Jaquelin Loyd. The New Mexico Museum of Art’s ongoing series of Alcove shows, presenting five solo exhibits by five artists for five weeks, continues with Alcove 12.7. It features work by Marc Baseman, Matthew Chase-Daniel, Eric Garduño, Jeanette Pasin Sloan, and Jared Weiss.

Artist gallery talks are scheduled for Friday, Jan. 11, at 5:30 p.m. Entrance to the exhibit is by museum admission. There is no charge for the talks. The museum is at 107 W. Palace Ave. Call 476-5072.

Theodor Seuss Geisel (1904-1991): Plethora of Fish, circa 2004, serigraph on panel. Celebration Seuss Holiday 2012 continues at Pop Gallery (142 Lincoln Ave., Suite 102) through Tuesday, Jan. 1. The show features production artwork from the 1966 film How the Grinch Stole Christmas! and other artwork by Geisel (aka Dr. Seuss).

There is a closing party on Monday, Dec. 31, at 5 p.m., which includes a raffle to benefit Bienvenidos Outreach, Inc. Raffle tickets may be purchased at the gallery or exchanged for donated non-perishable food items. Call 820-0788.

Eric Zammitt: Mars Tribe, 2008, colored acrylic plastic, glued together, sanded, and polished. David Richard Gallery (544 S. Guadalupe St.) presents Suspended Mobility, mobile sculptures by husband-and-wife team Philip Baldwin and Monica Guggisberg. Suspended Mobility is the artists’ first U.S. show. The gallery is also showing Material Distillation, a solo exhibition of work by Eric Zammitt.

Zammitt’s sculptures combine thousands of pieces of cut acrylic plastic arranged in abstract, geometric patterns. The exhibits open Friday, Dec. 28, with a reception at 5 p.m. Call 983-9555.

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December 28, 2012 - January 3, 2013

AT THE GALLERIES

LIBRARIES

A Gallery Santa Fe 154 W. Marcy St., Suite 104, 603-7744. Journeys West, watercolor landscapes by Heinz Emil Salloch (1908-1985), through Tuesday, Jan. 1.

Argos Studio & Santa Fe Etching Club 1211 Luisa St., 988-1814. The Portrait in the History of Printmaking, group show, through Jan. 11 (see review, Page 22).

Charlotte Jackson Fine Art 554 S. Guadalupe St., 989-8688. Beyond, paintings by Max Cole, through Sunday, Dec. 30.

Chiaroscuro Contemporary Art 702½ and 708 Canyon Rd., 992-0711. The Lost Christmas Gift: Images & Artifacts, work by Andrew Beckham; Holiday Group Show, gallery artists; through Saturday, Dec. 29.

Eight Modern 231 Delgado St., 995-0231.

Strong Winds May Exist, gouache paintings on paper by Siobhan McBride, through Jan. 5.

GF Contemporary 707 Canyon Rd., 983-3707. Small Works Holiday Group Show.

Heidi Loewen Porcelain Gallery 315 Johnson St., 988-2225. Porcelain and gold-leaf vessels by Loewen and Monika Kaden, through Monday, Dec. 31.

Hill’s Gallery Remix: Then & Now 217 Galisteo St., 989-2779. Group retrospective exhibit honoring Hill’s Gallery, through Thursday, Jan. 3.

Legends Santa Fe 125 Lincoln Ave., 983-5639. Small Works Holiday Show, through Tuesday, Jan. 1.

New Concept Gallery 610-A Canyon Rd., 795-7570. Winter Scenes, group show of paintings and photographs, through Jan. 19. Sideshows, group show of small works presented by Jay Etkin Gallery, through Jan. 11.

Photo-eye Gallery 376-A Garcia St., 988-5152. Here Far Away, photographs by Pentti Sammallahti, through Feb. 9.

Pippin Contemporary 125 Lincoln Ave., 795-7476. Holiday Presence, small works group show, through Tuesday, Jan. 1; 10 percent of sales benefits the Santa Fe Children’s Museum.

Radius Books 227-W E. Palace Ave., 983-4068. Sharon Core: Early American, exhibit of photographs, through Monday, Dec. 31.

Santa Fe Clay 545 Camino de la Familia, 984-1122. Beginning to End, works by Christine Golden, Aisha Harrison, and Clayton Keyes, through Jan. 19.

