Pasatiempo, Nov. 16, 2012

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

Armistead Maupin & Christopher Turner 24th AID & Comfort Gala Honorary Co-chairs

November 16, 2012

Don’t miss Jewel Mark’s 25th anniversary sale

Now Taking Holiday Reservations Thanksgiving: Noon - 8pm

A perfect time to shop for all of your holiday gifts

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20 to 30% off all inventory

Martellato Collection

Also Open Christmas Eve, Christmas Day & New Year’s Eve

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join us for a tradition: Thanksgiving at Ristra 2pm - 9pm Serving Traditional Turkey Dinner & Regular Menu

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November 16-22, 2012

KOMAROV JOHNNY WAS BUCKO OF SANTA FE JAG JEANS AYALA BAR SERGIO HALE BOB ARIANNE NALLIE & MILLIE STAPLES KOKUN CASHMERE

FUSION SANTA FE SEASON

123 W. Water St. Downtown Santa Fe

Lensic Presents

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Mark St. Germain

FREUD’S

LAST SESSION November 16–17 Directed by Jacqueline Reid

FUSIONTheatre Company Tradition // Innovation // Excellence

FUSIONnm.org

Two great minds— Sigmund Freud and C.S. Lewis—meet on the eve of WWII and take on faith, love, sex and the meaning of life.

Friday 8 pm Saturday 2 & 8 pm

$20–$40 / $10 students “A gem! Intellectually thrilling with both humor and insight in abundance.” —NY1 “[FUSION] is the most promising live-theater venture to hit this town in a good long while.”

—James M. Keller, Santa Fe New Mexican

Tickets: 505-988-1234 www.TicketsSantaFe.org S E RV I C E C H A R G E S A P P LY AT A L L P O I N TS O F P U R C H A S E

t h e l e n s i c i s a n o n p r o f i t, m e m b e r- s u p p o rt e d o r ga n i z at i o n

LARGEST SELECTION IN SANTA FE OF AFFORDABLE GIFT ITEMS! In Glass, Ceramic, Bronze, Tooled Leather, Wood, Iron and More

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PASATIEMPO

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THE SANTA FE NEW MEXICAN

November 16 - 22, 2012

ON THE COVER 36 Tales of this city Novelist Armistead Maupin, author of the widely read Tales of the City series, recently moved to Tesuque with his husband, Christopher Turner. Maupin and Turner are the honorary chairs of this year’s AID & Comfort Gala fundraiser. The theme of the gala is “The World of Burlesque” (see Page 40), and the party is held on Saturday, Nov. 18, at Buffalo Thunder Resort & Casino. The gala supports Southwest Care Center, which offers HIV testing and treatment, educational services, and care to those infected with HIV. Cover photograph by Jane Phillips/The New Mexican.

BOOKS

MOVING IMAGES

12 In Other Words Three Strong Women 14 C. Joseph Greaves The story behind Hard Twisted 16 My Husband and My Wives Charles Rowan Beye

48 52 56 58 60 62

MUSIC AND PERFORMANCE 18 20 23 24 28 32 34 74

Pasa Tempos CD Reviews Terrell’s Tune-Up Wanda Jackson Onstage This Week Treemotel Listen Up Report from San Francisco Karrin Allyson When jazz popped in Pasa Reviews Chatter Meeting of the minds Freud v. C.S. Lewis Sound Waves The forbidden kingdom

The Dust Bowl Pasa Pics A Royal Affair Lincoln Wuthering Heights The Sessions

CALENDAR 67 Pasa Week

AND 11 Star Codes 64 Restaurant Review

KARL MAY’S FARAWAY WEST 44 Home off the range A German Zane Grey 46 Yugo gold 1960s adaptation of May’s books

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

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

by The New Mexican. Our offices are at 202 E. Marcy St. Santa Fe, NM 87501.

Editorial: 505-986-3019. Fax: 505-820-0803. E-mail: pasa@sfnewmexican.com PASATIEMPO EDITOR — KRISTINA MELCHER 986-3044, kmelcher@sfnewmexican.com

San Francisco Opera’s I Capuleti e i Montecchi; photo by Cory Weaver, courtesy San Francisco Opera

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Art Director — Marcella Sandoval 986-3025, msandoval@sfnewmexican.com

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Assistant Editor — Madeleine Nicklin 986-3096, mnicklin@sfnewmexican.com

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Chief Copy Editor — Jeff Acker 986-3014, jcacker@sfnewmexican.com

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Associate Art Director — Lori Johnson 986-3046, ljohnson@sfnewmexican.com

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Calendar Editor — Pamela Beach 986-3019, pambeach@sfnewmexican.com

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STAFF WRITERS Michael Abatemarco 986-3048, mabatemarco@sfnewmexican.com Rob DeWalt 986-3039, rdewalt@sfnewmexican.com James M. Keller 986-3079, jkeller@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com

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CONTRIBUTORS Laurel Gladden, Julie Ann Grimm, Robert Ker, Bill Kohlhaase, Jennifer Levin, David Masello, Susan Meadows, Adele Oliveira, Robert Nott, Jonathan Richards, Heather Roan-Robbins, Casey Sanchez, Michael Wade Simpson, Roger Snodgrass, Steve Terrell

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PRODUCTION Dan Gomez Pre-Press Manager

The Santa Fe New Mexican

© 2012 The Santa Fe New Mexican

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Robin Martin Owner

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Ginny Sohn Publisher

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ADVERTISING DIRECTOR Tamara Hand 986-3007

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MARKETING DIRECTOR Monica Taylor 995-3824

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ART DEPARTMENT DIRECTOR Scott Fowler 995-3836

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GRAPHIC DESIGNERS Rick Artiaga, Dale Deforest, Elspeth Hilbert

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ADVERTISING SALES Mike Flores 995-3840 Stephanie Green 995-3820 Margaret Henkels 995-3820 Cristina Iverson 995-3830 Rob Newlin 995-3841 Wendy Ortega 995-3892 Art Trujillo 995-3852

Rob Dean Editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

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Thanksgiving at Eldorado Hotel & Spa Two Dining Choices. One Memorable Day.

Our Thanksgiving Day Champagne Brunch, prepared from 10:00am until 2:00pm, features a delectable display of options sure to please any palate. Selections include Breakfast Entrees, Traditional Roasted Turkey, Slow Roasted Prime Rib, and a variety of tempting Desserts.

For a more intimate setting enjoy our Thanksgiving Day Dinner at the Old House, prepared from 3pm until 9pm. This special menu commemorates the occasion with four memorable courses such as Tenderloin of Beef and Free Range Roasted Turkey all paired with the perfect wine.

Selling Recent Acquisitions now available for purchase: ï 18kt. & Stainless steel, Diamond Dial Ladies Rolex Watch never worn, still in box ï 18kt. White Gold & Diamond Cartier maní s link band with box ï 18kt. Yellow Gold Cartier Tank Watch with box & certificate ï GIA Certified Diamonds and Colored Stones ï Other Jewelry pieces ñ new & estate

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Dinner at the Old House: 3:00pm until 9:00pm. Four courses for $75 per person, $100 with wine parings. Price does not include a 20% service charge or applicable sales tax.

10% of all profits until the end of 2012 will be donated to Santa Fe Youth Shelters

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PASATIEMPO

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Annual Fall

Thanksgiving Buffet 2012 Thursday, November 22 ï 11am ≠ 3pm Appetizer Mixed Greens with assorted dressings Caesar Salad with Queso Cotija dressing Shredded Jicama Salad tossed with Chile Poblano≠ Orange Vinaigrette Assorted Domestic and Imported Cheese Platter Fresh Seasonal Fruit and Berries Bowl Vegetable CruditÈ with Hummus and Ranch Dip Grilled Shrimp Salad Sweet & Spicy Deviled Eggs

CONTEMPORARY

CLAY FAIR

Saturday & Sunday November 17&18 ·10am-5pm Featuring New Artists At the Santa Fe Woman’s Club

1616 Old Pecos Trail · Between San Mateo & St.Michaels

Entrée Roasted Turkey with Giblet Gravy Orange≠ Cranberry Relish Apple≠ Cornbread Dressing Roasted Garlic≠ Buttermilk Mashed Potatoes Smashed Yams and Butternut Squash Baked Spaghetti Squash SautÈ ed Green Beans Almondine Baked Bone≠ In Ham with Red Eye Gravy Roasted Prime Rib with Au Jus Pan Seared Salmon with Roasted Shallot≠ Tarragon Butter Sauce

Dessert Pumpkin Pie, Caramel Apple Pie, Bread Pudding, Assorted Cupcakes, Mousse and Cookies Freshly Baked Breads and Sweet Cream Butter

$49/ Adult $45/Senior $18 for children 12 & under Reservations Recommended 505.995.2334 100 E. San Francisco Street, Santa Fe, NM www.lafondasantafe.com

New work by :

Michelle Arterburn · Luisa Baldinger · Maggie Beyeler Elaine Biery · Elaine Bolz · Barbara Campbell Adele Devalcourt · Wendy Dority* · Miya Endo Mary Giardina · Gloria Gilmore-House · Phillip Green Karin Bergh Hall · Sandra Harrington · Cheryl Hoagland Jennie Johnsrud* · Sat Shabad Khalsa* · Kathleen Koltes Carolyn Lobeck · Pat Marsello · Sarah Newberry Ojo Sarco Pottery · Casey Pendergast · John Sapienza Barry Slavin · Evan Speegle · Sally Stark · Mike Walsh Zane White* · Frank Willett · Mary Yee *New Artist

Free admission and parking.

Cash,checks,Visa/Mastercard accepted. www.contemporaryclayfair.com ccfsantafe @yahoo.com

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November 16-22, 2012

The Lensic and Wise Fool New Mexico Present

LAURA SHEPPHERD ATELIER

New Jewelry by The Rouge Maiden!

Meet designer Tory Jeen Valach at her Trunk Show Sat. Nov. 24 11am to 5pm 10% of proceeds to bene t the Española Humane Society in honor of Tory’s mother Patricia D. Beaulieu

SERVICE CHARGES APPLY AT ALL POINTS OF PURCHASE

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t o m m e Chef Joseph Wrede of acclaimed restaurant Joseph’s Table now behind the line at Tomme.

Last Tuesday Market

Open Thanksgiving 2pm-8pm Please call for reservations

of the Season!

some items from our Thanksgiving menu:

Tuesday 8:00AM - 1:00PM

Pacific Oysters on the Half Shell Traditional Local Turkey Dinner Roasted Turkey, Sweet potato gratin, Chestnut and olive stuffing, Almondine green beans, cranberry relish and Giblet gravy Tuscan Style Rabbit Stew Peppered Venison with madeira mushroom Hunter sauce Poached egg with winter asparagus, orange Hollandaise, Three American Caviars Pumpkin Trio

Make your Thanksgiving Day Feast with the freshest, locally harvested bounty of the Season Turkeys, Chimayo Chili, Farm Fresh Veggies, Artisan Cheeses, Breads, and so much more...

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Chanukah Gift and Art Fair Sunday, November 18, 2012 10 am≠ 2 pm From gelt, candles and draydels to alpaca felt vests and handmade ceramics, Temple Beth Shalom is the place to shop.

With a newly stocked gift shop and more than a dozen vendors, you are bound to find just what you need.

TBS LATKE LUNCH

Sunday, December 9 12:00 pm≠ 1:30 pm All You Can Eat! Y Home≠ cooked food!

Live music! Y Recycled Menorah Contest! $8 for adults, $5 for kids 3≠ 12 Kids under 3 eat free!

Temple Beth Shalom

205 E. Barcelona Rd, Santa Fe, NM 87505 505≠ 982≠ 1376 Y www.sftbs.org

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November 16-22, 2012

IS MOVING! We are returning to our old home on historic Gypsy Alley.

Opening today at 708 Canyon Road Visit us and Receive 20% off all purchases through Sunday November 25, 2012.

9:30 ≠ 5:00 Monday ≠ Saturday ï 12:00 ≠ 5≠ 00 Sundays 505≠ 820≠ 1898 ï 708 Canyon Road

STAR CODES Heather Roan Robbins

Here are some Thanksgiving week survival tips. Don’t be sidelined by nonessentials. Confirm information. Be introspective, and find the worth within yourself. Respond to competition creatively — take things out of the competitive realm or be willing to go to the mat. Allow extra time for transportation, and map out journeys with care — the twilight zone can pop up in the strangest places. Read recipes twice and cook slowly.

Minimal but carefully strategic organization is needed. Helpful hints from experienced people help us through the holiday as structural Saturn trines the healing asteroid Chiron.

We get serious and play our cards close to the chest; we may not choose to discuss strong feelings and may have a hard time letting go if anyone challenges our position. We don’t want to lose while Mars is in Capricorn and Mercury retrogrades in Scorpio.

The weekend begins with a hardworking Capricorn moon — a short-term decision brings satisfaction. Avoid arguments with people who cannot accept personal responsibility.

Early next week is stubborn but sociable as Venus sesquisquares Jupiter.

Midweek, drive carefully and talk with care as Mercury forms some argumentative aspects with Mars and Uranus under a sensitive Pisces moon.

The sun enters outgoing, grateful, and enthusiastic Sagittarius on Wednesday. As Venus enters brooding Scorpio the same day, this may be a bittersweet, logistically challenged holiday, which will inspire a surprising amount of gratitude.

DISCOVER NOT JUST YOUR VOICE BUT YOUR WINGS SANTA FE PREP EARLY APPLICATION DEADLINE DECEMBER 1, 2012 Noti cation of admissions decisions will take place by December 15th for those candidates who complete the admission process by December 1, 2012.

Upcoming dates for required math assessment testing:

SAT, NOVEMBER 17 & DECEMBER 1, 2012 To register, please contact Mary Little 505 795 7518 mlittle@sfprep.org

Mike Multari Director of Admissions mmultari@sfprep.org 505 795 7512

Friday, Nov. 16: Determination presses us as the moon and Mars enter Capricorn. Look for good strategic moves, but watch for power grabs and stay on course with personal priorities. The afternoon is melancholy and flows into a thoughtful, productive evening. Make sure our wisdom, not our tiredness, talks.

Saturday, Nov. 17: Practical communication helps ease us through tough spots. Let go of an old ambition or anger as Mars sextiles Neptune. Emotions are cranked up tonight.

Sunday, Nov. 18: Build community and take the heat off intimacy as the moon enters Aquarius. Early-morning humor helps midday inventiveness as the moon sextiles Uranus. The afternoon is crankier and more serious as the moon squares Saturn. Work in detail or take a nap. Tonight, tackle a problem from a different direction.

Monday, Nov. 19: The morning’s upbeat vibe later snags on tender points as Mercury challenges Pluto. Embrace the challenge. Process feelings away from work. Kindness and humor are helpful.

Tuesday, Nov. 20: Squishy emotions flow as the moon enters Pisces and conjuncts Neptune. If overwhelmed, concentrate on a small assignment and be sensitive to something beautiful, like a bird in flight.

Wednesday, Nov. 21: Look for lost information, items, and opinions as the sun enters honest Sagittarius while Venus enters curious, suspicions Scorpio. Holiday bustle may go relatively smoothly for retrograde Mercury; allow for delays, and confirm recipes. Follow a quirky trail.

Thursday, Nov. 22: Dare to be safe and late, keep an eye on the weather, and don’t take the bait when people get testy. Let go of all expectations and of trying to control other people’s actions under this funny, feisty Aries moon.

Memories bubble up midday. Let love flow while Venus trines Neptune. ◀ www.roanrobbins.com

PASATIEMPO

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IN OTHER WORDS Three Strong Women by Marie NDiaye, translated from the French by John Fletcher, Alfred A. Knopf/ Random House, 293 pages Everyone has their own version of survival. For someone who’s had a rather easy life— which might include wealth, or at least a consistent place to call home, and supportive or at least nonabusive parents — survival as a barest-bones state of existence can be unimaginable, or it can look like something to simply be fixed. But for some people, deep and abiding trauma creates a psychological morass of pain that infects everything they look at, think about, or want. These living ghosts function, with good days and bad, as if death and destruction lurk around every corner. Survival is every day, moment to moment, regardless of what things might look like on the outside. On the inside, every breath is a risk.

In Three Strong Women, French author Marie NDiaye explores survival through the lens of trauma. In 2009, the novel received the Prix Goncourt, awarded annually for “the best and most imaginative prose work” in France. Three Strong Women is actually three novellas, linked thematically and because the woman in the third section is a cousin of the woman in the second. NDiaye is a deeply psychological writer who parses the minute moments of feeling, thought, and insight that lead to other minute moments of feeling, thought, and insight. She understands the twisted ideas we work up in our fevered brains and convince ourselves are true, and the true things we dismiss as lies.

In Part I, Norah, a lawyer, is summoned to her father’s home in Senegal and manipulated into defending her younger brother on a murder charge. We learn that Norah’s father abandoned her, her mother, and her sister when she was young, taking with him her younger brother. It was the defining moment of her life, and that of her mother and sister. Though she reveals a tremendous amount about what it was like to endure her childhood, as well as what it’s like to be in her father’s house as an adult and learning the details of the charges against her brother, there is even more left unsaid. In Part II, we don’t see much of Fanta, the “strong woman” of this story. We see her through the eyes of her husband, Rudy. He’s a piece of work.

At first, he seems like a garden-variety neurotic, but it soon becomes clear he’s delusional, depressed, and anxious. (His constant paranoid internal chatter calls to mind the clinical definition of borderline personality disorder.) The plot of Rudy’s story, such as it is, involves him driving around all day, upsetting people and revealing to the reader truly horrifying, devastating things about his childhood, although it is unclear at first whether or not we are supposed to sympathize with him. Finally, in Part III, Khady Demba is a widow with no place to live, cast out by her husband’s family to find her distant cousin, Fanta, in France. We get the sense that her childhood was difficult — she was abandoned by her parents and raised by her grandmother — but it is the particulars of her current circumstances in which we dwell. She is thrust into the life of a homeless migrant, injured, unsure of where she is going or how she is going to get there, hampered by a lack of worldliness and an inability to listen closely when people speak, a survival mechanism that she has learned to recognize but can’t control. She is just now realizing that she possesses and deserves ownership of her own destiny, though this, too, is a survival mechanism.

On the outside, Part I’s Norah is a confident, successful woman. She has a daughter and an amiable boyfriend, but she interprets every promise of fidelity, of love — every promise — as a guarantee that things are not what they seem, that she should be ever watchful for evil hidden in charm. What really happened to her, or between her and her father, must be so profoundly dark that she cannot look at it, and when truth encroaches, she is unable to control her response. In Part II, Rudy is a pathetic mess, ruined by his parents’ shared mania. He is obviously a chore to love. His poor wife, we are led to think — poor Fanta. But then we meet her cousin, Khady, in Part III, and we understand that survival can get even more basic than being a person — or living with a person — whose entire existence is rooted in psychological self-flagellation.

With Khady’s story, we learn that when the outer trappings of basic human survival — food, shelter, bodily safety — are completely out of reach, the mind carries us through. For better or for worse, it is the mind that survives when there is absolutely nothing left.

— Jennifer Levin

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November 16 -22, 2012

book reviews

SUBTEXTS Higher learning There has been a lot of talk lately about U.S. teachers and what they are teaching our kids.

Just as students are more and more being viewed as computers, into which an adult at the front of a classroom should be able to feed answers, and from which those same, correct answers are supposed to be outputted back onto standardized tests, teachers are often considered nothing more than information mouthpieces. But despite this era of “teaching to the test,” students know that a great teacher can change the direction of a life. A great teacher can find hidden gifts and interests in students, turning a sullen girl into a painter, a shy boy into a poet, a scatterbrain into a scientist. James McGrath, who taught all over the world and helped create the arts curriculum at the Institute of American Indian Arts in the 1960s, is such a teacher. He is a man who never specialized in any single subject; he could teach almost anything to anyone.

Jonah Raskin, author of For the Hell of It: The Life and Times of Abbie Hoffman, Marijuanaland: Dispatches From an American War, and Rock ’n’ Roll Women: Portraits of a Generation, among other books, has chronicled McGrath’s life as an artist and a teacher. Raskin has written James McGrath: In a Class By Himself, published this year by McCaa Books. McGrath joins Raskin in conversation at Collected Works Bookstore (202 Galisteo St., 988-4226) at 6 p.m. on Friday, Nov. 16. “To teach is to love again,” McGrath said, and “be connected to all.” His life is an inspiration to teachers and lifelong learners everywhere.

— J.L.

Discount Home Supplies Rick’s Café: Bringing the Film Legend to Life in Casablanca, by Kathy Kriger, Lyons Press, 274 pages The scene when Humphrey Bogart’s Rick Blaine stands in the rain at the train station in Paris breaks my heart every time. Casablanca — the kind of movie you can watch again and again — was released 70 years ago. I can see myself at Rick’s Café, ordering a sparkly drink and watching the smoke linger around the guy at the piano.

Kathy Kriger felt the same way. The one-time foreign diplomat quit her government job in Casablanca in 2001 to recreate the film’s iconic gathering place in the ancient Moroccan city. Her dream was built on a fantasy from the start — not one scene of Casablanca features the actual city. There was no Rick’s. The 1942 film was shot entirely at a Hollywood studio.

In Rick’s Café: Bringing the Film Legend to Life in Casablanca, Kriger describes how she maneuvered through bureaucratic challenges and other roadblocks to create not just a believable facsimile of Rick’s but also a place reminiscent of the fine restaurants in Casablanca during the era of the film, in the middle of World War II. She sounds like a young girl in love when she writes about discovering the broken-down 1930s mansion that would become the restaurant in the Ancienne Medina, the city’s historic core. Then she becomes a bitter bride when construction contractors, bankers, and accountants give her trouble. She desperately seeks investors who won’t squelch her “intention to replicate the drama and ambience of the film.”

Kriger’s adventure in entrepreneurship guides the reader through a frustrating plot that is only bearable out of compassion for what she has to endure. Her never-say-die passion is inspiring, even when bankers deem her venture a lunatic project by an American woman, expatriated and cloutless without her job. She settles on a scattershot approach to financing, getting a number of small investors, whom she calls the Usual Suspects.

It’s not until 2004 that the doors to Rick’s open and Kriger can assume her role as Madame Rick, white tuxedo and all.

Unusual for a book about a restaurant, the story of the food at Rick’s Café doesn’t come until the very end. Perhaps that is fitting, since the only thing besides cocktails served in the movie is caviar. Kriger includes a number of food and drink recipes.

To put her tale into a modern context, Kriger ends with a quick primer on Morocco’s part in the Arab Spring protests. Although she takes a harsh tone at times when describing slacking workers, conniving officials, and hashish-addled drivers, she also nods to the monarchy in Morocco as “a stabilizing force” in the nation. One of her objectives, she writes, was to engage in her own version of round-table diplomacy. Politics are left to sort themselves out while “everybody goes to Rick’s,” leaving Casablanca to enter Casablanca.

— Julie Ann Grimm Kathy Kriger reads from “Rick’s Café” at 3 p.m. on Sunday, Nov. 18, at Collected Works Bookstore, 202 Galisteo St., 988-4226.

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Jennifer Levin I For The New Mexican

R E D-ROCK

C. JOSEPH GREAVES’ HARD TWISTED ou’re 13 years old, homeless, and your dad — your only living parent — is a hard drinker and a hard hitter. It’s 1934, the middle of the Great Depression, and you’re squatting in hobo camps. You rarely have enough to eat. There are always old drunk men around, leering, asking you questions, making you feel uneasy. Then an attractive, charming drifter enters your life, and even though he seems too old to really be your boyfriend, he speaks as if he loves you. He offers your father work and a roof over your heads. You go with him, because what else are you going to do?

This is the existence of Lucile Garrett, also known as Lottie, who was a real person and is now a fictionalized character in Hard Twisted, author former trial laywer C. Joseph Greaves’ literary debut, which won the award for best historical novel in the 2010 Southwest Writers International Writing Contest and was published this fall by Bloomsbury. (He is also the author, under the name Chuck Greaves, of the genre legal thriller Hush Money, which won the award for best mystery and grand-prize Storyteller award in the same contest.) Greaves reads from and signs copies of Hard Twisted on Monday, Nov. 19, at Collected Works Bookstore.

On Thanksgiving weekend, 1994, Greaves was hiking with friends in John’s Canyon in San Juan County, Utah, when they found two human skulls. They asked around and were directed to a woman named Doris Valle, who ran the trading post in Mexican Hat, Utah, and was known as an expert in local history. Greaves soon heard the story of Lottie and the charmer on the lam, Clint Palmer, an ex-con who had been jailed many times for sexual assault, among other crimes. His crime spree and relationship with Lottie began in Oklahoma and took them to Texas, New Mexico, Colorado, Utah, and then back to Texas, where they were arrested. Bodies, including that of Lottie’s father, were left in their wake. Whether the skulls Greaves found were Palmer’s victims or not is subject to historical debate, but local San Juan County lore identifies them as the skulls of two Navajo sheepherders who worked for Harry Goulding, the proprietor of the trading post in the olden days.

The sheepherders disappeared after Palmer showed up looking for work.

“In my subsequent research, I didn’t find a reference to those murders actually happening,” Greaves told Pasatiempo. “Lottie gave a statement to the grand jury down in Texas that the sheepherders just left, they disappeared, but this being a novel, and me being able to manipulate the facts within the parameters that I set for myself, I decided to make them Palmer’s murder victims in the book.”

Greaves set relatively strict rules for himself regarding factual liberties as well as a narrative point of view. The story is told in a close but not omniscient third person, so there isn’t much in the way of Lottie’s internal narrative, yet it is very much her story. Greaves’ ability to render a nuanced portrait of 14

November 16 -22, 2012

Mark Montgomery

a traumatized adolescent girl living almost 80 years ago is impressive.

When asked about what kind of research he did or empathetic mind-set he got into to write about Lottie, he spoke only of narrative craft elements rather than his personal ability to create a fascinating character based on the slimmest of historical details. “The narrative doesn’t actually get into her head but uses her actions and the things she says and the things that people say to her to sort of reveal her internal thought processes,” he said.

“That’s really where I was going with that.” The narrative is juxtaposed with an invented but realistic trial transcript of Lottie’s testimony against Palmer when he is tried for her father’s murder. She is strong-willed, scared yet forthright, a deer in the headlights of a justice system that doesn’t yet recognize her as an unwilling victim at the mercy of a conniving sexual predator.

After 25 years as lawyers in Los Angeles, Greaves and his wife retired to Santa Fe in 2006 and moved to Colorado last winter. Greaves has only been writing for six years, so it’s possible that he is actually unaware of the difficulty of what he pulls off in the book. His prose is rich and his diction complex without being overwrought, and he writes using the lingo and dialect of the era, switching it up region to region as his characters move across state lines. It never rings false or forced. He sets a scene with so much sensory detail that, in its finest moments, Hard Twisted has the feel of a painting come to life.

“Lottie was the last to carry her plate to the washbucket,” he writes.

(Lottie’s father is still alive, and Palmer has yet to rape her, beat her, or impregnate her.) “At this they all moved onto the stoop, where the men reclined to belch and pick their teeth, their faces intermittently bathed in the sweep of departing headlamps. A gentle night breeze rose off the lake, and the smell of firesmoke drifted from the neighboring shacks. The sound of crickets. The long, pale smudge of the Milky Way. A lone figure, the old Mexican, lingering yet in the cockpit with his head bowed, his shoulders rolling as he swept.”

Lottie was tried for her role in Palmer’s crime spree and served time in a juvenile detention facility in Texas until she came of age. Greaves said that she might have been revictimized by a “law and order community,” but maybe it was more benign than that. Maybe the prosecutor saw Lottie as someone with no family and no place to go, and “maybe the most charitable thing to do with her was to put her in a custodial arrangement. It’s hard to say which it was.”

In an author’s note that explains which parts of the novel were fictionalized and what kind of research Greaves did to flesh out the basics of the story he first heard in Mexican Hat, he writes that “readers will be cheered to know that Lottie Lucile Garrett survived the ordeal of her childhood.” Though the discovery of the skulls put him on the path to his novel, Greaves was inspired to write the story of Lucile Garrett and Clint Palmer after he saw the dugout that the pair lived in during their winter in John’s Canyon. “I was there in November, and it was just starting to get cold and snow,” he said. “A dugout is basically the crudest form of shelter, where you dig a trench in the ground and build a little peak roof over it. I just thought about this girl, out there in the bitter cold, pregnant, living with the man who killed her father. I thought it was a story someone should tell.” ◀

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details ▼ C. Joseph Greaves reads and signs Hard Twisted ▼ 6 p.m. Monday, Nov. 19 ▼ Collected Works Bookstore, 202 Galisteo St., 988-4226

Opposite page, 1937 photo by Dorothea Lange used as cover illustration

PASATIEMPO

15

Rob DeWalt I The New Mexican

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My Husband and My Wives: A Gay Man’s Odyssey (Farrar, Straus and Giroux) a racy, witty, deeply personal memoir by retired classics professor Charles Rowan Beye — the author takes readers on a tumultuous, tragic, and sometimes comedic journey. The odyssey includes his life as a gay teenager with a nearly unstoppable libido in the 1940s, his two marriages and four children, the death of one of his wives, his retirement, and a longtime committed gay relationship.

Born in Iowa in 1930, Beye was very young when his father died. He lived a fairly isolated childhood, complete with silver service at the dinner table, a hands-off mother who demanded propriety, and absolutely no understanding of the sexual feelings bubbling up inside him. During a year at prep school, Beye got much more than a classroom education, and when he returned to Iowa, he began exploring his sexual desires in relative openness, much to the dismay of his mother and much to the joy — and confusion — of some of his companions.

Beye, who never denied his homosexuality, even to both of his fiancées (later his wives), married a woman named Mary in 1951. After Mary’s sudden death a few years later, Beye met and married Penny, and the two had four kids together. The couple eventually divorced, and Beye — who is not shy about sharing the intimate details of his 70-plus years of sexual pleasure and enlightenment — now lives with Richard, his partner of two decades, whom he married four years ago at a chapel on the campus of Harvard University.

My Husband and My Wives: A Gay Man’s Odyssey was released in October, a week before Pasatiempo spoke with Beye by phone.

Charles Rowan Beye takes on sexuality and spouses

16

November 16 -22, 2012

Pasatiempo: As someone who spent so many years earning a reputation as a serious academic and teacher of the classics, what made you decide to tell this particularly personal story now?

Charles Rowan Beye: For clarity. After I divorced back in the ’70s I moved to Cambridge, Massachusetts, from a more middle-class, isolated, heterosexual world into one with more gays around me. I spent much more time in New York and was exposed a lot more to gay culture than I had been previously. It was after the Stonewall Riots and after the AIDS crisis had begun. As a result, gays had the tendency to be more militant, and it was all so new to me. When I would remark to new friends that I had been married, they’d all say, “Well, of course, but you were just hiding behind a straight facade. You had a ‘beard.’ ” When I pointed out that I had been married two times, that my first wife had died, and that I had fathered children in a marriage, however, many of my friends — and many of them gay — at first were disgusted. I felt I needed to explain those years.

Pasa: You make it pretty clear in the book that you loved both of these women, your wives, deeply. Was there ever a point during the writing process when you thought, People, especially nongay people, will just not understand this, or they will be incredibly judgmental?

Beye: First off, I did love both of my wives dearly, and I also had very good sexual relationships with them, until my second wife and I became bored with each other after about 20 years, and we got a divorce. Furthermore, I wasn’t hiding behind my wives. They knew I was attracted to males before I hopped into bed with either of them. I kept insisting on this point so much with friends and colleagues that I decided I just needed to write it all out. A series of circumstances in the ’80s led me to Jonathan Galassi, an editor at the time for publisher Farrar, Straus and Giroux, who agreed to read it. After he did so, he sent me a polite letter saying it was, to use his word, a little too “personal.”

The more appropriate description of what he meant is, perhaps, “too frank,” and by that I mean sexually explicit.

Pasa: And now, here you are, with this incredibly direct coming-of-age story.

You give the reader more than that single story. One is of a boy growing up to

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be a remarried widower with children and grandchildren, knowing all along that he has a sexual attraction to men. But there’s also the narrative of your life as an academic, which began around 1955, when you were a Harvard University teaching fellow. On more than one occasion, those histories crossed paths.

Beye: After the initial rejection of the story, I set out to write a memoir about my life as a teacher of the Greek classics, and as luck would have it, word got back to Galassi. Today, some 20 years later, there’s a third narrative layer to the story: I’ve had a 20-year relationship with a man whom I subsequently married and am still married to now.

Pasa: Why did you decide to include so much detail about your sexual life, going back as far as your boyhood? There’s certainly not much romance or fluffy eroticism in those pages. It’s blunt, for sure.

Beye: First of all, I wanted to describe how a boy such as myself matured.

As a child I was naive, isolated, fatherless, and our family was fairly well-to-do.

I wasn’t in the crowd that was in the know about sexual things, so to speak.

So when I became sexually mature — and this may seem ridiculous — I really didn’t know about the bigger world in that sense. Doing it with two guys in my dorm room at Andover Academy as a teenager just seemed like a perfectly reasonable thing to do, because nobody knew about it happening, and nobody ever said don’t do that. I wanted to convey the sense of encountering a physical experience of which I had no prior understanding or context. You see, when I was a little boy, it was considered OK for a heterosexual young man to start touching his girlfriend’s breasts, because the world around him already knew about such things. They saw it in movies; their siblings talked about it. But when a boy knew he had feelings for other boys, well, who ever heard of such a thing back in the time of my childhood? And who, for God’s sake, dared to talked about it?

Pasa: In a sense, your sexual appetite was explored but remained somewhat emotionally internalized, and it wasn’t until your teens that things started to unravel — when the secret got out — although a good many of your friends and lovers had secrets, too.

Beye: As the story goes along, I discuss various sexual encounters with other males, and if you’ll notice, many, many, many of them are with straightidentified males. I think it’s a very interesting fact that relationships like this, between gay and straight males, exist, and I wanted to make sure people were clear about what these relationships were for me. It wasn’t holding hands, it wasn’t patting each other on the back, it wasn’t “making love.” It was pure [gay sex]. And I’m lucky I didn’t get seriously thrashed in a fight or get sick. Many times I talk about a sexual incident and then talk about the long conversations I had with the straight-identified partner afterward. To me that has always been essential to make clear: sex like this is a social event as well as a physical one, and certainly not something to be ashamed of.

Pasa: The tense relationship between you and your mother once she learned about your burgeoning sexuality only seemed to worsen over time, and although it was her intention to change your behavior, you found an unusual ally at a time when homosexuality was widely considered a perversion and a treatable disease.

Beye: When my mother sent me to a psychiatrist — and mind you I was young and dead afraid it was going to lead to electroshock therapy or something, especially after visiting confession — his big revelation was, “You have to be more discreet.” Ha! I’ll admit I was terribly obvious in those days, but my God, to hear that, it was almost like being validated as a human being for the first time. Because I was different from most children to begin with, and I was witty and well-spoken because it was a requirement in my home and at the dinner table, it was all my friends knew of me. The only thing that really changed drastically was, I began to sleep with boys and not give a damn who knew about it. ◀

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PASA TEMPOS

album reviews

EIGHTH BLACK MOTH BLACKBIRD Meanwhile SUPER RAINBOW Cobra (Cedille) The adventurous group Juicy (Rad Cult) Some bands Eighth Blackbird — a “Pierrot ensemble” arrive with a sound so fully formed that of flute, clarinet, violin, cello, and piano, it hampers them. They either flame out plus percussion — constantly shepherds after a few albums, or they trudge along into existence works it has commissioned without gaining or losing many fans. Black or that other organizations have underMoth Super Rainbow seems to be following written on its behalf. Its latest release gathers together six the latter path, marching forward for almost a decade pieces by as many composers, of which Missy Mazzoli’s now and pulling along enough listeners that Cobra Juicy was Still Life With Avalanche, Roshanne Etezady’s Damaged Goods funded by fans via Kickstarter.com. Those die-hards won’t be (presented through two excerpts), and Stephen Hartke’s Meanwhile: disappointed; the vocoder-warped vocals and the instrumentaIncidental Music to Imaginary Puppet Plays were specifically Eighth tion that is psychedelic enough to explain the band’s name are Blackbird-inspired. Mazzoli describes her piece as “a search for beauty all here. To attract new listeners, perhaps, the band has made a few in chaos, and vice versa”; its episodes don’t coalesce strongly, and it gestures toward accessibility. The album’s opening beat might remind accordingly makes slight impact overall. Etezady shows breadth that people of Gary Glitter’s jock jam “Rock and Roll Part 2.” “Hairspray ranges from Coplandesque reverie to energy either brittle or massive.

Heart” has one of the band’s sexiest grooves and catchiest choruses yet Hartke’s six-movement suite channels Asian sounds — Japanese, Indonesian, (it heavily incorporates the F-word, assuring the band no crossover appeal).