Touching Stone Gallery 539 Old Santa Fe Trail, 988-8072. Exuberance!, selected masterworks by Tadashi Mori, from the Paramita Museum exhibit, through Friday, Dec. 28.

Vivo Contemporary 725 Canyon Rd., 982-1320. 14 Exceptions to the Rule, group show, through Tuesday, Jan. 1.

Waxlander Gallery 622 Canyon Rd., 984-2202. Holiday Aglow, gallery artists show, through Tuesday, Jan. 1.

William R. Talbot Fine Art, Antique Maps & Prints 129 W. San Francisco St., second floor, 982-1559. Landscape Dreams, a New Mexico Portrait, photographs by Craig Varjabedian, through Saturday, Dec. 29.

Yares Art Projects 123 Grant Ave., 984-0044. By the Sea: Paintings on Paper 1948-1955, work by Byron Browne (1907-1961), through Monday, Dec. 31.

Beaumont and Nancy Newhall Library Marion Center for Photographic Arts, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5052. Open by appointment only.

Catherine McElvain Library School for Advanced Research, 660 Garcia St., 954-7200. Open Monday-Friday, call for hours.

Chase Art History Library Thaw Art History Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6569. Open Monday-Friday, call for hours.

Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 984-6041. Visit stjohnscollege.edu for hours of operation. $20 fee to nonstudents and nonfaculty.

Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 476-5090. Open 1-5 p.m. Tuesday-Friday.

Laboratory of Anthropology Library Museum of Indian Arts & Culture, 476-1264.

Open 1-5 p.m. Monday-Friday, by museum admission.

New Mexico State Library 1209 Camino Carlos Rey, 476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. Monday-Friday.

Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 467-6825. Rare books and collections of metaphysical materials.

Open Monday-Friday, call for hours.

Santa Fe Community College Library 6401 Richards Ave., 428-1352. Open MondayFriday, call for hours.

Santa Fe Institute 1399 Hyde Park Rd., 984-8800. Open 1-5 p.m. Monday-Friday to current students (call for details).Visit santafe.edu/library for online catalog.

Santa Fe Public Library, Main Branch 145 Washington Ave., 955-6780. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday, 1-5 p.m. Sunday.

Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 955-4860. Open 10 a.m.-8 p.m. Monday-Wednesday, 10 a.m.6 p.m. Thursday-Saturday. Closed Sunday.

Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 955-2810. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday. Closed Sunday.

Supreme Court Law Library 237 Don Gaspar Ave., 827-4850. Online catalog available at supremecourtlawlibrary.org.

Open 8 a.m.-5 p.m. Monday-Friday.

MUSEUMS & ART SPACES Refer to the daily calendar listings for special events. Museum hours subject to change on holidays and for special events.

Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. Connecting Liminal Nowhere: Land Arts of the American West 2012, UNM student art program; Goldmines!, works by Patrick Kikut, David Jones, and Shelby Shadwell; through Sunday, Dec. 30 ï Forget Your Perfect Offering, installation (and rotating performance series)

by Sydney Cooper and Edie Tsong, through Jan. 27. Gallery hours available by phone or online at ccasantafe.org, no charge.

Paintings by Jeff Kahm, in the exhibit Vernacular, closing Monday, Dec. 31, Museum of Contemporary Native Arts

Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Georgia O’Keeffe and the Faraway: Nature and Image, through May 5. Open 10 a.m.5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Fridays. $12; seniors $10; NM residents $6; students18 and over $10; under 18 no charge; NM residents free 5-7 p.m. first Friday of the month.

Museum of Contemporary Native Arts 108 Cathedral Pl., 983-8900. 50/50: Fifty Artists, Fifty Years ï Dual(ing) Identities, work by Debra Yepa-Pappan ï Grab, screenings of a film by Billy Luther ï Red Meridian, paintings

by Mateo Romero ï Vernacular, work by Jeff Kahm; all exhibits through Monday, Dec. 31.

Open 10 a.m.-5 p.m. Monday and WednesdaySaturday, noon-5 p.m. Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays.

Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250.

Woven Identities: Basketry Art From the Collections ï They Wove for Horses: Diné Saddle Blankets, Navajo weavings and silverworks; exhibits through March 4 ï Margarete Bagshaw: Breaking the Rules, 20-year retrospective, through 2013 ï Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays.

Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200.