Vietnamese — through Western instruments, to fascinating effect: “Psychic Love Damage” is almost romantic in its sultry sway and a sparkling, vibrant piece that grows richer with repeated visits. slide guitar, while the Delta blues and breakbeats of “We Burn” Three relatively ancient classics fill out the disc: Philippe Hurel’s will remind listeners of Beck. These songs are all positioned ... à mesure (1996), in which busy heterogeneity is mostly in the album’s first half; by the end, only listeners who Though Tim Maia annoying; Philip Glass’ Music in Similar Motion (1969), helped Kickstart it may be left. The band’s relentless haze from back when the famous minimalist had something can get oppressive — after wandering in the fog, you disavowed his 15-minute ode radical to say about the cumulative power of repetition start to crave some sunshine. But there’s no denying and progressive variation; and Thomas Adès’ Catch (1991), to aliens and the animal-energy that it’s an impressively constructed fog. — Robert Ker a complex, finely wrought, hard-to-play gamepiece for clarinet versus violin, cello, and piano. Eighth Blackbird’s Prometheus Original Motion Picture Soundtrack by beliefs of the Cultura Racional interpretations are everywhere polished and enthusiastic, Marc Streitenfeld (Sony) Ridley Scott’s sort-of Aliensuch that these qualify as authoritative readings group, ‘Rational Culture’ is still series reset challenges composer Marc Streitenfeld fully deserved by the better pieces. — James M. Keller with a galaxy of action and atmospherics. To his credit, Streintenfeld maintains an air of musicality througha wonder of slow-burning, TIM MAIA Nobody Can Live Forever: The Existential Soul out the varied program. The composer proves adept at fuzz-guitar funk. of Tim Maia (Luaka Bop) The psychedelic swirl of colorful writing for both electronic and acoustic instrumentation, planets that surrounds Tim Maia on the cover of this record combining orchestra, chorus, and synthesizers in ways offers a nod and a wink to the late Brazilian singer’s passing that make distinguishing one from the other a puzzle. Is that involvement with a religious cult that considered humans energywavering sky-pitched tone electric or the top end of the violin’s channeling aliens. But Maia’s music is far from spacey, grounded in the pitch? Is that breathy rush from the chorus’ sopranos or a sampled earthy rhythms of American soul and Brazilian samba. This is a pleasurable effect? While the music has its share of emotional cues and action pacing, hour of head-nodding, tropical R & B that sounds like Jobim’s “The Girl much of it is surprisingly composed and thematic, reminiscent in places From Ipanema” got together with the heartbroken man of Otis Redding’s of Holst’s The Planets. The central passage, introduced eerily by flute, voice, and oboe (or is it synthesized?), is passed through the orchestra “Sittin’ on the Dock of the Bay.” Equally at home singing in English or as the recording progresses, its variations ranging through a host of Portuguese, Maia was a superstar in Brazil, but he never seemed to find feelings and dynamics. There are familiar figures, like that in “Friend the international fame that fellow Brazilian musicians like Tom Zé and From the Past,” that quote Jerry Goldsmith’s theme from Alien.

Caetano Veloso did. This retrospective collects his hits, like “Que Other passages suggest the repetitive signals from the first satelBeleza,” which smoothly blends Latin horn riffs with Motown guitar lites and orchestrations from the early days of horror films. licks, while “Quer Queira, Quer Não Queira” is a hard-stomping “Life,” the only piece written by Harry mix of bass-line heavy conga rhythms.

Gregson-Williams (Streitenfeld was music Though Maia disavowed “Rational Culture,” supervisor for the Gregson-Williamshis 15-minute ode to aliens and the animalscored Kingdom of Heaven, another Scott energy beliefs of the Cultura Racional group, production) starts at a rumble and builds the track is still a wonder of slow-burning, to a resounding climax. This music fuzz-guitar funk. The spaced-out doctrines deserves to be remembered regardespoused by the singer only add to the less of the film’s reception.

1970s theatrics of this record.

— Bill Kohlhaase — Casey Sanchez

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November 16 -22, 2012

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19

TERRELL’S TUNE-UP

Still rockin’ There certainly hasn’t been the big buzz around rockabilly queen Wanda Jackson’s new album, Unfinished Business, that there was surrounding her previous effort, The Party Ain’t Over, which was released nearly two years ago. There’s debate among Jackson fans about which one is better. Newcomers to the cult of Wanda tend to side with Party, produced by former White Stripe Jack White, while older fans and traditionalists seem to like the new one. A cynic might say it’s the trendies versus the I-knew-Wanda-whenWanda-wasn’t-cool crowd.

Despite a few clunkers on the new album, I guess I’d have to side with the latter group.

I have to admit that the The Party Ain’t Over is a more exciting record — though, as I said when I reviewed it in 2011, the production is so heavy-handed that it feels more like a White album than it does a Wanda record.

Jackson sounds like a side musician on some of the songs, though I still believe that White’s over-the-top technique works on some tracks, especially on the Bob Dylan cover “Thunder on the Mountain.”

Unfinished Business’ producer, Justin Townes Earle (Steve Earle’s baby boy), avoids most of White’s pitfalls. While the album lacks the pizazz of its predecessor, it’s a solid work. And most important, the spotlight is rightfully on Jackson throughout.

The best songs on the new album are those in which Jackson sings the type of tune that made people love her in the first place in the

late ’50s and early ’60s. The first cut is a nice bluesy Freddie King song called “Tore Down.”

That’s followed by another tough blues number, “The Graveyard Shift,” written by none other than Steve Earle. Things slow down for the sweet honky-tonk weeper “Am I Even a Memory?” which Jackson sings as a duet with her new producer. And she goes full-throttle honky-tonk with “What Do You Do When You’re Lonesome?” which sounds like a longlost Ray Price song, though it was written by Justin Earle.

Jackson has always done impressive gospel songs, so it shouldn’t be a big surprise that she truly shines on “Two Hands.” The surprise is that a song this joyful was written by the late Texas troubadour Townes Van Zandt.

But I did say there were some clunkers.

Jackson’s take on “It’s All Over Now,” a Bobby Womack tune made famous by the Rolling Stones, isn’t bad, but she doesn’t add much to it. “Pushover,” an obscure Etta James tune, sounds like an unconvincing attempt to recreate the girl-group sound from the early ’60s. Also disappointing is Jackson’s version of “California Stars.” This is one of those unfinished Woody Guthrie songs that Wilco and Billy Bragg worked up for their Mermaid Avenue project in the late ’90s. It’s a beautiful song, but Jackson just doesn’t sound like she’s that interested in it.

But despite these lesser cuts, it’s amazing that a singer in her mid-70s not only sounds so good but so vital. Check out www.wandajackson.com.

Also recommended: ▼ I’ve Been Meaning to Write by Ronny Elliott.

It took the state of Florida a long time to count its ballots, and it took a long time for Tampa hillbilly rocker Elliott to come out with a new album. Coincidence? It’s been five years since his last album, Jalopypaint. So I’m glad he finally got around to “writing.”

Like Elliott’s best work, the new record is full of sad, soulful, and frequently nostalgic songs peppered with the singer’s wry humor. Elliott has apparently experienced some heartaches, and that comes out in his music. “I’ve had a couple of women rip my heart out in the last few years,” Elliott recently blogged. “Friends and strangers like to tell me, ‘Hey, at least you got some songs out of it.’ I don’t need songs.

I was happier with a heart.”

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November 16 -22, 2012

But there’s a lot of heart in his new songs — like the opening tune, “My Blood Is Too Red,” a remembrance of a lost love. “She was some form of magic, mythical child bride/I walked on hot coals to stand by her side/She taught me grand lessons while I was still grievin’/Then she filed applications and talked about leavin’.”

Even better is the dark and bitter “A Doctor and a Lawyer,” which is about “a soulmate who had no soul.” Elliott sings, “She wanted new stories to tell, and she got ’em/She took an old man’s love and made him older/Sleepin’ her way to the bottom.”

Then there’s “Women Leave,” a recitation of a poem — just Elliott’s voice, no musical accompaniment. “History’s built on heartache in a golden age of crime and everything I’ve lost, I bereave,” Elliot says.

He’s always been something of a rock ’n’ roll historian. Elliott recorded storytelling songs about Jerry Lee Lewis, rockabilly Benny Joy, Sid Vicious, Hank Ballard, and bluesman Tampa Red. Here, in a song titled “Handsome Harry the Hipster,” he tells the tale of piano player and rock ’n’ roll forefather Harry “The Hipster” Gibson. Born Harry Raab, he was discovered by Fats Waller. In his prime, Gibson played with jazz giants like Dizzy Gillespie, Billie Holiday, Charlie Parker, and Stan Kenton. “In the ’40s, Harry began pumpin’ up the rhythm, and tearin’ up the keyboards,” Elliot drawls. “With rollicking songs like ‘Handsome Harry the Hipster’ and ‘Get Your Juices at the Deuces,’ he was bringing hip Manhattan its first taste of rock ’n’ roll.”

But, as Elliott says, after Gibson’s 1947 novelty song, “Who Put the Benzedrine in Mrs. Murphy’s Ovaltine,” Gibson got blacklisted by the music biz because of the song’s drug references. His drug use in real life added to his decline. He tried to remake himself as a rocker in the 1970s, but his career went nowhere.

Suffering from heart disease, he committed suicide in 1991. It’s obvious that Elliott loved Gibson’s rebel spirit as well as his music but has no illusions about the self-destructive urges that did Gibson in. “Fall down, Harry Hipster, fall down hippie boy/You got the rhythm in your soul, a joint in your pocket, and a square music business to destroy,” Elliott laments in the final chorus.

I hate to spoil a surprise, but the unlisted, hidden track at the end of the album is a rocking cover of the old Brenda Lee hit, “Fool Number One.” Visit www.ronnyelliott.com. ◀

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11:30am- 6:30pm, November 22, 2012 Turkey Pork loin Stuffing Sweet Potatoes Mashed Potatoes Green Bean Casserole Brussel Sprouts Mixed Greens Salad Crimini Mushrooms Cranberry Relish Butternut Squash Soup

Choice of Dessert:

Pumpkin Crème Brule Apple Pie al a mode Brownie al a mode Vanilla, Strawberry or Chocolate Gelato Lemon, Lime or Orange Sorbet Reservations Recommended Vegan available upon request Kewa Black≠ on≠ Red Olla by Robert Tenorio, 2012 and Kewa Polychrome Olla, c. 1900

Palace Restaurant & Saloon Telephone 505 428 0690 palacesantafe.com 142 W. Palace Avenue

direct (505) 577≠0835  www.foxpueblopottery.com Inside Arroyo Gallery 200 Canyon Road, Santa Fe, NM 87501

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The High Mayhem Emerging Arts 2012 fall concert series continues at 7 p.m. Saturday, Nov. 17, at High Mayhem Studio (2811 Siler Lane, www.highmayhem.org) with Loud, Louder, Loudest, an evening of experimental, alternative, and improvisational rock. First to hit the stage is We Drew Lightning, aka drummer Michael Smith and guitarist Roland Ostheim, who serve up a slab of slowly building psychedelica punctuated by live looped samples and beats and crunchy guitars.

Next up is minimalist postpunk trio Pitch & Bark, followed by Albuquerque alt-rock outfit Young Lungs, which released Cholla, its debut CD, in August. Closing out the show is a rare performance by The Late Severa Wires, a band that, due to geography, gets together in Santa Fe only about once a year. TLSW has a penchant for creating discordant and abrasive licks buffered by interludes of rhythmic, psychedelic calm. As Pasatiempo once described the band, it sounds, at times, “like R2D2, the cast of Madama Butterfly, and a congregation of snake worshipers being pistol-whipped in a wind tunnel while undergoing an exorcism.” And that’s a good thing. Tickets are a $10 donation at the door, and it’s an all-ages show.

Learn and listen: Serenata of Santa Fe

Messiah resurrected

Serenata of Santa Fe presents the noted pianist Norman Krieger in a recital that includes works by Mozart, Chopin, and Henri Lazarof, as well as Beethoven’s Piano Concerto No. 4 (with a reduced accompaniment for string quintet). The concert takes place at 6 p.m. on Friday, Nov. 16, at the Scottish Rite Center, 463 Paseo de Peralta. At 10 a.m. the same day, also at the Scottish Rite Center, Krieger offers an hour-long master class, open to the public, in which he coaches five young pianists. Tickets ($25 at the door, online discounts; $10 for the master class) are available through www.serenataofsantafe.org or by calling 989-7988.

’Tis the season again, or ’twill be soon, and there’s no surer sign than the annual performance of Handel’s oratorio Messiah offered by Santa Fe Symphony Orchestra and Chorus. This installment takes place at 4 p.m. on Sunday, Nov. 18, at the Lensic Performing Arts Center, 211 W. San Francisco St. Tickets ($20 to $70) can be had by calling 988-1234 and visiting www.ticketssantafe.org.

A 3 p.m. lecture is free to ticket holders. Returning to conduct is Tom Hall, director of the Baltimore Choral Arts Society and former president of Chorus America (the national service organization promoting choral activities), and Santa Fe’s Linda Raney will have prepared the choristers.

THIS WEEK

Swills and trills: Treemotel & SFUAD chorus Santa Fe indie-rock/dirt-pop outfit Treemotel released its first album, Swilling Chit and the Eidetic Trill, in 2011 and followed it up with two more official full-lengths CDs Tabloid Girl’s Future Feature Film Debut in Space and Dream Ghost Mix Tape, in the spring of 2012. The five-piece ensemble, comprising guitarist Dave Badstubner, bassist Greg Butera, drummer Adam Cook, vocalist Lindsey Mackin, and guitarist/vocalist Mark Williams, is one of the tightest and most unique-sounding bands within Santa Fe’s live-music scene, though it’s little recognized. And that’s a shame. Treemotel is about as versatile and dedicated as they come, and it isn’t too esoteric, pretentious, or too watered down in content to please the ballooning approachable-Americana bar scene. At 4 p.m. Sunday, Nov. 18, 50 members of the Santa Fe University of Art & Design chorus join Treemotel for a free performance at the Muñoz Waxman Gallery at the Center for Contemporary Arts (1050 Old Pecos Trail, 982-1338).

First up is the chorus by itself in a performance of Ugandan songs using traditional Ugandan instrumentation. Then Treemotel and members of the chorus hit the stage for what is sure to be one of the more memorable collaborations among local musical talent in Santa Fe this year.

PASATIEMPO

23

LISTEN UP

Production photos Cory Weaver; headshots courtesy San Francisco Opera

James M. Keller

Jay Hunter Morris, center, in Moby-Dick

There’s no place like home: San Francisco Opera

Moby-Dick

It does seem strange that, after two acts of quite spectacular staging, the whale should fail to make an appearance.

Jay Hunter Morris

Morgan Smith

Negotiating the crush in the aisles and lobby of San Francisco’s War Memorial Opera House during several days last month, this Santa Fean could not help being struck by how many other Santa Feans were also there. To be sure, among our city’s culture aficionados there exists a subset that is absolutely mad for opera. During the summer their needs are met locally. During the off-season (as we tend to view it in our throughthe-looking-glass calendars) Santa Fe’s opera-lovers can soak up the performances of the world’s great opera companies that are now broadcast into such local theaters as the Lensic and The Screen, but — let’s face it — there’s nothing like a live performance.

A world-class company founded in 1923, San Francisco Opera inhabits an imposing theater that was opened in 1932 and overhauled in the early 1990s in the wake of the destructive Loma Prieta earthquake. One of the improvements effected at that time was a rebuilding of the backstage area, where stage sets spend their nights off.

This proved to be of great consequence as it enabled the company to alternate up to three productions on successive nights. That happens a fair amount in the course of the bifurcated season, which unrolls from September through early December and then goes largely on hiatus until June through early July. (The San Francisco Ballet inhabits the theater during the intervening months.) The night-by-night smorgasbord of operas offered in October proved alluring to opera tourists from all over. For wandering New Mexicans, it also provided an opportunity to check up on singers who have forged relationships with Santa Fe Opera.

F Jay Hunter Morris and Morgan Smith

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November 16 -22, 2012

irst up on my operatic itinerary, on Oct. 18, was Moby-Dick, with music by Jake Heggie and libretto by Gene Scheer; the latter is penning the libretto for the new opera Cold Mountain, scheduled to be premiered by Santa Fe Opera three seasons hence. Moby-Dick was greeted enthusiastically at its premiere (by Dallas Opera in 2010) and in subsequent revivals. San Francisco Opera was a co-commissioner of the work, and it put impressive resources into mounting its first production, providing a terrific theatrical experience. All the action in this adaptation of Melville’s novel

takes place aboard the whaling vessel Pequod, or overboard therefrom, but this production, by Leonard Foglia, makes extensive use of projections (designed by Elaine J. McCarthy) to enlarge the ship’s universe. At the opening, projections of geometrical drawings, rather like architectural blueprints, swirl and eventually coalesce into the physical set of the ship itself. Projections also lie at the heart of stunning scenes in which sailors leave the main ship in small boats to pursue the elusive whale, and in which the cabin boy Pip is tossed in the waves.

The principal vocal interest is invested in Captain Ahab, here portrayed by Jay Hunter Morris, who had to master how to spend an evening hobbling about on a peg-leg (a technique they don’t normally teach singers in conservatory). He boasts an appealing heldentenor voice that brims with youthful vibrancy and loveliness.

He seemed perfectly cast as Siegfried in the Metropolitan Opera’s current rendition of Wagner’s Ring cycle (screened in last season’s high-definition broadcasts). But where Siegfried is a wide-eyed and naive lad, Ahab is a grizzled old cuss, and Morris seemed not ideally suited to that aspect of the part. One should not complain about a voice that is produced in so healthy a fashion and to such pleasing effect, but I hope Morris sings the part again in another 15 or 20 years, when a bit more gravel in his pipes may show that he has truly earned his bitterness.

The libretto effectively harnesses Melville’s sprawling opus, leaving out most of those endless passages that read like instructional texts for would-be whalers. It finds a place for numerous set pieces like arias and choruses, though sometimes it feels self-consciously “stagy,” as when a dance among ship-hands breaks into a fight scene, a section that seems to be fulfilling a desire for a dance sequence rather than a true dramatic need. It does seem strange that, after two acts of quite spectacular staging, the whale should fail to make an appearance. Heggie’s swift-moving score is particularly impressive in its orchestral treatment (lovingly conducted by Patrick Summers).

The arias themselves sat less well. Often they sound too obviously derivative. “I leave a white and turbid wake” sings Ahab, who is apparently well acquainted with Peter Grimes’ “Now the Great Bear and Pleiades”; first mate Starbuck (baritone Morgan Smith) contemplates killing Ahab in an aria that comes within a hair’s breadth of “E lucevan le stelle” from Tosca. In general, the arias in Moby-Dick sit uneasily within the larger musical context, proving eager to please but less interesting than what surrounds them. So much of the score is beautiful and invigorating that one truly regrets the parts that seem to have been written simply to provide extractable concert numbers. They rarely rise to the level of the connective tissue.

Nicole Cabell in I Capuleti e i Montecchi

T

he next night was given over to Bellini’s I Capuleti e i Montecchi, an opera of intermittent inspiration, from 1830, that retails bel canto effusion by the yard.

One of its interesting features for persons within the orbit of British theater is how far Felice Romani’s libretto wanders from Shakespeare’s Romeo and Juliet. Here, Giulietta Capulet’s brother has been murdered; Tebaldo (Tybalt) is charged with avenging the murder; Friar Laurence is turned into physician Lorenzo (not much of a part); there is no nurse; and Capellio (papa Capulet) keeps popping up to pull strings one way or another. The piece being bel canto, Giulietta is a soprano and Romeo a mezzo-soprano. Names familiar from Santa Fe filled major roles. Giulietta was Nicole Cabell (Léïla in last summer’s The Pearl Fishers), Romeo was Joyce DiDonato (star of Massenet’s Cendrillon in 2006 and slated for Rossini’s La Donna del Lago next summer), and Capellio was bass-baritone Eric Owens (the Doctor from 2011’s Wozzeck).

DiDonato turned in a stellar performance, exhibiting a finely modulated, elegant tone with clarion projection, a model of bel canto interpretation. Cabell was less suited to the requisite pyrotechnics. Her voice seemed outsized for the part, large enough to create difficulties when she needed to center on the individual notes of fiorature.

Capellio’s part is of more dramatic than musical interest, and although Owens’ work was admirable, the role provided little outlet for his talent. Tebaldo is the leading male role, and the Albanian tenor Saimir Pirgu sang it with agility but not, in the end, very attractively, his voice sounding generally brash and grainy. continued on Page 26

I Capuleti ei

Montecchi Nicole Cabell

Joyce DiDonato

One of its most interesting features is how far the libretto wanders from Shakespeare’s Romeo and Juliet.

Joyce DiDonato with chorus and supernumeraries

PASATIEMPO

25

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Lohengrin

Listen Up, continued from Page 25

Lohengrin

The soldiers of Brabant were portrayed as post-Gestapo figures, this not being a Teutonic-knights kind of production.

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November 16 -22, 2012

Brandon Jovanovich

The production was again lovely to behold. Director Vincent Boussard offered an example of Regietheater that invigorated the opera without going overboard. It’s true that there would be no particular reason why Giulietta would sing her aria at the opening of Act 2 while balancing on a ledge, but doing so wasn’t actually distracting, either. Vincent Lemaire’s sets were simple, uncluttered, and memorable, especially the gallery of the Capulets’ palace, where the lovers sang on a practically empty stage beneath a suspended sculpture, alabaster in its whiteness, its balletic pose betokening both love and death. Costumes by Christian Lacroix provided a riot of visual interest, suggesting a dress-up Halloween party in the East Village.

Camilla Nylund and Petra Lang in Lohengrin

hen, on Oct. 20, the swan floated in, bearing Lohengrin. I regret that I missed the first 40 minutes of Wagner’s 1850 opera because of an overlapping prior engagement, but there was still so much left, since the performance ran from 7 p.m. until nearly 11:30 p.m. Again we were treated to a handsome production that was easy to admire, in this case by Daniel Slater. Sets, by Robert Innes Hopkins, were clean and modern. I especially liked the feel of Act 2, ostensibly set in a courtyard outside a cathedral, but here given in the unadorned interior of an abandoned factory occupied by a small encampment of homeless people. The soldiers of Brabant were predictably portrayed as post-Gestapo figures, this not being a Teutonic-knights kind of production (a director’s note in the program alluded to Soviets in Hungary in 1956), and in the Act 3 wedding chamber, where Elsa finally gets around to asking her new husband what his name is, she and Lohengrin looked like wedding-cake figures transported to a 1950s bedroom.

In the title role was tenor Brandon Jovanovich, a solid but inexpressive Pinkerton in Santa Fe’s 2010 Madama Butterfly. His interpretation of Lohengrin showed that he has been developing in a good direction. His voice was everywhere beautiful (this in a lengthy, demanding role in which singers often show strain), usually shining with luminous brilliance but occasionally retreating into almost crooning sweetness. His singing was attractive in all its parts, and yet one tended to notice the parts as much as the whole; there is still some knitting of the total instrument to be done as he moves forward in his promising career. Camilla Nylund portrayed Elsa proficiently, without a great deal of emotional attachment. I didn’t care for her habit of filling in the heft of a note belatedly following the attack. In any case, scheming Ortrud is a more interesting character than chaste Elsa, and Petra Lang ripped into the villainess’s part with relish. In this strong portrayal she exhibited a warm, full voice capable of subtly inflected contours. Her shading of words was detailed, and she pumped

Petra Lang

T

up the thrill factor in her Act 2 encounter with Elsa. Nicola Luisotti, the company’s music director, led a firmly paced interpretation, and the company’s chorus made a spectacular impression.

S

an Francisco Opera came up in this column in August, when I shared thoughts on the commissioning of musical works. I cited the operain-progress Cold Mountain, by composer Jennifer Higdon and librettist Scheer, as an example of a commission that had not worked out as initially planned. I noted that its genesis dated to 2009, when San Francisco Opera commissioned an opera from them, and that the company oversaw the development of their project for two years, apparently through the point at which they selected Cold Mountain as their subject matter; but after that the parties separated. Santa Fe Opera then extended a co-commission (with the Opera Company of Philadelphia) to Higdon and Scheer for Cold Mountain, which is to be premiered here in 2015. Charles MacKay, the general director of Santa Fe Opera, wrote to take exception to my statement that San Francisco Opera had commissioned an opera from Higdon and Scheer. This surprised me, as in January 2009 San Francisco Opera announced officially and unambiguously that it was commissioning an opera from them. The news was reported in numerous publications, and in subsequent interviews and publicity materials, Higdon herself referred to this project as a commission from San Francisco Opera. But MacKay is correct. When I queried San Francisco Opera on the history of this, they confirmed that, notwithstanding its announcement, the parties never managed to agree on a formal commission, and that during the time Higdon and Scheer pursued this project under the aegis of San Francisco Opera, they did so under what the company now thinks of as an “intent to commission” rather than a commission per se. MacKay felt that the distinction merited correction, and I am happy to clarify the matter.

B

efore signing off this week, I invite music-lovers to remember two master composers whose lives have ended: Hans Werner Henze, who died in Dresden on Oct. 27, at the age of 86, and Elliott Carter, who slipped away at his home in Greenwich Village on Nov. 5, five weeks short of his 104th birthday — and was actively composing practically to the end.

Both marched to their own drummers. Henze, a gay man of leftist political leanings, lived for most of his career in Italy, overtly criticizing the political assumptions of his native Germany. His works often expressed his passionate humanitarianism, and he typically embraced a modern sound without sacrificing time-honored respect for melody. “In every phrase you write you can hear your grandfathers,” Henze stated, “you can hear Josquin, and Verdi, and Monteverdi, and Mozart. And if you try to deny all this, what you produce will be something inhuman — a kind of Fascist art.” Santa Fe Opera enthusiastically supported his work, producing the American premieres of his operas König Hirsch in 1965, Boulevard Solitude (1967), The Bassarids (1968), We Come to the River (1984), The English Cat (1985), and Venus and Adonis (2000). He will be remembered not only for his extensive oeuvre, which includes 10 symphonies and nearly 40 works of opera and musical theater, but also for his caring encouragement of emerging composers.

Carter was unquestionably the dean of American composers. Apart from his own stature as a creative genius, he stood as a confluence of great traditions that shaped 20th-century American music. His mentor was Charles Ives, who gave him grief when he felt Carter was showing signs of aesthetic softness — a temporary detour, it turned out. He studied with Walter Piston and Gustav Holst at Harvard, with Nadia Boulanger in Paris. He witnessed premieres of groundbreaking works by Schoenberg, Stravinsky, Ravel, Berg, Varèse, and Cowell. He spent a period as music director for Lincoln Kirstein’s Ballet Caravan and was part of the visionary faculty of St. John’s College (in Annapolis) in the 1940s. His music would prove challenging to listeners, but performers rose to its demands. Over the course of many decades they ushered receptive listeners into a distinctive sound-world marked by rhythmic complexity and unpredictable overlaps of seemingly unrelated musical material. Encountering some of Carter’s works can be disorienting, rather like trying to assimilate discrete visual images projected simultaneously in split-screen films; but with repeated exposure, the experience could become exhilarating. Carter challenged audiences to expand their capacity to listen, and his music provided a rich reward to those who persevered in doing so. ◀

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WHEN JAZZ POPPED IN

Bill Kohlhaase I For The New Mexico

K

arrin Allyson might have made one heck of a pop singer. She started out singing pop tunes, accompanying herself on the piano and working with young, local bands around her then hometown of Omaha, Nebraska. And there was another side of her, too. Most of her musical training to that point had been as a classical pianist. But when jazz popped into her life while she was attending college at the University of Nebraska at Omaha, things didn’t change so much as they expanded.

When Allyson released her first recording, I Didn’t Know About You, for the Concord label in 1992, she gained immediate accolades as one of the next great female jazz vocalists. It was easy to hear why. She had the pipes — a lustrous tone that harbored a host of emotions — and the rhythmic smarts that jazz fans were looking for. She also had a certain taste in music that meant she didn’t limit herself to standards. In Allyson, jazz lovers hot to find the next generation of female singers got more than they bargained for. The great Sarah Vaughan had passed away in 1990. Carmen McRae and Ella Fitzgerald would soon follow. It seemed that the female vocal tradition might pass away with them. Jazz fans, and especially the jazz press, were

28

November 16 -22, 2012

quick to embrace anyone who could fill their shoes. And Allyson, who appears Saturday, Nov. 17, at La Posada de Santa Fe Resort and Spa in a benefit for the Georgia O’Keeffe Museum, could do that. But she was also capable of taking tunes from Carole King or Carly Simon and making something of them. In other words, she wasn’t just a great new jazz voice.

She was a heck of a pop singer, too.

Twenty years and 13 recordings later (all of them for the same label), Allyson is still receiving accolades — she received four Grammy nominations, the latest for her 2011 recording ’Round Midnight — and is still seen as someone carrying on the jazz singer’s craft. But suggest that role to her, and she’s quick to correct you. “I don’t see myself as that kind of a singer,” she said in a phone call from her home in Western Massachusetts. “We do everything and always have, since I first went public. I do stuff from James Taylor and Carole King; I do Brazilian music; I do jazz. Seeing me strictly as a jazz singer, well that’s just easy for journalists to write about. The audience knows what I do — they have the most accurate knowledge of who I am.” She pointed out that she has done a variety of material over the years, and a quick check reveals she’s right: Joni Mitchell’s “All I Want,” Roberta

Reisig and Taylor

Karrin Allyson’s expanded repertoire

Flack’s “Feel Like Makin’ Love,” The Beatles’ “Here, There, and Everywhere,” lots of Brazilian music, and even a medley of Chopin’s Prelude op. 28, No. 4, and Antonio Carlos Jobim’s “Insensatez.” On her most recent recording, she makes one of her most unlikely choices: Paul Simon’s “April Come She Will” — a largely forgotten, schlocky song — which she does in a style that’s close to the original, rather than, say, some hepped-up jazz approach. “I feel that I cover a lot more music than most folks know. Thirteen records — that’s a lot of material. But it’s only the tip of the iceberg. I have some 500 tunes in my book that I do, that I’ve done. It’s a large body of material.”

The one thing that ties all this material, pop and jazz, together? They all have a story to tell. “When I discovered vocal jazz — Carmen McRae, Billie Holiday, Nancy Wilson, Ella — the thing that poked out of those songs was that I could sing them and tell a story, that they were autobiographical in the same way that pop tunes were. And, as I sang them, I could put my own thing into them.” Despite her protests that she’s more than just a jazz singer doing material from the Great American Songbook, she said that jazz defines her approach to music. “Among all the things I am, I am a jazz musician. Whatever I do is informed by the variety of styles, that varied and vast approach known as jazz. When I first discovered [jazz music], I made it my focus. I let other styles go by the wayside for a while, and my focus was to learn all that I could learn.” She also let the piano go during that time. “There was a time there I didn’t play much. Then, when I started out performing in public, I’d play a tune or two. The piano has definitely been my best friend always. Now, I’ve come full circle with it.”

In addition to accompanying herself at the piano, she has worked with a variety of instrumental set-ups for different projects. “When I did the Ballads: Remembering John Coltrane recording, I thought it was a good idea to get those exciting horn players — James Carter, Bob Berg, and Steve Wilson — in there to pay tribute to the most iconic saxophone player of all time.”

The 2001 recording also features a strong rhythm section — pianist James Williams, bassist John Patitucci, and drummer Lewis Nash — in a project that has done more than any other to firm up her jazz credentials. Coltrane had recorded some of the selections that Allyson chose with resonant-voiced singer Johnny Hartman. Allyson brings something else to the tunes, a sort of heartbreak feel that speaks to the passion Coltrane himself brought to the music. She referenced the Ballads recording as she talked about what she might do on her next one. “It’s good to go back and see what you’ve been happiest with in the past. What I’m exploring now with guitar or rhythm section or accompanying myself; I’m comfortable with that. But as I move forward I want to pursue the best path I can.”

When she appears in Santa Fe, she will bring along guitarist Rod Fleeman, who was with her on that first recording 20 years ago and has been with her ever since. “Yes, I do feel a sense of devotion to certain things,” she said of her record label and her guitarist. (Allyson does not yet have a deal for her next recording.) “But there’s a good reason I stick by a musician like Rod. He’s a wonderful player.” She sees the opportunity to do benefits like this as a chance to expose more people to a kind of music they might otherwise have missed. “I’ve been lucky enough to work at what I love doing for over 20 years. I don’t see the audience for jazz shrinking, but it is harder and harder to get the word out. When people know about jazz, they love it. But you have to get them out to hear it. Once they’ve heard it performed live, they’re hooked. It’s a very interactive experience, filled with all the human emotions: humor, heartbreak, intellect, and also rhythm. So much of the world is focused on pop culture. But once people know about it, they’re hooked.” Like she was. ◀

LOS ALAMOS ARTS COUNCIL PRESENTS:

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BIRTH SUMMIT Nov. 30 - Dec. 2, 2012 Northern New Mexico College

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SILENT AUCTION & DINNER Friday, Nov. 30th

6-9 PM • Anthony’s on the Delta • Yiya Vi Kagingdi Doula Program Benefit

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29

A Season of HOPE. A Time of NEED. For more than three decades, the Empty Stocking Fund has served as a critical safety net for those experiencing financial challenges in the community.

The Empty Stocking Fund provides support of housing assistance, car repair, home heating, utility bills, and more, to help our friends and neighbors experience a holiday season that is truly merry and bright.

Watch for daily stories featuring requests for assistance from local residents beginning Nov. 23 in The Santa Fe New Mexican.

For details on donating funds or services, visit www.santafenewmexican.com/emptystocking

Garcia Street Books is having a Holiday Sale!

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NOW ACCEPTING APPLICATIONS Complete your application for assistance online at www.santafenewmexican.com/ emptystocking Applicants who do not have access to a computer can complete an application online at several public libraries free of charge and several businesses. ï Santa Fe Public Main Library at 145 Washington Ave. ï La Farge Branch Library at 1730 Llano St. ï Southside Library at 6599 Jaguar Dr. ï New Mexico Work Force Connection, 301 W. DeVargas St. ï Hopewell Center, 1800 Espinacitas St. ï Presbyterian Medical Services 1409 2nd St. All applications must be received by 5:00 p.m. on December 7th to be considered by the Empty Stocking Fund Committee. The Empty Stocking Fund will consider every applicant who meets the eligibility criteria, without regard to race, creed, place or country of origin, age, disability, ethnicity, color, gender identify, marital status or sexual orientation.

Fri Nov.16

By Appointment Public Sale: Sat Nov 17 10am-5pm For Information or Appointment Call:

Bösendorfer, Schimmel, 505.884.5605 Estonia, Nearly New & Vintage www.pianowerkes.com Steinway, Used Pianos 4640 Menaul Blvd. NE ABQ

TO DONATE Make your tax deductible donation online at www.santafenewmexican.com/ emptystocking or you may mail a check to: The New Mexicaní s Empty Stocking Fund c/o The Santa Fe Community Foundation, P.O. Box 1827, Santa Fe, NM 87504≠ 1827.

If you can provide a needed service such as roofing, car repair, home repairs, etc. contact Roberta at Presbyterian Medical Services at 505≠ 983≠ 8968.

If you can contribute food, clothing toys, housewares or furniture in good condition or other items or services, please contact The Salvation Army at 505≠ 988≠ 8054.

GET ORGANIZED NEW IDEAS FOR SAVING TIME AND SPACE

An acclaimed 2-hour seminar by Deniece Schofield, nationally renowned home management expert.

Finally! A seminar designed to show you that it’s really possible to manage your home, nurture your family and still have time for you!

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ï Hundreds of no≠ nag ways to have a neat house, happy kids, and calm parents all at the same time. ï How to eliminate all scraps of floating paper ï How to calendar and schedule your time ï Household hints for more efficient use of your space and time.

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DENIECE SCHOFIELD

Seminar leader, Deniece Schofield, is the author of Confessions of an Organized Homemaker, Confessions of a Happily Organized Family, Kitchen Organization Tips and Springing the Time Trap. She has been the national spokesperson for Proctor & Gamble and has contributed to Women’s Day Magazine. As a noted expert on home and time management, Deniece has appeared throughout the United States and Canada on television and radio programs.

Friday, November 16th ï 7pm≠ 9pm or Saturday, November 17th ï 10am≠ 12pm Days Inn 2900 Cerrillos Rd. Santa Fe, NM The same material is presented at each seminar. If more information is needed, please call

1≠ 800≠ 835≠ TIME (8463) PRICE $25.00 AT THE DOOR. CHECKS ACCEPTED NO RESERVATIONS REQUIRED 30

November 16-22, 2012

in

LOS ALAMOS

More Choice. More Choice. More Choice.