New World Cuisine: The Histories of Chocolate, Maté y Más, through Jan. 5, 2014 ï New Mexican Hispanic Artists 1912-2012, installation in Lloyd’s Treasure Chest, through February ï Young Brides, Old Treasures: Macedonian Embroidered Dress ï Folk Art of the Andes, work from the 19th and 20th centuries ï Multiple Visions: A Common Bond, international collection of toys and traditional folk art. Open 10 a.m.-5 p.m.

Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays.

Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226.

New Deal Art: CCC Furniture and Tinwork;

Transformations in Tin: Tinwork of Spanish Market Artists, through Monday, Dec. 31 ï Metal and Mud — Iron and Pottery, showcase of works by Spanish Market artists, through April ï San Ysidro Labrador/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin ï Recent Acquisitions, Colonial and 19th-century Mexican art, sculpture, and furniture; also, work by Spanish Market youth artists ï The Delgado Room, late Colonial period re-creation. Open 10 a.m.5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays.

New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. Illuminating the Word: The St. John’s Bible, 44 pages from two of seven volumes, a page from the Gutenberg Bible, and early editions of the King James Bible; Contemplative Landscape, exhibit featuring work by photojournalist Tony O’Brien; through Sunday, Dec. 30 ï Altared Spaces: The Shrines of New Mexico, photographs by Siegfried Halus, Jack Parsons, and Donald Woodman, through Feb. 10 ï Tall Tales of the Wild West: The Stories of Karl May, collection of photographs and ephemera in relation to the German author, longterm ï Telling New Mexico: Stories From Then and Now, core exhibition of chronological periods from the pre-Colonial era to the present.

Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m.

Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge on Wednesdays for NM residents over 60; no charge on Fridays 5-8 p.m.; NM residents no charge on Sundays.

New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Treasures Seldom Seen, works from the permanent collection, through Monday, Dec. 31 ï Alcove 12.7, revolving exhibit of local artists’ works, through Jan. 13 ï Chromatic Fusion: The Art of Fused Glass; Emerge 2012: A Showcase of Rising Talents in Kiln Glass; through Jan. 6 ï It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. TuesdaySunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents free on Sundays.

Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Núuphaa, works by Pueblo of Pojoaque Poeh Arts Program students, through March 9. Open 8 a.m.-5 p.m.

Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted.

SITE Santa Fe 1606 Paseo de Peralta, 989-1199. More Real?

Art in the Age of Truthiness, group show, through Jan. 6. Open 10 a.m.-5 p.m. TuesdaySaturday; 10 a.m.-7 p.m. Friday; noon-5 p.m.

Sunday. $10; seniors and students $5; Fridays no charge.

Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. Case Trading Post sales show with Santa Clara Pueblo potters Jennifer and Mike Moquino, demonstrations 10 a.m.-3 p.m.

Saturday, Dec. 29, talk 10:15 a.m. ï A Certain Fire: Mary Wheelwright Collects the Southwest, 75th anniversary exhibit ï New work by Orlando Dugi and Ken Williams, Case Trading Post. Open 10 a.m.-5 p.m. Monday-Saturday, 1-5 p.m. Sunday. Docent tours 2 p.m. Mondays, Wednesdays, Fridays, and Saturdays.

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In the wings MUSIC The Met Live in HD Berlioz’s Les Troyens, 10 a.m. Saturday, 2 p.m.

Sunday, Jan. 5-6; Donizetti’s Maria Stuarda, 11 a.m. and 6 p.m. Saturday, Jan. 19; Verdi’s Rigoletto encore 6 p.m. Wednesday, Feb. 16; Lensic Performing Arts Center, $22 and $28, discounts available, ticketssantafe.org, 988-1234.

KSFR Music Café The series continues with Clifford Brown/ Max Roach Revisited, with J.Q. Whitcomb on trumpet, Brian Wingard on saxophone, Bob Fox on piano, and John Trentacosta on drums, 7 p.m. Friday, Jan. 11, Museum Hill Café, 710 Camino Lejo, Milner Plaza, $20, 428-1527.

Music on the Hill Elevated Jazz series presented by St. John’s College; pianist Julian Waterfall Pollack, Saturday, Jan.19; vocalist Lori Carsillo with Straight Up, Saturday, Feb. 16; both performances begin at 7:30 p.m., doors open at 7 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, $25 in advance starting Monday, Jan. 7, 984-6199.

Zia Singers Traditional winter concert mixing classical and contemporary choral music; 7 p.m. Saturday, 3 p.m. Sunday, Jan. 26-27, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20 at the door, ziasingers.com.

Intronaut Los Angeles-based prog-metal band, As In We opens, 7 p.m. Monday, Feb. 4, Santa Fe Sol Stage & Grill, 37 Fire Place, $10, holdmyticket.com.

Brentano String Quartet Music of Haydn, Bartók, and Brahms, 7:30 p.m. Friday, March 1, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$65, 988-1234, ticketssantafe.org.

Randal Bays Celtic-style guitarist/composer, 7:30 p.m.

Saturday, March 2, Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com.

Pipes and Drums of the Black Watch 3rd Battalion Royal Regiment of Scotland band, 7:30 p.m. Tuesday, March 12, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$75, 988-1234, ticketssantafe.org.

Serenata of Santa Fe The chamber music ensemble presents the Apple Hill String Quartet in Outliers, featuring oboist Pamela Epple and pianist Debra Ayers, music of Brahms, Grieg, and Ligeti, 6 p.m.

Friday, March 22, Scottish Rite Center, 463 Paseo de Peralta, $20 in advance at serenataofsantafe.org, $25 at the door, 989-7988.

Santa Fe Pro Musica Orchestra Baroque Holy Week, featuring mezzosoprano Deborah Domanski and trumpeter Brian Shaw, music of Bach, Telemann, and Leclair, 7:30 p.m. Thursday and Friday, 6 p.m.

Saturday, March 28-30, Loretto Chapel, 207 Old Santa Fe Trail, $20-$65, 988-1234, ticketssantafe.org.

Richard Goode Piano recital, music of Haydn, Mozart, and Beethoven, 7:30 p.m. Tuesday, April 9, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$75, 988-1234, ticketssantafe.org.

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December 28, 2012 - January 3, 2013

Tracy Grammer Multi-instrumentalist/singer, 7:30 p.m.

Friday, April 12, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.

Santa Fe Symphony Orchestra April Joy, Mozart and Dvoˇrák, 4 p.m. Sunday, April 21, pre-concert lecture 3 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 988-1234, ticketssantafe.org.

Signum Quartet Music of Haydn, Schubert, and Suk, 7:30 p.m.

Thursday, April 25, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$50, 988-1234, ticketssantafe.org.

THEATER/DANCE ‘Some Kind of Love Story’ and ‘Elegy for a Lady’ Teatro Paraguas presents Arthur Miller’s two one-acts, 8 p.m. Friday, 7 p.m.

Saturday, 2 and 6 p.m. Sunday, Jan. 25-27, 3205 Calle Marie, $12; discounts available;

UPCOMING EVENTS matinee pay-what-you-wish, 424-1601.

‘Benchwarmers 12’ Annual showcase of New Mexico talent presented by Santa Fe Playhouse; eight fully staged playlets running Feb. 7 through March 3; 142 E. De Vargas St., $10-$25, 988-4262, santafeplayhouse.org.

Bill Maher Political comedian, 7:30 p.m.

Sunday, Feb. 17, Santa Fe Community Convention Center, 201 W. Marcy St., $47-$67, 988-1234, ticketssantafe.org.

Belisama Irish Dance Company Rhythm of Fire; performers include Michael Patrick Gallagher and regional championship and top 10 world finalist dancers from Santa Fe and Los Alamos, 7:30 p.m. Friday, March 15, Lensic Performing Arts Center, 211 W. San Francisco St., $10-$20, 988-1234, ticketssantafe.org.

Les Ballets Trockadero de Monte Carlo All-male drag dance company that parodies classical ballet, 7:30 p.m. Monday, April 15, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 988-1234, ticketssantafe.org.

‘Once on This Island’ Santa Fe University of Art & Design Documentary Theatre Project students present Lynn Ahrens musical, 7 p.m. Friday and Saturday, 2 p.m.

Sunday, April 19-28, Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, discounts available, 988-1234, ticketssantafe.org.

HAPPENINGS Art on the Edge 2013 Friends of Contemporary Art + Photography’s biennial juried group show hosted by the

J.Q. Whitcomb opens KSFR Radio’s 2013 Music Café series 7 p.m. Friday, Jan. 11, at Museum Café

New Mexico Museum of Art, includes work

by Santa Fe artists Donna Ruff and Greta Young, public opening Jan. 18, through April 14, 107 W. Palace Ave., by museum admission, 476-5072.