An exhibition honoring 2012 as the Year of the Remarkable Woman New Mexico Committee of The National Museum of Women in the Arts Juried by Carolyn Kastner, Associate Curator, Georgia O’Keeffe Museum Exhibition Dates: November 16 through December 7, 2012 Public Reception: 2 to 4 p.m., December 1, 2012 REMARKABLE IS SPONSORED BY: ï The ChrisTopher FoundaTion For The arTs, www.CFFTa.org ï CenTury Bank The red doT gallery is made possiBle Through The generous supporT oF Zane BenneTT ConTemporary arT Learn more. Call 505-820-7338

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PASATIEMPO

31

31st Annual

PLACITAS HOLIDAY Fine Arts & Crafts Sale

PASA REVIEWS

November 17 & 18 ï Sat & Sun ï 10 am – 5 pm 80 Artists Anasazi Fields Winery at 3 Sites The Big Tent (east of Presbyterian Church) Placitas Elementary School

Chatter St. Francis Auditorium, Nov. 9

preview all 80 artists at www.PlacitasHolidaySale.com The Placitas Holiday Fine Arts and Crafts Sale is sponsored by the Placitas MountainCraft and Soiree Society, a 501-c3 nonprofit organization.

Is Gardening Your Thing?

Become a Master Gardener In this 16≠ week, intensive course youí ll ª Learn current best practices from top gardening experts in our region ª Connect with other avid gardeners ª Share your knowledge with the community

Evening classes start Monday, Feb 4 at 6pm Morning classes start Tuesday, Feb 5 at 9am

Register online today at www.sfmga.org Class size is limited. Registration closes Dec 31. Information at 471≠ 4711.

Presented by Santa Fe Master Gardener Association in cooperation with NMSU, an equal opportunity employer.

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Christmas at Clear Light November 17 & 18

Placitas, New Mexico

10:00 a.m. til 5:00 p.m.

32

505.867.2381

November 16 -22, 2012

www.clcedar.com

More Caprichos, please The Albuquerque-based musical enterprise Chatter tested the waters of Santa Fe last March by presenting a stimulating evening of chamber music plus film in partnership with the since deceased Santa Fe Complex. On Nov. 9, Chatter was back in town, at the nearly full St. Francis Auditorium and now entirely under its own sponsorship, offering invigorating interpretations of music from the 20th and 21st centuries.

Opening the program was the world premiere of Roberto Sierra’s Caprichos, commissioned by Chatter to celebrate the centennial of New Mexico’s statehood as well as the ensemble’s upcoming 10th anniversary.

The piece has no particular connection to the Land of Enchantment, although it was enchanting in its own right. One expects rhythmic complexity from Sierra, and his Caprichos presented that in abundance — so much so that conductor Guillermo Figueroa was enlisted at the 11th hour to help the six instrumentalists keep on track, which he did expertly. Sierra describes his work as very short pieces of a capricious nature quite aptly, since their five moments occupied only seven minutes and one never knew where they would lead. A lot of notes are packed into these small spaces, tumbling like waterfalls, buzzing like mosquitoes, snaking in sinuous dances, finally creeping in dense microtones that recall the music of Sierra’s teacher György Ligeti. Listeners were drenched in sonic brilliance, and Chatter got a piece that deserves to stay in their repertoire. One’s only regret was that the set ended so soon. Could Sierra be coaxed into penning a few more Caprichos for the same ensemble?

Schoenberg’s groundbreaking Pierrot Lunaire, for mostly the same instrumental grouping plus vocalist, was premiered precisely a hundred years ago — another centenary connection — and the instrumentalists, playing now without a conductor, again turned in top-drawer work. And yet this towering classic rises or falls on the expertise of the vocalist, and the young soprano Meagan Brus seemed still on the way to cracking its code. She boasts an appealing, well-produced voice, but what Schoenberg had in mind was a cabaret-style performance artist who was both singer and actor, or neither. Brus made moves in the requisite direction, and in a few of the 21 movements she did manage to liberate herself from the vocal studio to striking effect: the bleating laughter of “Gebet an Pierrot,” the stunned horror of “Enthauptung.” Brus seemed bound to “singer’s German,” and this did not provide the linguistic freedom that would allow her to depart from standard pronunciation and articulation and rip into the potent German vowels and consonants to a truly expressionistic degree. This was an honorable performance, to be sure, and a necessary step along the long, complicated path of mastering this sublime masterwork.

Following intermission, David Felberg (the group’s violinist and co-artistic director) conducted 23 Chatter musicians in a scintillating rendition of John Adams’ Grand Pianola Music, from 1982. Here we find Adams in his early Minimalist mode — consonant, repetitive, pulsating toward uplifting climaxes. The piece also has a postmodern tint, throwing down the gauntlet to Beethoven’s “Emperor” concerto to amusing effect as the two pianos let loose barrages of E-flat-Major arpeggios. One imagined Copland in the wide-intervaled melody of the slow section, but overall this piece is about exhilaration. The percussionists had a field day, and Felberg provided the necessary control without ever tamping down the enthusiasm.

— James M. Keller

I have no plans for Thanksgiving!

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Guest Pianist

Norman Krieger In a Piano Master Class featuring talented young pianists

AND In Concert featuring Beethoven Piano Concerto No. 4, chamber version with David Felberg & Elena Sopoci, violins; Christof Huebner & Shanti Randall, violas; and Sally Guenther, cello

Open for Thanksgiving November 22 2pm to 8pm

Friday, November 16, 2012

Master Class ≠ 10 am ï Concert ñ 6 pm

Scottish Rite Center, 463 Paseo de Peralta, Santa Fe Class: $10; Music students and teachers ñ FREE! Concert: $25 ñ general, $20 ñ senior (65+), $10 ñ student, $5 ñ youth (6 ñ 18),

$1 ñ children under 6 with parent Discounted advance tickets at www.serenataofsantafe.org

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What’s happening

Alcove 12.0 contemporary conversations continue

Gallery Conversations

november 16 friday Participate in an open conversation with the artists of the exhibition Alcove 12.6. Meet Ellen Babcock, Michael Borowski, Lawrence Fodor and Karina Hean. 5:30–7 p.m. Free.

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december 7 friday Opening night of Alcove 12.7, part seven of the nine-part series presenting five New Mexico artists every five weeks. 5–8 p.m. Free.

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33

Roger Snodgrass I For The New Mexican

FusionTheatre brings together C.S. Lewis and Sigmund Freud AN AFTERNOON VISIT BETWEEN SIGMUND FREUD AND C.S. LEWIS might seem a slender premise for the kind of surprise hit play Freud’s Last Session turned out to be with a two-year run Off Broadway. This season the play is in production in Chicago, London, Rio de Janeiro, Buenos Aires, and Albuquerque, among other places, and is in performance at the Lensic Performing Arts Center on Friday and Saturday, Nov. 16 and 17.

Veteran playwright Mark St. Germain’s script was inspired by The Question of God: C.S. Lewis and Sigmund Freud Debate God, Love, Sex, and the Meaning of Life, a book by Harvard psychology professor Armand M. Nicholi, who has been teaching a seminar on Freud, the father of psychoanalysis, for 35 years.

“When I added Lewis as a counterpoint,” Nicholi told the Harvard Gazette, “the discussion in class ignited.” Lewis was one of the last great defenders of Christianity, a respected literary scholar, and author of the seven volumes of The Chronicles of Narnia; his personality and religious writings fit right into the curriculum without detracting from the quality of the argument. His passionate, old-world conservatism turned out to be the ideal secret sauce to balance Freud’s radical materialism.

There is no record of Lewis and Freud ever meeting, but the Fusion Theatre Company’s production, as seen at The Cell Theatre in Albuquerque during its first week, credibly realizes the fictional concept. The play is set in a book-lined study inspired by historic photos, with dialogue expertly woven from documented statements by the protagonists. Lewis thinks Freud has asked him over perhaps because of his vicious criticism of Freud in a recent publication. “I did read your book, Prof. Lewis,” Freud assures him, but adds indifferently, “I have been savaged all my life.” He is really more interested in Lewis’ attempt to rationalize Milton’s Satan as an “object of sympathy and admiration,” in his book A Preface to “Paradise Lost.”

And lest we forget where we are and that evil is not merely a literary exercise, news of Hitler’s invasion of Poland in September 1939 squawks from the radio, and Freud, 83 years old, faces his own mortality. The fictional encounter with a vital intellect half his age unfolds in a way that the playwright and production turn into a dramatic psychological revelation of character and personality that transcends the clash of fundamental conviction.

34

????. ? - ?, 2012

Freud is suffering from oral cancer, but he is more annoyed than pitiful, and the intimation that he will soon die from what was probably a suicidal dose of morphine hangs over the conversation. Lewis, on the other hand, is stressed by the air-raid sirens. When a false alarm is sounded, he overreacts because of his experience in the killing fields of World War I. He has a flashback of “men still trying to move like halfcrushed beetles” and “pieces of my friend hitting me in the face.” We recognize his reaction as a symptom of post-traumatic stress disorder, a syndrome our own age has come to know too well.

Freud and Lewis lock horns in a most charming way, as they thrust and parry, trying to dent each other’s position. Lewis uses Freud’s own analytic techniques, probing for parental conflicts and emotional blocks to put the older man on the defensive. They both throw each other and themselves on the couch, so to speak, looking for psychological explanations behind philosophical positions. In fact, neither gives much ground nor makes much headway except in a grudging respect and appreciation for his rival. Civilization may well be based on suppressing one’s deepest fears and feelings, as Freud concluded, but at least some of those fears and feelings can be tamed with a trusty guide and a little awareness.

Freud’s Last Session doesn’t ask for a verdict on the nature or existence of God, but it does have some good prescriptions for mankind. Why not admit a weakness, entertain a doubt, risk a compliment? How about listening and conceding something once in awhile? This kind of behavior is rare in public discourse, as shown in the recent national election. That truth comes out of a dialogue is an ancient proposition, as old as Plato and as fresh and surprising as a meaty philosophical romp in an Off Broadway play.

The Fusion Theatre Company’s production is directed with empathy by Jacqueline Reid, with Gregory Wagrowski as Freud and Scott Harrison as Lewis. Wagrowski brings three decades of national experience to the role of the exile in London with both a flawless German accent and a deprecating wit. He has just the right gravitas for an iconic intellectual at the end of his career and perfect mannerisms for an octogenarian doctor with a mouthful of cancer. Harrison is known in Santa Fe circles as the founder of Ironweed Productions and was most recently seen as a bluecollar fireman in The Guys, a play about 9/11, at Warehouse 21. From there to a slightly cocky Oxford don with a boyish academic smile, he demonstrates a wide range of ability. In the intimacy of Fusion Theatre’s home playhouse, The Cell, one couldn’t wait for one of the actors to finish his lines before looking to see how the other was reacting. ◀

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PASATIEMPO

35

David Masello I For The New Mexican

TALES OF THIS CITY A

Jane Phillips/The New Mexican

rmistead Maupin is coming out again. Not as a gay man, which is something he already did back in the 1970s.

This time it’s as a new resident of Santa Fe — after more than 40 years in San Francisco, where he became famous as the writer of the Tales of the City series of novels, which follow the lives of characters in a San Francisco dwelling known as 28 Barbary Lane. The series began as a newspaper serialization and morphed into eight (beloved) novels and later a TV miniseries starring Olympia Dukakis as a transgendered woman.

Maupin and his husband, Christopher Turner, are settling into their Tesuque home, where they have just finished hanging a bronze iguana on their adobe-style fireplace. Pasatiempo spoke to Maupin just weeks after he and Turner arrived in Santa Fe in late October. In a sign of his status as a newcomer, he continued to apologize for a slight cough brought on by the dust kicking up from the nearby arroyo.

At home with Armistead Maupin and Christopher Turner 36

November 16 -22, 2012

Pasatiempo: When we heard that you’d left San Francisco and made Santa Fe your new home, we likened the move to when Saul Bellow left Chicago for Boston, or perhaps if James Joyce had given up Dublin for Dubuque. You and the characters in your novels are so identified with San Francisco. Why the move?

Armistead Maupin: I’ve always had strong responses to cities.

When I was a much younger man, in the U.S. Navy, I purposely asked to be stationed in Charleston, South Carolina, because I had always been fascinated by that city and wanted to be identified with it. It was the same thing with San Francisco 40 years ago.

I had a similar feeling when I first experienced Santa Fe — I felt connected to this place. Santa Fe has a different kind of character from anything I have experienced before. I understand they call it the City Different, and already I find that to be quite true.

Pasa: Fans of Tales of the City are used to surprising plot twists, but few would have imagined you choosing the City Different over the City by the Bay. Maupin: Chris, my husband going now on four years, and I had been coming to Santa Fe every fall, and we developed a serious taste for the place. But the first time I was here was when I was 14 and on my way to the Philmont Scout Ranch. Chris and I had long been craving a little more nature, that sense of being in the country. Five years ago, we took a 3,500-mile road trip around the Southwest and got a taste of — and for — the landscape. It agreed with both of us.

Pasa: Because you’ve been in Santa Fe for just a few weeks, let’s talk about first impressions.

Maupin: I’m not dripping in turquoise at the moment, if that’s what you’re thinking, though I love the whole Southwest aesthetic. But I am immersed in the enormous blue skies here.

Also, I’ve quickly discovered that the people are very, very sweet. Already, we both find great pleasure in the tricultural nature of the city. I like living in a place where I’m called an Anglo. I’m not just another resident — it’s fun to be one of the ethnic subcultures of a city. Right now, I’m watching Chris from my living-room window as he walks with our dog Philo up the arroyo. We haven’t seen the phenomenon yet, but our property is at the edge of an arroyo, which apparently rages whenever there is a thunderstorm. From our terrace, we’ll be watching all manner of debris flying by. It’s dead silent at night, and there’s no light pollution, so you can see every star.

And the moonlight is startling. It’s so white that it has a dayfor-night effect, kind of like an old cowboy movie from when I was a kid. The moon casts some serious shadows down the arroyo and creates a wonderful pale glow over the landscape that you don’t think actually happens in life. But it does here.

Pasa: Will future Tales of the City include Santa Fe? Maupin: I can’t tell you so far. But I can tell you that Santa Fe is conducive to storytelling. I’ve always approached fiction with something of a reporter’s eye. It’s very hard for me not to use the material around me. In some of the Tales, I’ve had the characters take trips to Mexico and Alaska and Lesbos, and those locales find their way into the story. I’m pretty certain that will happen here.

Pasa: Apart from shopping for more bronze iguanas, what other work will occupy you here?

Maupin: I’ll be finishing up this winter the Tales of the City series. The Days of Anna Madrigal will be the ninth, and I think last, novel of the series. After all, Madrigal is very old now, she’s 92, and I see her as the spiritual core of the story.

Even the youngsters in the novels are no spring chickens.

Brian is now 68, and Mary Ann is 61. Fortunately, though, I do have some younger characters coming along. I have Shauna, who’s Brian and Mary Ann’s daughter and in her late 20s. There’s Jake, too, who is a favorite trans-man, and he’s in his mid-30s. These characters have all grown up with me. A portion of the story will be set in San Francisco, but most of it takes place at Burning Man, which is an ideal locale for my characters to cross paths in all sorts of absurdist ways.

Pasa: You’ve had an active life not only as a writer but as a social activist. You’re already involved with the Southwest Care Center and will be at the Nov. 17 party/fundraiser. Why that organization?

Maupin: Largely because I’m here, and they provide an invaluable service to people with HIV, which is still a scourge in our midst and must continue to be dealt with. I always think about acting locally and how those efforts translate globally. There are lots of people living with HIV and the repercussions of the treatments. Longtime survival is a serious task, and it can be an unpleasant one and requires constant attention.

Pasa: Does Santa Fe feel like a gay city to you and Chris, akin to a San Francisco? And does that even matter?

Maupin: I’ve been told that Santa Fe has the second highest per-capita population of same-sex couples after San Francisco.

Armistead Maupin and Laura Linney (star of the TV adaptations of Maupin’s Tales of the City) in San Francisco, 2001; opposite page, Maupin and Christopher Turner with Philo

I think some of these rugged Western gals you see around town started a tradition many years ago, and it’s continuing and flourishing. We know there are a lot of gay people here.

After all, we were asked to co-host a party of 800 LGBT folks at the Buffalo Thunder casino, so we know we’re not alone.

Pasa: What advice do you have for people who want to make a change as dramatic as yours — a move to a new city — or the start of a new love life, which is also something you did?

Maupin: I noticed that a lot of friends initially said to me upon my moving to Santa Fe, “How can you do this?” But then, after learning about our new life here, they’ve quickly followed up with, “How can I do this, too?” I like adventurous people. I like people who are open to the world, to making changes. To do this, to move here from San Francisco, is tremendously exhilarating. The mere process of moving your old things into a new place and watching them come alive again reminds you that it’s all really about your life and how you live it, and not about where you live. Change seems to present a challenge to those people who may have become complacent in their situation. And that was possibly true of me. I found that this move has nothing to do with a falling out with San Francisco but instead everything to do with wanting an autumnal adventure — referring, that is, to the autumn of my years.

Pasa: We still think of you as being somewhere in late August, certainly pre-Labor Day. You’re a vigorous and active literary and social force.

Maupin: Thank you, but if I’m still in the August of my years — if it’s this warm in my late autumn—then global warming is far worse than I thought. ◀

PASATIEMPO

37

SCREENING S • PANELS “ARTISTS IN CONVERSATI ON ” NETWORKING • WO RKSHOPS • PA RT I E S

USA/Honduras 2012 DIRECTORS: Ali Allie, Ruben Reyes A Garifuna language teacher from a coastal village in Honduras, Central America struggles to preserve his indigenous culture and communal lands in the face of tourism’s encroachment and personal betrayal. Garifuna & Spanish with English Subtitles

BARBARA

On the Road

Germany 2012

LEVIATHAN France/UK/USA 2012

Nairobi Half Life

Tickets Go On Sale Monday, November 26: TicketsSantaFe.org (505) 988-1234 at The Lensic 211 W. San Francisco St.

HYDE PARK ON HUDSON UK 2012 DIRECTOR: Roger Michell Bill Murray provides a career-topping performance as FDR in this captivating, winningly acted comedy drama, that pulls back the curtain on the complicated domestic arrangements at FDR’s NY country estate, during a royal visit from King George VI.

IN ANOTHER COUNTRY France/South Korea 2012 DIRECTOR: Hong Sang-Soo Legendary French actress Isabelle Huppert stars in South Korean master filmmaker Hong’s latest tale of love, lust and misunderstanding. An effortless, laugh-outloud comedy that plays like a lost French New Wave classic. English and Korean with English Subtitles

DIRECTOR/SCREENPLAY: Lucien CastaingTaylor, Verena Paravel Taking to the high seas of the North Atlantic, Leviathan captures the harsh, unforgiving world of the commercial fishing industry. Shot on a dozen cameras —passed from fisherman to filmmaker — it captures the collaborative clash of man, nature, and machine.