Images of Life, Spyglass Field Recordings: Santa Fe, Summer Burial, and Thicker Than Water The Museum of Contemporary Native Arts hosts three solo exhibits for Tryee Honga, Nathan Pohio, and Jason Lujan respectively; and one group show, opening reception 5-7 p.m. Friday, Jan. 18, 108 Cathedral Pl., 983-8900.

Filigree and Finery: The Art of Spanish Elegance An exhibit of historic and contemporary jewelry, garments, and objects, public opening Saturday, Jan. 26, runs through May 27, Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, by museum admission, 982-2226.

Souper Bowl XIX The Food Depot’s annual fundraiser continues the tradition of offering local-chef-prepared soups and selling cookbooks with recipes for the creations from noon to 2:30 p.m. Saturday, Jan. 26, at the Santa Fe Community Convention Center, for information call 471-1633.

Lannan Foundation Events In Pursuit of Cultural Freedom series: Palestinian human-rights activist Omar Barghouti with Amy Goodman, Friday, Feb. 1; climate scientist James Hansen with Subhankar Banerjee, Wednesday, Feb. 20; social critic/author Barbara Ehrenreich with David Barsamian, Wednesday, March 13; Lannan Literary series: actor David Mills in Dreamweaver, a one-man dramatic rendition of Langston Hughes’ poems and short stories, Wednesday, Feb. 27; novelists Russell Banks and Stona Fitch, Wednesday, March 27; all events begin at 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $6, discounts available, ticketssantafe.org, 988-1234.

Telluride Mountainfilm on Tour Annual environmental- and conservation-themed film screenings presented by WildEarth Guardians; 7 p.m. Wednesday, Feb. 6, Lensic Performing Arts Center, 211 W. San Francisco St., $15, 988-1234, ticketssantafe.org.

Back in the Saddle 20th-century paintings, photographs, prints, and drawings depicting the Southwest on exhibit at the New Mexico Museum of Art from Feb. 8 to Sept. 15, 107 W. Palace Ave., by museum admission, 476-5072.

Annie Leibovitz: Pilgrimage Lecture and discussion benefiting the Georgia O’Keeffe Museum, 6 p.m. Tuesday, Feb. 12, Lensic Performing Arts Center, 211 W. San Francisco St., $35-$75, discounts available, ticketssantafe.org, 988-1234.

16th Annual ARTfeast A weekend of art, food and wine, and fashion, Friday-Sunday, Feb. 22-24; Art of Fashion Runway Show and luncheon; gourmet dinner and auction honoring Star Liana York; Artists’ Champagne Brunch and auction, Edible Art Tour on Canyon Rd. and downtown; Feast or Famine dance party with music by DJs Dynamite Sol and Joe Ray Sandival. Tickets and details available at ARTsmart, 603-4643 and online at artfeast.com, proceeds benefit ARTsmart, a local nonprofit that supports art programs in area organizations and schools.

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Albuquerque (continued) Events/Performances Sunday Chatter Music of Schubert and Glass; also, a poetry reading by Katarina K. Guarascio, 10:30 a.m. Sunday, Dec. 30, Factory on 5th, 1715 Fifth St. N.W., chatterchamber.org, $15 at the door, discounts available.

LOS ALAMOS ‘Frost/Nixon’ Los Alamos Little Theatre presents Peter Morgan’s portrayal of the post-Watergate interviews between David Frost and Richard Nixon, special New Year’s Eve performance 8:30 p.m. Monday, Dec. 31, regular run, 7:30 p.m. Friday and Saturday, Jan. 4-19, 2 p.m. Sunday, Jan. 13, Performing Arts Center, 1670 Nectar St., $12, discounts available, 662-5493.

MADRID 30th Annual Madrid Christmas Open House Enjoy Santa & Mrs. Claus, more than 40 shops and galleries, and holiday lights; continues weekends through Monday, Dec. 31, visitmadridnm.com.

Madrid Old Coal Town Mine Museum 2846 NM 14, 438-3780 or 473-0743. Madrid’s Famous Christmas Lights & Toyland, ephemera related to the town’s 30-year history of celebrating the holidays, through Jan. 13. Steam locomotive, mining equipment, and vintage automobiles.

Open 11 a.m.-6 p.m. Saturday and Sunday. $5, seniors and children $3.

TAOS Museums/Art Spaces Harwood Museum of Art 238 Ledoux St., 575-758-9826. Maye Torres: Unbound, drawings, sculpture, and ceramics ï Three exhibits in collaboration with ISEA2012 Albuquerque: Machine Wilderness — Curiosity: From the Faraway Nearby ï Falling Without Fear ï Charles Luna. All exhibits through Jan. 27. Open 10 a.m.-5 p.m. Tuesday-Saturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday.

La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Cultural Threads: Nellie Dunton and the Colcha Revival in New Mexico, through Jan. 30. Open 10 a.m.5 p.m. Monday-Saturday, noon-4 p.m. Sunday.

Adults $8; under 16 $4; children under 5 no charge; Taos County residents with ID no charge on Sunday.

Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462.

Unknown Was a Woman, group show of pottery, baskets, and weavings, through Monday, Dec. 31. Open 10 a.m.-5 p.m. daily. $8, Taos County residents with ID no charge on Sunday.

Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690.

Visual Impressions, paintings by Don Ward, weekend artist demonstrations through Jan. 6, in Fechin Studio. Open 10 a.m.-5 p.m.

Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.

Events/Performances Holiday concert Singer/songwriters Lari White, Chuck Cannon, Michael Hearne, and Max Gomez in Songs and Stories, 8-11 p.m. Friday, Dec. 28, 9 NM 150 (Taos Ski Valley), $15 in advance, $18 day of show, 575-758-5826, visit ktao.com for information.

▶ People who need people Actors Casting call Teatro Paraguas seeks four female actors ages 20-30 and 40-60 for The Time of the Butterflies

by Caridad Svich; open auditions 4-8 p.m. Friday, Jan. 4; Teatro Paraguas Studio, 3205 Calle Marie; call 424-1601 to set up an appointment.

Artists/Craftspeople/Photographers Call for photographers Submissions sought for Center’s Choice Awards and Review Santa Fe by Wednesday, Jan. 23; details available online at visitcenter.org; 984-8353.

CURRENTS 2013 call for entries The Santa Fe International New Media Festival runs June 14-30; all submissions must be received online or postmarked no later than Friday, Feb. 1; entry forms and more information available online at currentsnewmedia.org.

Poets/Writers 2012 PEN Literary Awards Send in submissions or nominate someone to be considered in the fields of fiction, science writing, essays, sports writing, biography, children’s literature, translation, drama, or poetry; deadline Friday, Feb. 1; visit pen.org or write to awards@pen.org for more information.

▶ Under 21 Kickin’ It Old Skool DJs Mark F-R, Nothing, Mickey Paws, K-One, and Black Dymond; best dressed Kandi Kid contest, the Pyrofessionals, 7 p.m.-midnight Friday, Dec. 28, Warehouse 21, 1614 Paseo de Peralta, $5 for the first hour, $10 after 8 p.m., 989-4423.

▶ Short People Georgia O’Keeffe Museum holiday family program Crafts made with recycled materials (supplied), 1-4 p.m. Friday, Dec. 28, 217 Johnson St., by museum admission, reservations, 946-1039 or okmuseum.org.

A Very Chaplin Holiday Center for Contemporary Arts’ Charlie Chaplin film festival (through Wednesday, Jan. 2) continues with Modern Times, 12:30 p.m.

Saturday and Sunday, Dec. 29-30, 6 p.m.

Wednesday, Jan. 2, 1050 Old Pecos Trail, $9.50, discounts available, 982-1338.

Wise Fool New Mexico Circus arts and puppetry troupe in A Holiday Family Cabaret, 2 and 6 p.m. Sunday, Dec. 30, WFNM Studio, 2778-D Agua Fría St., $10-$15 sliding scale, kids $5, 992-2588.

Santa Fe Public Library Children’s Programs Books and Babies, 10:30-11 a.m.

Wednesdays, La Farge Branch, 1730 Llano St., and 10:30-11 a.m. Thursdays, Southside Branch, 6599 Jaguar Dr.; Family Story Hour, 6:30 p.m. the first Wednesday of every month; no charge, visit santafelibrary.org for other events.

Marking Time Calendar-making workshop for all ages, 10:30 a.m.-2 p.m. Thursday, Jan. 3, New Mexico Museum of Art lobby, 107 W. Palace Ave., by museum admission, children 16 and younger no charge, 476-5072.