NAIROBI HALF LIFE Kenya 2012 DIRECTOR: David “Tosh” Gitonga A young, aspiring actor from upcountry Kenya dreams of becoming a success in the big city.

To the chagrin of his family, he makes his way to Nairobi, where he becomes involved in the world of theft and violence. Swahili, Kikuyu with English Subtitles

NOTHING WITHOUT YOU USA 2012 DIRECTOR: Xackery Irving A psych-patient, accused of a violent murder, turns to her court-appointed psychiatrist to prove her innocence and sanity. This fastpaced thriller will keep you guessing until the very end.

NIGHT ACROSS THE STREET Chile/France 2012 DIRECTOR: Raul Ruiz In Raul Ruiz’s final film, the Chilean filmmaker returns to Chile, with an elderly office worker heading into retirement, who begins to relive both real and imagined memories from his life. Stories hide within stories, creating a fantastical, insightful tale. Spanish, French with English Subtitles

THE CARDBOARD BERNINI USA 2012

In Another Country

LA SIRGA Columbia/France/ Mexico 2012 DIRECTOR/SCREENPLAY: William Vega (Directorial Debut) Haunted by war memories, Alice tries to reshape her life in La Sirga, a hostel in the Andes highlands. “Evocative! William Vega’s first feature is the latest in an impressive string of Colombian arthouse films”- Lee Marshall, Screen Daily.

RUST AND BONE France/Belgium 2012 DIRECTOR/SCREENPLAY: Jacques Audiard Damaged inside and outside the ring, worldweary boxer Ali arrives in Antibes with his young son. There, Stephanie, a beautiful orca trainer, is tragically injured and through their shared brokenness, romance blossoms. Oscar nomination predicted for French actress Marion Cotillard. French with English Subtitles

38

November 16-22, 2012

DIRECTOR/SCREENPLAY: Olympia Stone Inspired by Bernini’s Trevi Fountain, artist James Grashow painstakingly builds a replica, in cardboard. The surprising grace and beauty of the piece is upstaged by Grashow’s plan to watch it disintegrate in the elements. His selfpropelled journey to experience creation and loss reveal regret, past betrayals and ultimately his personal struggle with mortality.

LORE Australia/Germany 2012 DIRECTOR: Cate Shortland In this coming of age tale, 15-year-old Lore, daughter of an SS officer, must shepherd her younger siblings through divided post-war Germany, to the safety of a grandmother’s house outside of Hamburg. Australia’s Foreign-language Oscar Entry. German with English Subtitles

LE TABLEAU France 2012 DIRECTOR/SCREENPLAY: Jean-Francois Laguionie Painted characters in various states of completion, and from several works of a French painter who probably lived in the 1930s, unite and go in search of their true colors in this inventive and beautifully crafted tale suitable for all ages.

a.k.a. DOC POMUS Canada/USA 2012

DIRECTOR/SCREENPLAY: Christian Petzold East Germany, 1980. Dr. Barbara Wolf arrives in the provinces, under surveillance and determined to escape. However, her growing relationship with the clinic’s lead physician leads to a decision that changes a young patient’s future. Silver Bear winner at Berlin. German with English Subtitles

THE SAPPHIRES Australia 2012 DIRECTOR: Wayne Blair Set against the racial and social upheaval of the late 1960s, a music producer plucks four young, talented Aboriginal girls from obscurity at a remote mission in Australia, and gives offers them opportunity to entertain American troops in Vietnam. Catapulted to stardom, the girls receive an accelerated education in life.

DIRECTOR: Eric Geadelmann An unlikely mentor uses basketball to shepherd an intellectually disabled teen towards a meaningful future and in turn, is led towards reconciliation with his estranged father.

Brazil/France/UK/USA 2012 DIRECTOR: Walter Salles. Based on the novel

by Jack Kerouac Walter Salles’s adaptation of Jack Kerouac’s generation-defining novel is a vibrantly visualized period piece about the birth of the American counterculture and features a star-studded cast including - Garrett Hedlund, Kristen Stewart, Amy Adams, Kirsten Dunst and Viggo Mortensen.

Hyde Park on the Hudson

SHUN LI AND THE POET ITALY 2011 DIRECTOR/SCREENPLAY: Andrea Segre Shun Li works as a bartender in Chioggia, a small fishing village in the Venetian lagoon.

There, she meets a Yugoslavic fisherman, Bepi, nicknamed “The Poet”. A tender, delicate friendship grows between them but gossip soon threatens their innocent relationship.

Italian with English Subtitles

UPRISING EGYPT/USA 2012

GREGORY CREWDSON: BRIEF ENCOUNTERS USA 2012

Gregory Crewdson: Brief Encounters

DIRECTOR: Dustin Hoffman At a home for retired musicians, the annual concert to celebrate Verdi’s birthday is disrupted by the arrival of Jean, an eternal diva and the ex-wife of one of the residents. Veteran actor Dustin Hoffman’s directorial debut. All-star English cast.

DIRECTOR: Ben Shapiro A photographer with the eye of a filmmaker, Gregory Crewdson creates extraordinary stories in a single frame. Given a rare degree of access and filmed over 10 years, Shapiro beautifully reveals Crewdson’s unique artistry and process.

BRIGHTWOOD The Deception

SPOTLIGHT ON NEW MEXICO FILMMAKERS ROOTED LANDS/ TIERRAS ARRAIGADAS USA 2012 DIRECTOR: Renea Roberts Faced with the threat of natural gas development, the citizens of predominantly Hispanic rural villages of Mora and San Miguel Counties in New Mexico (labeled as among the poorest communities in the United States) rise up and defend their lands.

YOUNG ANCESTORS USA 2012 DIRECTOR: Aimee Barry Broustra As a group of teenage Native students learn their native Tewa language, YOUNG ANCESTORS explores the historical reasons behind Native American language loss and uncovers the ways in which speaking one’s native language heals on both individual and communal levels.

Dustin Hoffman, Quartet

FROM ZIMBABWE TO SANTA FE USA 2012 DIRECTOR: Cristina Mccandless Three rural Zimbabwean women prepare for the world’s largest folk art market held annually in Santa Fe. In preparation, each woman stretches beyond her comfort zone, bridging cultural-economic divides with persistence and humor that highlights our shared humanity.

USA 2012

DIRECTOR: Frederik Stanton The inside story of the Egyptian revolution from the perspective of its principal leaders and organizers. With never-before seen footage.

UPRISING provides the authoritative behind-the scenes view of one of the most dramatic events of our generation.

ON THE ROAD

UK 2012

ANY DAY NOW

Austria/France/Germany 2012

USA 2012

QUARTET

Le Tableau

AMOUR

DAVE

DIRECTOR: Andrés Wood The extraordinary story of Chilean folksinger and pop culture icon, Violeta Parra, tracing her evolution from impoverished child to international sensation to Chile’s national hero, while capturing the swirling intensity of her inner contradictions, fallibilities, and passions.

Spanish/French with English Subtitles

USA/Germany, Israel 2012 DIRECTOR/SCREENPLAY: Chanoch Zeevin Descendants of the most powerful figures in the Nazi regime and Hitler’s inner circle – Himmler, Goering, Hoess - reveal the effect their infamous bloodline has wreaked on their lives. “Superb!

[An] extraordinary film!”- Andrew Billen, The Times (UK).

NEW MEXICO SHORTS

Chile/Argentina/Brazil/Spain 2012

HITLER’S CHILDREN

DIRECTOR: William Hechter Ravaged by childhood polio, Doc Pomus wrote thousands of hit songs from his wheelchair, including“Save the Last Dance for Me” a song he wrote for his wife. Doc’s tale of disability and possibility is told by friends, a who’s who of rock legends.

DIRECTOR/SCREENPLAY: Michael Haneke Palme d’Or winner at Cannes this year, Amour is an intimate study of the effects of ageing and dementia on a blissful married couple, “Intelligent film-making of the highest order” The Guardian. French with English subtitles

VIOLETA GOES TO HEAVEN

DIRECTOR/SCREENPLAY: Travis Fine Inspired by the true story of an abandoned teenager with Down syndrome taken in by a gay couple who must fight a biased system that threatens their untraditional family. Stellar performances from Alan Cumming and Garret Dillahunt.

THE DECEPTION USA 2012 DIRECTOR: Jay Durrwatcher This coming of age film with a political edge, reveals a candidate’s secret love affair with a boy back in his youth. Twenty years have passed and the feelings stirring insideChip lead him back to the moral decision of the man he wants to be.

Directed by Lautaro Gabriel Gonda Screenplay/Producer LaDora Sella A story of a young girl’s real and imaginary lives, combining innocence with deeper themes of finding home and family.

GUN, COYOTE Directed by Adam Walsh A 15-year-old takes his younger brother out to the desert to teach him to shoot.

A F O UR DAY CE L E B R ATIO N of t h e best in wor ld c in em a P L E AS E S E E W E BS I TE F OR COM P L E TE L I ST OF S H ORTS P ROGRA M S I - I V

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HANGING BY A THREAD Directed by Chloe Cerami A quirky, lonely man named Marty drones on in his monotonous life until he meets a woman named Carrie, and his life becomes one he could have only imagined.

WOLF DOG TALES

Hotel Santa Fe welcomes the Santa Fe Film Festival home

Directed by Bernadine Santistevan This animated film takes us through a series of stories inspired by Navajo sand paintings, a Native American art form, revealing ancient wisdoms of what animals teach us about respecting life.

AND NOW SOFIA Directed by Aaron Patterson This animated film takes us through a series of stories inspired by Navajo sand paintings, a Native American art form, revealing ancient wisdoms of what animals teach us about respecting life.

A.B.S Directed by Brighid Fleming Two young girls in middle school. One has a dark secret. When they struggle to overcome the obstacles to their friendship, things really get messy.

WHO’S GONNA SAVE YOU Directed by Robby Romero Shot in New Orleans, a teenage Apache Peace Warrior journeys on his skateboard through Crescent City seven years post- Katrina, presenting an Indigenous perspective to a global crises.

LITTLE DANCER Russia Ukraine 2012 DIRECTOR/SCREENPLAY: George Jecel, SCREENPLAY: Brook Fuller An ambitious and talented 13 year-old Eastern European dancer dreams to escape the limits of her provincial life for classical training and international stardom.

But, seething beneath Tatjiana’s familiar coming-of-age tale is a sinister plot to deliver the exquisite and innocent ballerina to the dark and tragic underworld of human trafficking. Russian with English Subtitles

JAKE SHIMABUKURO: LIFE ON FOUR STRINGS USA 2012 DIRECTOR: Tadashi Nakamura Intimate conversations with Shimabukuro, an inspiring and inventive musician whose virtuoso skills on the ukulele have transformed all previous notions of the instrument’s potential, revealing the cultural and personal influences that have shaped the man and the musician.

Dream awake

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SFFF 2 012 I D ENT IT Y: m a gicin th e ever yday.com

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Rob DeWalt I The New Mexican

M. West Photography

at the 24th Aid & Comfort Gala

Burlesque Noir

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November 16 -22, 2012

ON

Saturday, Nov. 17, Southwest Care Center, a local nonprofit that provides treatment of and testing for HIV; comprehensive medical care; and research, education, prevention, and support services to people affected by HIV/AIDS and related conditions in New Mexico, rolls out its 24th Aid & Comfort Gala fundraiser at Buffalo Thunder Resort & Casino. Last year’s event drew 800 revelers, and in 2012, organizers are hoping at least 1,000 people turn out to support their cause. The center’s Aid & Comfort Fund provides care and services, including life-saving medications that are not otherwise covered by insurance or other programs, to more than 600 people living with HIV/AIDS in New Mexico.

This year’s theme is “The World of Burlesque,” and the evening is packed with top-tier entertainment. Albuquerque’s Burlesque Noir performs, and the mistress of ceremonies is none other than San Francisco singer and gender illusionist Donna “Queen of the Castro” Sachet. (Trivia time: besides earning many well-deserved awards and accolades as a longtime fundraiser in the fight against HIV/AIDS, Sachet holds the distinction of being the first drag performer to sing the national anthem at a Major League Baseball game.)

This year’s gala boasts two honorary chairs: Tales of the City novelist and new Santa Fe resident Armistead Maupin, and his husband, website producer and photographer Christopher Turner. Phoenix DJ and filmmaker Austin Head spins on the decks, and the headliner is the multitalented Frenchie Davis, a Broadway actress, Grammy-nominated singer, and former contestant on The Voice and American Idol. A buffet, silent auction, and entertainer meetand-greet are also on the night’s bill of fare.

The evening before the gala, on Friday, Nov. 16, a celebrity chef dinner for the Aid & Comfort Fund takes place at La Posada de Santa Fe Resort & Spa. Chefs Rocky Durham (Santa Fe Culinary Academy), Mark Kiffin (The Compound and Zacatecas Tacos + Tequila), Carmen Rodriguez (La Posada), and Eric DiStefano (Geronimo, Coyote Café) join forces to create a lavish meal. “If we can sell out the gala and the celebrity chef dinner, that will be a godsend,” said Stacy Fisher, Southwest Care Center’s director of resource development, “and the dinner is so important to us now. Our bill to use La Posada is minimal, the chefs are donating their time, and their purveyors are donating food for their specific courses. This event is when we do our paddle-raise fundraiser, where we ask people, Who will give me $250 for transportation to the clinic for the year, $1,500 for lab fees, etc.”

Fisher explained that people have the tendency to confuse Southwest Care Center with Southwest Cares, a nonprofit that, along with another organization called Aid & Comfort, was absorbed years ago by Southwest Care Center. Aid & Comfort was originally a standalone nonprofit that focused on collecting financial resources to help people with HIV and AIDS stay in their homes. “It used to pay for electricity, rent, and food. Back in the ’80s, there wasn’t a lot you could do, medically, to help patients, but you could help them be comfortable in their homes, essentially until they passed away. We provide that comfort and more.” The center itself opened 16 years ago as an HIV and AIDS treatment facility funded by the Department of Health and the Health Resources and Services Administration. The center also receives money from the Ryan White Treatment Fund, and it does charge for medical services.

The center has been involved in clinical research trials of new drugs for HIV treatment for years, and has been doing trials for hepatitis C drugs as well.

With an alarming upswing in hepatitis C diagnoses among baby boomers, and a 20-percent increase in HIV infections in New Mexico between 2005 and 2009, Southwest Care Center’s work is essential to improving the health and lives of infected persons in the state.

With the need for its services widening, Southwest Care Center’s commitment to quality treatment for HIV/AIDS and hepatitis C finds it on the move.

It has acquired the building formerly occupied by Galisteo OB-GYN, and the building has been gutted. It will be the site of the center’s new state-of-the-art primary care clinic, which will be open to the general public. “It’s where we’ll be doing the hep C treatments, as well,” Fisher said, “and we hope to have a

Frenchie Davis

Austin Head

grand opening in January, with a soft opening a bit earlier. We’ve also acquired Women’s Health Services in the Casa Solana neighborhood, and that merger will be final sometime in January. It will continue its mission to provide primary-care medical services to women and families in Santa Fe and Northern New Mexico.”

With that acquisition, Southwest Care Center will have three campuses to oversee. When its Giving Heart mailing campaign goes out later this year, people will have the choice to donate money specifically toward treatment and prevention of HIV or hepatitis C. Next year, Women’s Health Services will be another option in the Giving Heart fund drive.

“What we really hope to do, and I want to stress this, is replicate at Women’s Health Services and the primary care facility what we’ve done with Aid & Comfort, which today helps offset medication copays and insurance copays for infected clients. For example, if I’m a woman with severe diabetes and I need an insulin pump, even if I have insurance, a copay on that pump is $800. That is something people would be able to apply for through our women’s health fund. As far as we know, we’re the only type of healthcare facility that has this type of funding in New Mexico.”

Aid & Comfort has taken a hit donation-wise, and Southwest Care Center has seen dips in funding from the Department of Health. “There are no grants for me to apply for that will help fund something like Aid & Comfort,” Fisher explained. “That program is something that comes strictly from bottom-of-your-heart donations.” One hundred percent of profits from fundraisers and mailing campaigns go directly toward patient-care services.

None of it goes to administrative costs. “It’s basically just three of us in the continued on Page 43

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Frank Cordero

The way they were “W

hat I want people to take away from this project is that the idea of being gay as a choice is utterly preposterous,” Paul Vitagliano told Pasatiempo by phone from his Los Angeles home.

Vitagliano, known as DJ Paul V., is a producer, events promoter, DJ, and music writer; he is the man behind the popular website www.borngaybornthisway.blogspot.com, which made the leap to print on Oct. 11 — National Coming Out Day. A collection of childhood photos and personal stories submitted by people in the LGBTQ community, Born This Way: Real Stories of Growing Up Gay is Vitagliano’s love letter to the notion of equality, and a message to gay kids everywhere (and their parents) that they are not alone.

Originally conceived in 2008-2009 as an all-celebrity site, Vitagliano’s project sat stagnant for close to a year. But following a rash of gay-teen suicides in the fall of 2010, he decided to change the website’s focus to photos and stories submitted by nonfamous people. A light-bulb moment arrived for Vitagliano when his friend Dennis changed his profile picture on Myspace: a childhood photo of Dennis posing, hands-on-hips, in a checkered one-piece outfit, a shock of blond hair crowning chubby cheeks and a toothy smile.

“I think originally people thought they had to submit the campiest picture they could find, but in reality, I wanted them to choose a photo that said, ‘This is me, and I’m proud of who I am.’ ” Arranged chronologically, the photos in the book span four decades, beginning in 1948.

Companion stories were edited for space and the short attention spans of today, and they are deeply personal: at times heartwarming, at times heartbreaking, and always ending on a note of positivity.

“I had to wait until I finished high school and left my hometown to come out. Things are different now in many places around the country, thankfully. I want to reach parents, too, in the hopes that these stories will help set the tone for their kids growing up gay today. Parents need

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November 16 -22, 2012

to know that they don’t have to wait for their children to come out. It’s a discussion they can instigate, with love and sensitivity.”

Because blog-to-book publishers love and often demand exclusive content for print, there are some famous faces in the book, such as Erasure lead singer Andy Bell at age 5; a 13-year-old Barney Frank, the first openly gay U.S. Congressman; and composer Marc Shaiman as a beaming 8-year-old. Santa Fe’s Frank Cordero, a development specialist for Southwest Care Center, shares the cover with Dennis and two others.