Winter-Break Reading Program Hosted by all branches of the Santa Fe Public Library; pick up reading logs daily through Saturday, Jan. 5. ◀

Waves hello to 2013 Around this time each December, I go back into my clippings library and look at the first Sound Waves column of the year. I end 2012 on a happier note, and while it would be great to be able to list all of the people and events that made it one of the most audibly pleasant years of my adult life, I’ll just say a big “thank you” to Santa Fe’s musicians, DJ/producer Mark F-R concert promoters, venue managers, entertainment bookers, and recording studios (pro and bedroom) for cranking out a seriously memorable year’s worth of tuneage. Now — let’s party.

Hot tub rave machine Get the countdown started early at 7 p.m. Friday, Dec. 28, at Warehouse 21 (1614 Paseo de Peralta, www.warehouse21.org) when the teen arts center is transported back to the land of killer all-ages EDM dance parties, a place and time in history when it was OK to display weirdness at a nightclub instead of being drenched in bad cologne and reeking of drunken, horny, frat-boy desperation.

Kickin’ It Old Skool is the name of the event, and participating DJ Mark F-R explained it thusly: “We want to bring back that loving supportive vibe from the good old days. If you’re a Kandi Kid [brightly festooned ravegoer], teen, dancer, adult, or anyone who believes in P.L.U.R. [Peace. Love. Unity. Respect], beats, being free, great friends, and a full dance floor, come out and show it!”

Mark F-R started spinning in 1994 — about the same time I stepped permanently out of the DJ booth — and went on to work the decks in Miami; Seattle; Portland, Oregon; San Francisco; New York; and overseas. He has worked with a handful of EDM labels, including Spundae, Bedrock, Fade, Balance, Saw, Hallucination, Submerge, TigerHook, Fire, and Uniting Souls. Seattle was his breakthrough city as a DJ, and now F-R is producing his own music in Santa Fe. Check out his collaborative project with DJ/producer Dave Strongarm at www. soundcloud.com/dark-mavid.

Also on the Old Skool bill are Santa Fe native DJ Koder; W21 mainstay Mickey Paws (www.soundcloud.com/mickey-paws); Taos spinner DJ Nothing (www.soundcloud.com/ nothing-1); DJ BlackDymond; and DJ K-One (www.soundcloud.com/dj-k-one-1). Tickets are $5 until 8 p.m. and $10 after 8 p.m., and there’s a $3 discount if you show the doorman a copy of this article.

There’s also a best-dressed Kandi Kid contest with two grand prizes. The best-decked-out boy Kid receives an LED mohawk, an mp3 speaker keychain, and four LED finger lights. Best gal Kid gets a LED hair extension, mp3 speaker keychain, and a LED rose. Every 20th person through the door gets to pick a prize from a big bag of LED toys, and there will be a makeyour-own Kandi kid accessory table for the DIY set. Oh — and the Pyrofessionals Circus GoGo Troupe is on hand with poi dancing, belly dancing, hula-hoops, and stilts.

Celebrate the New Year with Manzanares If you’re looking for something a bit more relaxed to do to ring in the New Year, head over to Bishop’s Lodge Ranch Resort & Spa (297 Bishop’s Lodge Road, 629-4822) at 9:30 p.m.

Monday, Dec. 31, and catch Latin groove band Manzanares as it unleashes a new album titled Gitarra Latino.

Tickets are $30 per person, $50 per couple, and are available online only at www.holdmyticket.com/event/126778. Ticket price includes $5 off the new Manzanares CD, snacks, party favors, and a champagne toast at midnight.

Wherever you go to celebrate over the next few days, please get there and back home safely. Santa Fe County and Capital City Cab are offering $1 rides home as part of their collaborative CADDy (Chauffeur and Designated Driver) Program to adults from a bar, restaurant, residence, or party where alcohol is served. Santa Fe County will pay for the fare up to $25, and riders pay $1 and the difference of the fare over the $25 limit.

This holiday the service is available on Friday and Saturday, Dec. 28 and 29, and on New Year’s Eve, Monday, Dec. 31. Call 438-0000 and mention the CADDy program.

— Rob DeWalt rdewalt@sfnewmexican.com Twitter: @Flashpan @PasaTweet

A weekly column devoted to music, performances, and aural diversions. Tips on upcoming events are welcome.

PASATIEMPO

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Thank You Santa Fe for another great year Best Wishes for a prosperous 2013

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December 28, 2012-January 3, 2013

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