Vitagliano said the response to his blog has been tremendous, and when he first launched it, about 80 percent of emails he received were from parents who were worried about their children Paul Vitagliano being bullied and misunderstood by their peers. “There were some parents who wondered where they had gone wrong, and my response to that has been, wherever people are making babies, they’re making gay babies, too. Homosexuality isn’t a dirty little secret anymore, and following the re-election of President Barack Obama, who personally supports gay marriage, there’s no more hiding in the shadows. We are now and forever a part of the political conversation. My message is, yes, things may be hard at times, but there’s renewed hope.”

— R.D.W. “Born This Way: Real Stories of Growing Up Gay” by Paul Vitagliano is published by Quirk Books.

ALAN ROGERS, M.D., P.C.

AiD & Comfort Gala, continued from Page 41

Comprehensive .Compassionate .Patient Centered Health Care

resource-development office. My salary, development specialist Frank Cordero’s salary, and community outreach coordinator Fernando Casados’ salary come out of a separate administrative budget. We can assure people that their dollars are going exactly where they should.”

According to briefs released by the National Minority Aids Council, the U.S. faces $659 million in automatic spending cuts to HIV/AIDS and viral hepatitis programs due to sequestration (a fiscal-policy procedure adopted

by Congress to cope with the enormous federal budget deficit). Southwest Care Center is in the middle of the tedious process of moving toward FQHC (Federally Qualified Health Center) status, which will help ensure a bright future in what is fast becoming a bleak economic landscape for federally funded disease-treatment centers of all stripes. “Basically, the Ryan White money won’t be there anymore,” Fisher said. “Those funds will be funneled into FQHCs. The clinic is positioning itself to be able to keep providing quality treatment by following the money. But as I said, our Aid & Comfort fund doesn’t get any federal money.”

The center’s community outreach department oversees a hugely successful bilingual disease-prevention and rapid-testing campaign called Es Mejor Saber (It’s Better to Know), which won a Piñon Award from the Santa Fe Community Foundation in 2011 for Courageous Innovation. “We do a lot of rapid testing, and if you get tested and you’re positive, and you have no insurance, the goal at Southwest Care Center is to set you up with a case manager; get you enrolled in HMA, the state’s health management system; and get you signed up for insurance.

“Before we can do that, however, you have to have confirmatory lab testing. And that’s $1,500. Aid & Comfort pays for that, just to get the person in the door and on their way to getting medication and treatment. We’ve also got people with HIV living on $700-a-month disability that were told a long time ago, ‘Don’t plan for retirement or a career, because you’re not going to be alive. But they managed to survive into the mid-’90s and get access to the better drugs. In the meantime, though, HIV ravaged their systems, and they’re unable to work now. Aid & Comfort is there for those people, too.”

Southwest Care Center’s resource-development department gets by with about six people, Fisher said, but it isn’t easy by any stretch of the imagination. The center is always looking for dedicated volunteers who can help with various fundraisers such as the Aid & Comfort Gala; community outreach; the annual Kentucky Derby Day fundraiser; World Aids Day planning (the day is marked each year on Dec. 1); and direct client services (cleaning, laundry, yard work, grocery shopping, or meal preparation for patients).

Call 888-320-8200, Ext. 1031, to become a volunteer. ◀

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Friday, Nov. 16) ▼ 24th Aid & Comfort Gala: “The World of Burlesque” 8 p.m. Saturday, Nov. 17 Buffalo Thunder Resort & Casino, 30 Buffalo Thunder Trail off U.S. 84/285 north of Santa Fe $50 general gala admission tickets at the door & online; $125 VIP gala tickets includes entertainer meet-and-greet and access to the VIP lounge/hosted bar; $300 tickets include a seat at the Celebrity Chef Dinner, VIP lounge entry/hosted bar, and entertainer meet-and greet; $125 & $300 tickets available online only at www.southwestcare.org

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Adele Oliveira I The New Mexican

home off the The farawayWest of 44

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Buffalo. “May made things up, partly because he had no money to travel,” Jaehn said. “Once he had money, he went. Going on 50 years later, he was probably disillusioned, even though he wasn’t staying in tents but always went back to the nice hotel.”

May wrote more than 100 books in his lifetime.

“I’m fascinated with his personality, in part because he started writing at 34 or 35,” Jaehn said. “Someone did the math and figured out that he had to write three to four pages every day for 60 years. Every single day.”

The exhibition is based around book covers from the Karl May Verlag, a publishing house established the year after May’s death. ( Jaehn sourced many of the books from eBay.) The green covers are distinctive — stylized, brightly colored, and graphically appealing, centering on a towering saguaro or a rider on horseback leaping across a chasm. May’s work was translated into many languages (including Latin and Esperanto), and Jaehn arranged for excerpts from the books to be read aloud and recorded in several languages, including Japanese, Hungarian, Portuguese, and Hebrew. These recordings will play on a loop, along with a clip from the 1963 film adaptation Winnetou I, made in West Germany and released here as Apache Gold.

Though the exhibition is made up almost exclusively of material the museum owns, there is one borrowed piece: Winnetou’s rifle, Silberbüchse, which May posed with in photographs and which Jaehn went to considerable trouble to borrow from the Karl May Museum in Germany. The story of Silberbüchse is emblematic of May’s myth. “May said he went to Wyoming to visit Winnetou’s grave,” Jaehn explained. “He claimed a local tribe, maybe the Sioux, was raiding the grave, and that he took the rifle from the grave to protect it and brought it to Germany.” When May died in 1912, it was confirmed that the rifle was a prop. “It had never been shot — it wasn’t even capable of shooting,” Jaehn said. “He took off the barrel, added a different kind of metal. It’s a replica of a replica. Even during his lifetime, people probably knew he was fibbing. But for Germans, [the rifle] is a cultural icon.”

May was the consummate armchair traveler; he spent lots of time reading other books for research (including Baedeker’s travel guides) and claimed to speak more than 30 languages, including dozens of Native American dialects — another untruth. Still, Jaehn made it clear that he doesn’t think May was a joke: he speaks about May as though he’s an eccentric old acquaintance who has long since passed away.

“Americans don’t need May,” Jaehn said. “We have Zane Grey, who can go to the Wild West, can visit Tombstone. But Germans of the 19th century couldn’t go to the O.K. Corral, and they lived vicariously through May’s books.”

May’s legacy, particularly for Americans, is perhaps less about his work and more about the legend he created around himself. For those who haven’t read May’s books, learning about him is like developing nostalgia for something you’ve never experienced.

The sheer scope of May’s creations and the breadth of his fabrications are admirable. Einstein (a May fan) famously said, “Imagination is more important than knowledge.” Though this phrase has become a cliché, printed on greeting cards and refrigerator magnets, May demonstrates that it is possible to single-handedly create a world, and his self-definition, though laced with lies, speak to the possibility of reinvention.

Photos courtesy Karl May Museum, Radebeul, Germany

he man in the sepia-tone photograph is tiny and dressed in theatrical cowboy clothes: a wide-brimmed hat, fringed buckskin jacket, fur tossed over his shoulder, and thighhigh leather boots. His folded hands are propped atop a gun that is twothirds as tall as he is and decorated with elaborate studs. The diminutive, mustachioed figure stares off into the distance, as though looking to the horizon or the sunset, even though the painted backdrop behind him indicates a studio portrait.

The figure is Karl May (pronounced “my”), a German author who wrote adventure stories (mostly about the American West and the Near East) in the late-19th and early-20th centuries. “May was one of the most prolific writers in Europe, and he happened to pick Apaches in a pueblo south of Roswell as his heroes,” said Tomas Jaehn, a German-born historian and library archivist.

“Yet nobody in this country knows who he is.”

May is the subject of an exhibition curated by Jaehn at the New Mexico History Museum, Tall Tales of the Wild West: The Story of Karl May, which opens Sunday, Nov. 18. The exhibition kicks off with a lecture by Hans Grunert, curator of the Karl May Museum in Radebeul, Germany; other talks are scheduled for 2013.

Beloved by Einstein and Hitler, May is still wellknown in much of Europe, despite his obscurity in the United States. “Germans, French, Scandinavians, we like the Wild West,” Jaehn said. “We grew up reading Karl May with a flashlight under the covers, like kids over here read Nancy Drew or the Hardy Boys.”

May is especially ubiquitous in Germany, even if Jaehn isn’t sure that young people still read his books.

“They’re 500 to 600 pages long, and the language is outdated, very Germanic,” he said. “Now, we’re not overly proud of our Germanic-ness unless our soccer team wins.” There’s an annual Karl May festival in the German town of Bad Segeberg that draws roughly 300,000 visitors, and invoking May’s name in Europe is a kind of shorthand for cowboys and Indians, dusty frontier towns, and shoot-’em-up tales — things that Americans think of when we hear the names John Ford or Louis L’Amour.

May’s most famous characters are Winnetou, a Native American chief, after whom May’s most beloved series is named, and his best pal, Old Shatterhand, a German émigré turned mountain man who narrates the series (and is sometimes considered May’s alter ego). In dozens of adventures, many of which take place on the Llano Estacado of southeastern New Mexico and the Texas panhandle, the pair crusade for good in the face of evil. “Santa Fe doesn’t play much in the books,” Jaehn said. “Old Shatterhand said you only go to Santa Fe when you need good cigars.”

Born in 1842, May grew up poor. He developed a reputation early on for stealing, lying, and cheating.

May’s first crime was stealing candles, and his later exploits extended to posing as a doctor and a police officer. He went to prison several times. “There were three types of prison then,” Jaehn said, describing them as light, middle, and heavy. “May always got sent to the heavy prisons.” May also claimed that he had traveled extensively as the basis for his stories, but it wasn’t until late in life that he visited the East, traveling from Egypt to Indonesia. He came to the U.S. only once, in 1908, and never made it west of

Karl May dressed as his character Kara Ben Nimsi; top, May (lower left) at Niagara Falls, on his only visit to the U.S.; opposite page; May dressed as his character Old Shatterhand

Jaehn told a story about a talk he attended on Theodore Roosevelt, who helped define what it means to be a tough American outdoorsman. “Roosevelt went to a portrait studio in New York and wanted them to take a picture of him and make it look as though he’d been in the Philippines or Cuba during the SpanishAmerican War,” Jaehn said. Our heroes are sometimes defined by who they pretend to be.

May’s conception of himself as a great and brave adventurer allows readers to dwell alongside him in his epic aspirations. “Sure, May was full of himself,” Jaehn acknowledged, “but what writer is not?” ◀

details ▼ Tall Tales of the Wild West: The Stories of Karl May ▼ Opens Sunday, Nov. 18 (Hans Grunert lecture, “Karl May’s Wild West” 2 p.m., reception 3 p.m.); through Feb. 9, 2014 ▼ New Mexico History Museum, 113 Lincoln Ave. ▼ By museum admission (Sundays no charge for N.M. residents; 476-5200

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Robert Nott I The New Mexican Robert Nott I The New Mexican

SHOOTOUT AT THE YUGO

1960s film adaptations of Karl Mayâ&#x20AC;&#x2122;s tales

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A recent look at six of the 1960s Winnetou movies confirms Grant’s thesis. If Winnetou is the German version of Tonto, then he’s still the guy in charge, with Shatterhand as his Lone Ranger sidekick, generally taking orders and taking a back seat to the proceedings.

The good white guys in these films are always getting into trouble — beat up, locked up, tied up — and have to await rescue by Winnetou. He is the ever-brave, resourceful, peaceful leader who adheres to the Indian Code of Honor. “Winnetou admires justice!” he proclaims in one of the films. Not surprisingly, Brice became the star of the series. German school boys seeing these movies probably wanted to grow up to be Winnetou, not John Wayne.

The films usually find room for a massive gun duel around the midway mark and an equally big action sequence near the end. Shatterhand’s clueless white friends usually get captured by some non-friendly Indian tribes (the Shoshones are particularly handy for this in the films) and then Shatterhand has to prove his honesty and courage by undergoing some unintentionally humorous contest of physical strength.

Comedy and romance worked their way into the plots of the three Winnetou films that former MGM star Stewart Granger made in place of Barker, who was no doubt off filming some other European-made nonsense, like Code 7, Victim 5 or Pyramid of the Sun God. Grant accurately notes that the Granger Winnetou vehicles — in which the British star played Old Surehand, rather than Shatterhand — are easier for contemporary audiences to stomach today, thanks to Granger’s goodhumored attitude. Barker, who had succeeded Johnny Weismuller as Tarzan at RKO in the late 1940s, wasn’t exactly versed in delivering witty lines. Yet Barker’s one-note emoting — he was sort of the George Raft of the German Western set — fit the bill in most of the more serious Winnetou films and did not take away from Brice’s personality. Interestingly, Granger’s Surehand sometimes overshadows Brice’s Winnetou in these movies.

Up-and-coming European stars including Elke Sommer,, Klaus Kinski, and Terence Hill pop up in several of the Winnetou films, and former American matinee idol Guy Madison plays a racist Army officer in one. Novel touches pop up now and then: in Winnetou III, aka Apache’s Last Stand, the attacking Indians get fed up with the impact the cavalry’s cannons have on their battle efforts, so they lasso the cannons and drag them off. And in Among Vultures, Granger’s Surehand character has to prove his reliability by using his rifle to shoot arrows fired at him

by Indian archers.

The Winnetou films hit their stride by the mid-1960s, the same time that Sergio Leone made his seminal spaghetti western, A Fistful of Dollars. “Leone acknowledged that he had seen these movies and that they were a partial influence for what he did with the first of the trilogy of Dollar films,” Ellis said. If the Winnetou series ran out of steam by the late 1960s — one of the last of that era features aging actor Rod Cameron as Winnetou’s friend Firehand, with the duo fighting off Mexican bandits in a border town in a weak plot that suggests that Winnetou’s showboat was running out of steam — Ellis still finds it impressive that the pictures remained as popular for as long as they did.

“A nine- or 10-film series is a pretty good stretch from one basic literary source, whether it’s Harry Potter or the James Bond films,” he said. “You have to look at these as a very successful series that are ripe for rediscovery.” ◀

Books courtesy the Fray Angélico Chávez History Library, NMHM

ome 50 years ago, a German-language Western — shot in the former Yugoslavia and featuring an unknown French actor and a fading American star as its lead characters — was released to box-office success in Europe. The Treasure of Silver Lake, based on a novel by Karl May, concerns the efforts of the noble Apache Winnetou and his white pal Old Shatterhand (so called because he reportedly decked a bear with one punch) to foil the evil machinations of white men who want Apache gold and are willing to start a war to get it. The picture features nonstop action, exciting stunt work, cliffhanger-style situations, mismatched costumes, a Gabby Hayes-type comic character, and a rousing last-minute sequence in which the Indians, not the cavalry, ride to the rescue.

And thus the popular Winnetou film series, based on May’s books and characters, was born. They are all glorious, surreal, and kind of goofy, and they feature breathtaking vistas. Many were directed by Harald Reinl, whom few remember today, and benefit from memorable scores by composer Martin Böttcher.

The New Mexico History Museum shows the second of the 1960s Winnetou films, titled Winnetou I, aka Apache Gold, at 6 p.m. on Nov. 30 as part of the exhibition Tall Tales of The Wild West: The Story of Karl May, which opens Sunday, Nov. 18. Screenwriter and producer Kirk Ellis ( John Adams) introduces the screening.

Winnetou I’s story revolves around yet another search for Indian gold by thieving, murderous white men who are more than happy to start a war to distract people from their evil intent. Though the film was the second in the series, it actually serves to introduce viewers to the story of how Winnetou (played by French actor Pierre Brice) and Shatterhand (Lex Barker, best known for playing Tarzan) first meet and join forces to overcome the bad guys.

“That movie conforms to the basic stepping-stone story points of the novel, but it builds in a whole level of villainy that is not in the book itself,” Ellis said. “The weird thing about the Winnetou films is that they do reflect May’s version of the West, which, to a certain degree, was influenced by the work of James Fenimore Cooper, an author May would have read. The books and films are very pro-Indian, even though there is this incredible paternalism to the way May deals with them, especially in the books. The fact is, the white guys in the books are uniformly the bad guys. The films are, on the one hand, as sumptuously picturesque as the best of the American Westerns of the ’40s and ’50s and yet have a very savage, sadistic streak that looks forward to the spaghetti westerns of [Sergio] Leone, [Sergio] Sollima, and [Sergio] Corbucci.”

At the climax of Silver Lake, for instance, the main villain (played by character actor Herbert Lom) sinks in desperate terror into some sort of molten-metal quagmire, and what befalls the bad guy at the climax of Winnetou I is pretty chilling too.

Kevin Grant, in his book Any Gun Can Play: The Essential Guide to Euro-Westerns, notes that “all the films stick to a fairly inflexible format. Almost without exception, the drama centers on a breach in the fragile relations between Indian tribes and white settlers. Scaremongering Yankee villains are always to blame, exploiting the mutual distrust of the races for their own financial gain. ... The plots and themes reflect the author’s belief in the inherent moral superiority of Native Americans over Yankee bigots, gold hunters, and industrialists.”

Above, books by Karl May; opposite page, Pierre Brice as Winnetou and Lex Barker as Shatterhand in Winnetou I PASATIEMPO

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PLAINSONG Ken Burns’ ‘The Dust Bowl’documents an American tragedy

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Michael Abatemarco I The New Mexican

BY NOW, KEN BURNS HAS BECOME SOMETHING OF A HOUSEHOLD NAME.

America’s most popular documentarian, known for his comprehensive, straightforward approach, brings us his latest film, a two-part treatment of one of the nation’s worst ecological disasters, the Dust Bowl. Everyone interviewed in the film — and Burns peoples all his documentaries with a slew of talking heads — regards this episode in U.S. history as a great tragedy. Burns’ film The Dust Bowl makes clear early in Part 1, The Great Plow-Up, that the choking storms, failed crops, swarms of locusts, and desperate acts of those most affected were all part of a human-made catastrophe. The Dust Bowl is shown on PBS on Sunday and Monday, Nov. 18 and 19, with nearly a four-hour total running time. New Mexico played an integral role in the making of the film, with film crews based around Clayton, an area itself affected by the Dust Bowl. The documentary tells of writer and homesteader Caroline Henderson, using excerpts from her journals and letters. Henderson’s eyewitness account never manages to engender as much sympathy as do the stories of living survivors, however.

After the Homestead Act of 1862, Easterners and immigrants from Europe were compelled to move west with the promise of acres of land. Soon after, unscrupulous real-estate agents were selling plots not conducive to farming.

Most of the areas devastated by the Dust Bowl were extensive grasslands contained by the Great Plains, including parts of Colorado, New Mexico, Kansas, Texas, and Oklahoma. The land is flat, the native buffalo grass and other grasses the only things that can grow in the constant, driving winds. Still, men and women tilled the soil. For a time, their efforts paid off. During World War I, people celebrated bumper crops of golden wheat. But by the mid-1930s, severe drought and the destruction by plows of native grasses that held the soil together had resulted in suffocating dust storms of unimaginable magnitude.

The region became a virtual desert.

We learn the details of this terrible time from the survivors. All of them were children during the Dust Bowl. Burns’ documentary tells their stories with his customary still images, many of them iconic photographs now in the Library of Congress and some from Clayton’s Herzstein Memorial Museum, and a good deal of stock footage, some from Center for Southwest Research and the Herzstein Latin American Reading Room, both at the University of New Mexico.

One scene is difficult to watch. Jack rabbits, overrunning areas where the grasses had vanished, invaded farms by the hundreds, eating anything green.

Some communities organized rabbit kills, and the film depicts great piles of them clubbed to death, while Dust Bowl survivors tell of the horror they witnessed. Surprisingly, this scene does not have the emotional punch it could have, nor does the film on the whole. Despite a telling that leaves no stone unturned, the documentary, with Peter Coyote’s dry narration, does not have the impact of Timothy Egan’s masterful book The Worst Hard Time: The Untold Story of Those Who Survived the Great American Dust Bowl. Egan is interviewed at length in the film. The focus of The Great Plow-Up is the Oklahoma panhandle, an area that would become known as No Man’s Land.

Egan describes events leading up to the Dust Bowl as an American bubble story. The high yields and high prices farmers could fetch for their wheat constituted an unsustainable model of agriculture. But even when the droughts came and the crops failed, the “Next-Year People” held out hope for better times ahead. Dust storms were not uncommon in the region, but by 1932 the storms had reached unprecedented levels, with sweeping walls of wind-driven dust reaching as high as 10,000 feet into the air. Many of those unable to find shelter from the storms died of suffocation. If the cattle didn’t die in the storms, they died of starvation. Unhealthy cattle, not fit for consumption, were sometimes driven into ditches to be slaughtered, accompanied by the wails of mortified children. By the close of Part 1, the storms in No Man’s Land had continued on Page 50

Dust storm approaching Ulysses, Kansas, on “Black Sunday,” April 14, 1935; courtesy Historic Adobe Museum PASATIEMPO

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The Dust Bowl, continued from Page 49 increased from 14 in 1932 to as many as 38 the following year, and it would only get worse, much worse. Up to 90 percent of properties were foreclosed on, and suicides increased.

At the start of Part 2, Reaping the Whirlwind, few families remained to eke out what living they could, while hundreds of thousands moved to other regions, many to California, seeking work as migrant farmers. They were called Okies, a derogatory term, and lived in abject poverty in tents and temporary settlements.

Their plight would be documented by photographers working under economist Roy Stryker for the Farm Security Administration, part of Franklin Roosevelt’s New Deal. Photographers Arthur Rothstein, Walker Evans, Dorothea Lange, and others contributed much of the imagery Burns relies on to tell this tale.

In some measure, Roosevelt’s programs offered relief to the region. Farmers who remained were urged to adopt conservation practices such as contour 50

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plowing, which reduced rainwater runoff. Roosevelt stated that unless something was done to reverse the effects, the region would become a man-made Sahara. The only difference, remarked Egan, was that no one was trying to farm the Sahara.

By the mid-1930s, the crises, compounded by the economic collapse of 1929 that led to the Great Depression, became a focus of government projects. The Civilian Conservation Corps planted more than 200 million trees on the plains to help break the driving winds and stabilize soil. Government jobs offered some relief to poor farmers, but politics made things difficult. Those opposed to Roosevelt’s policies decried the new government programs as socialism and un-American (charges that eerily resonate in the political climate of today). Folk singer and radio personality Woody Guthrie’s stance on the matter was defiant.

“I ain’t a Communist necessarily,” he stated, “but I’ve been in the red all my life."

Guthrie used his music to tell the story of migrant workers and poor farmers in song.

Despite the lessons of the Dust Bowl, in many ways agriculturalists continue to ignore the rhythms of nature. A second drought threatened the region again in the early 1950s. Today, those with long memories know that it could happen again. For now, the plains are rich in production once more, thanks to the tapping of the Ogallala Aquifer, a massive underground water source stretching from South Dakota all the way into Texas. The aquifer, however, is a limited resource.

While the grasses have returned to some areas, the threat of another disaster looms so long as production is left unchecked. The Dust Bowl is an important part of American history, and perhaps a Burns documentary was inevitable. Burns does a credible job of presenting the material, and The Dust Bowl is an exhaustive and authoritative account of its subject. The history lesson is one we should learn and heed. ◀ “The Dust Bowl,” a documentary by Ken Burns, is shown on PBS. Part 1: “The Great Plow-Up” is at 7 p.m. Sunday, Nov. 18; Part 2: “Reaping the Whirlwind” is at 7 p.m.

Monday, Nov. 19.

Left, ranch in Boise City, Oklahoma, threatened by dust on April 15, 1935; AP Photo; top, children in Lakin, Kansas, leaving for school, 1935; courtesy Joyce Unruh/Green Family Collection

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An Afternoon of Music and Lace

It’s our differences that make us great.

Sunday, November 18, 1:00 ñ 4:00 pm Gallery talk with curator Bobbie Sumberg, Ph.D., Lacemaking demos by Enchanted Lacemakers Music by Slaveya & Goddess of Arno.

Photo by Addison Doty

No matter what you value, we’re here to protect it with respect and professionalism. Like a good neighbor, State Farm is there.® CONTACT AN AGENT TODAY.

Garrett Seawright, Agent Bus: 505-982-5433 www.theseawrightagency.com

James Armijo, Agent Bus: 505-982-4412 www.jamesarmijo.com

Presented in conjunction with the exhibition Young Brides, Old Treasures: Macedonian Embroidered Dress By museum admission New Mexico Residents with I.D. free on Sundays. Youth 16 and under and MNMF members always free.

Funded by the International Folk Art Foundation.

Wayne Steen, Agent Bus: 505-820-7926 www.waynesteen.com

Belinda Maez-Ferrero, Agent Melissa Pessarra Ins Agcy Inc Melissa Pessarra, Agent Bus: 505-471-1313 Bus: 505-471-5700 www.belindaferrero.net www.melissapessarra.com

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PASATIEMPO

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MOVING IMAGES pasa pics

— compiled by Robert Ker

RISE OF THE GUARDIANS Earlier this year, Marvel’s superheroes banded together as The Avengers. Now, we get a super team of Santa Claus, the Easter Bunny, the Tooth Fairy, and more. They join one another in this animated adventure to fight an evil spirit named Pitch (voiced by Jude Law). Hugh Jackman, Chris Pine, and Alec Baldwin also lend their voices. Opens Wednesday, Nov. 21. Rated PG. 97 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. (Not reviewed) A ROYAL AFFAIR In the 1760s, well-read 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 gorgeously lit sets, 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) See review, Page 56.

Claw-strophobic: Suraj Sharma in Life of Pi, at Regal Stadium 14

opening this week A LATE QUARTET The egos and personalities among members of a string quartet on the eve of their 25th season together is examined the way a sports team might be before a big game. The cellist (Christopher Walken) is diagnosed with Parkinson’s disease, which hits the violist (Catherine Keener) hard. Her husband, the second violinist (Philip Seymour Hoffman), wants to swap chairs with the first (Mark Ivanir).

Opens Wednesday, Nov. 21. Rated R. 105 minutes.

Regal DeVargas, Santa Fe. (Not reviewed) LIFE OF PI Ang Lee directs this adaptation of the much-loved novel by Yann Martel, in which a boy named Pi (Suraj Sharma) finds himself sharing a lifeboat on the ocean with a Bengal tiger. He spends much of the ride learning lessons of his inner strength and hoping that the tiger doesn’t get so hungry that a slice of Pi starts looking tasty. Opens Wednesday, Nov. 21. Rated PG. 127 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. (Not reviewed) 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 it took, politically, to achieve it. The president deals with the false choice 52

November 16 -22, 2012

of ending the war and ending slavery, hearty criticism from his political enemies on both sides, 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 Jones as radical abolitionist Thaddeus Jones stand out from an otherwise unremarkable ensemble cast. Interesting, but not epic. Rated PG-13. 149 minutes. Regal Stadium 14, Santa Fe. (Bill Kohlhaase) See review, Page 58.

PERFORMANCE AT THE SCREEN The fall series of high-definition screenings of performances from afar continues with “Move to Move,” an evening of four contemporary pieces danced by members of Nederlands Dans Theater. The choreographers are Alexander Ekman, Sol Léon, Paul Lightfoot, and Ohad Naharin. 11 a.m. Sunday, Nov. 18, only. Not rated.

Approximately 168 minutes (with one intermission).

The Screen, Santa Fe. (Not reviewed) RED DAWN In 1984, the Cold War was nearing its conclusion but still very much alive; therefore a movie about young people (led by Patrick Swayze) fighting off a Soviet invasion in their hometown seemed to be fair play. This 2012 remake features a less-probable invasion by North Korea (switched from China in post-production, to avoid alienating an additional 1.35 billion customers). Chris Hemsworth (Thor) leads the retaliation. Opens Wednesday, Nov. 21. Rated PG-13. 93 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)

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) See review, Page 62.

SILVER LININGS PLAYBOOK Robert De Niro is seemingly in every life-affirming dramedy about mental illness, so he cleared his schedule to play a man whose son (Bradley Cooper) is released from an institution and has a meet-cute with a troubled woman (Jennifer Lawrence). Opens Wednesday, Nov. 21.

Rated R. 122 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) SIMON AND THE OAKS Bill Skarsga° rd (son of the terrifying Stellan Skarsga° rd) plays a working-class boy who learns about the arts, his family, and the world around him (specifically, the turmoil of World War II) in this coming-of-age story set primarily in 1940s Sweden. Opens Wednesday, Nov. 21. Not rated.

122 minutes. In Swedish and German with subtitles.

Regal DeVargas, Santa Fe. (Not reviewed) TALES OF THE NIGHT French animator Michel Ocelot returns with another spectacle of style and shadow-puppet

narrative, delivering six separate tales told through the prism of an evening at a magical movie theater occupied by an aging cinema technician and two children with wild imaginations. Ornate set pieces drenched in color and crafted using traditional silhouette animation and digital 3-D technology prop up the six internationally flavored stories, which range in content from werewolves to human sacrifice and unrequited love.

While some of the subject matter may bore the smaller Pixar ponies in your family stable — and may come off as underdeveloped to some adults — Ocelot retains his gift for enchanting people of all ages with his singular visual gifts. Not rated. 84 minutes. Dubbed in English.

CCA Cinematheque, Santa Fe. (Rob DeWalt) THE TWILIGHT SAGA: BREAKING DAWN — PART 2 With this final installment of As the Vampire Turns — that is, the Twilight saga — we can finally put this franchise in its grave. Our now-bloodsucking heroine Bella (Kristen Stewart) learns to hunt (animals, not people) and discovers that her werewolf pal Jacob (Taylor Lautner) has “imprinted” on her newborn daughter, which means they will be mates for life. The girl is half human, half vampire and grows with unusual speed; the elder Volturi council mistakes her for an uncontrollably vicious “immortal child” and pays the Cullen clan a visit. Twi-hard fans will appreciate the film’s fidelity to the novel (despite one welcome twist) and Lautner’s obligatory removing-of-the-clothes moment. The rest of us should thank our lucky stars for the levity screenwriter Melissa Rosenberg injects into the story, and a gripping battle scene. But the score is overblown and soapy, the CGI looks cheap, and the makeup remains ridiculously clownlike. Rated PG-13. 115 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Laurel Gladden) WUTHERING HEIGHTS The new adaptation of the classic novel, directed by Andrea Arnold, is ambitious but terrible. Most of the actors in the film are amateurs, and it shows. The visual style is a character unto itself. We’re often seeing just a piece of ear or hair, or a smudgy blur of rain out a dirty window. If you haven’t read the book or seen a few film versions, it is unlikely you will even know what’s going on. Not rated. 129 minutes. Center for Contemporary Arts, Santa Fe. ( Jennifer Levin) See review, Page 60.

now in theaters ARGO Ben Affleck takes a true story by the throat and delivers a classic seatsquirming, pulse-pounding 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 and a spot-on bunch of unknowns as the hiders.

Rated R. 120 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) THE BIG PICTURE Eric Lartigau’s thriller is one of those dark, tasty numbers that the French export like burgundy.

Paul Exben (Romain Duris) has it all — successful law firm, beautiful wife and kids — until it suddenly comes apart. Circumstances precipitate a desperate change of identity, sending him fleeing his comfortable Paris life to the anonymity of Montenegro, where he finds the chance to be the photographer he always wanted to be. But anonymity is a fickle mistress. A terrific performance by Duris and a fine supporting cast led by Catherine Deneuve and Niels Arestrup help paper over some credibility strains, but overall it’s a crisp, tense entertainment, with enough philosophical overtones to give it substance. Not rated.

114 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) BLESS ME, ULTIMA In lesser hands, the film adaptation of Rudolfo Anaya’s classic novel could have been cloyingly precious magical realism. But Bless Me, Ultima, directed by Carl Franklin, was shot in and around Santa Fe with Spanish-speaking actors, which imbues the story of murder and witches in World War II-era Northern New Mexico with authenticity. Antonio (played by Luke Ganalon), is 6 years old when his grandmother Ultima (Miriam Colon), a curandera, comes to stay with his family. Antonio sees too much for a kid his age, but he is brave in the face of grown-up pressures.

Rated PG-13. 105 minutes. In English and Spanish, no subtitles. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Jennifer Levin) CLOUD ATLAS If you see only one movie this year, perhaps it should be Cloud Atlas.

Not that it’s the best movie, but it’s six movies for the price of one, and it packs the running time of two more modest features. It’s the work of three directors. It serves up some of your favorite actors in a half dozen different roles apiece, sometimes heavily disguised. 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 Stadium 14, Santa Fe. (Jonathan Richards)

Rise of the Guardians

FLIGHT Director Robert Zemeckis returns with his first live-action film since 2000’s Cast Away, and it’s about everyone’s favorite subject: a commercial flight gone horribly wrong. Denzel Washington plays a pilot who pulls off a miracle of an emergency landing, but the ensuing investigation into the near-crash turns up troubling facts — some of which implicate the pilot in the disaster, tearing his life apart. Don Cheadle and John Goodman co-star. Rated R. 139 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) FUN SIZE On Halloween, teenage Wren (Victoria Justice) faces an evening so horror-filled that it would make H.P. Lovecraft say, “OMG!” She’s invited to a party by her total crush (Thomas McDonell), but her mom makes her take along her bratty kid brother (Jackson Nicoll). Rated PG-13. 90 minutes.

DreamCatcher, Española. (Not reviewed) HOTEL TRANSYLVANIA Andy Samberg voices Jonathan, a human who crashes the Hotel Transylvania — created to give monsters sanctuary from people — and falls for Drac’s daughter (Selena Gomez). Rated PG. 95 minutes. Screens in 2-D at Regal Stadium 14, Santa Fe. (Not reviewed) THE INTOUCHABLES This low-key, feel-good French movie — in which a wealthy man (François Cluzet) loses his wife and the use of his arms and legs in an accident and bonds with the Senegalese ex-con (Omar Cy) who is assigned to be his caretaker — is one of the surprise hits of the year. Its global box-office take more than $350 million, and it keeps continued on Page 54 PASATIEMPO

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chugging on in Santa Fe. Rated R. 112 minutes. In French with subtitles. Regal DeVargas, Santa Fe. (Not reviewed) THE MASTER After World War II, emotionally troubled Navy vet Freddie Quell ( Joaquin Phoenix) is taken under the wing of Lancaster Dodd (Philip Seymour Hoffman), the leader of a nascent spiritual group known as The Cause. This film from Paul Thomas Anderson poses heady questions about belief, mental health, and whether humans really can — or want to — change. It’s intense, ambitious, and visually luminous. Phoenix and Hoffman deliver two of the finest screen performances this year. Still, the film lacks a cohesive plot, and you may leave the theater wondering what Anderson was trying to say. Rated R. 137 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) THE PERKS OF BEING A WALLFLOWER Stephen Chbosky’s young-adult novel gets an adaptation of such high-polished twee that it can only have come from the production company behind Juno. Chbosky wrote and directed the film. Charlie (Logan Lerman) is new to his high school and a bit shy. He receives some guidance from Sam (Emma Watson, Hermione in the Harry Potter films) and her half-brother, Patrick (Ezra Miller). Rated PG-13. 103 minutes. Regal DeVargas, Santa Fe. (Not reviewed) PITCH PERFECT The Breakfast Club meets Glee in this likable adolescent romp. The plot is as predictable as a calendar, and the characters are drawn from columns A and B like items from a menu. The excellent Anna Kendrick, who was all grown up in Up in the Air, has been demoted to college freshman as Beca, who only wants to be a DJ but has to go to college. She joins a sorority-like a-cappella ensemble and drags it into the 21st century.

There’s some nice group singing, although there could be more and it could be better, and the same goes for the gags. Rated PG-13. 112 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) SAMSARA This is a documentary without narration, without characters, without a formal story. Its narrative and message, driven by a hypnotic Michael Stearns score, are conveyed by director Ron Fricke’s (Baraka)

spicy bland

medium

mild

heartburn

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

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sequence of stunning images, filmed in 70 mm and gathered from 25 countries on five continents. The visuals are extraordinary, but much of the time you may find yourself wondering where you are, even as you bathe in the beauty of nature’s abundance and culture’s triumphs or squirm at the robotic cruelty and soullessness of the modern world. But for all the negatives, the beauty ultimately trumps the squalor.

Rated PG-13. 99 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) 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. The film follows the triumphs and frustrations of a journalist and 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) SEVEN PSYCHOPATHS Writer/director Martin McDonagh follows his 2008 cult hit In Bruges with another story of eccentric gangsters. This time, he’s got quite the canvas for his snappy dialogue: the cast includes Sam Rockwell, Christopher Walken, Woody Harrelson, Tom Waits, and Colin Farrell, and the story involves screenwriting, psychopaths, and a dognapped Shih Tzu. The actors have a good time, and there are wonderful moments in between the dead spots. McDonagh is a master storyteller, sprinkling his humor and violence with poignancy and postmodernism, but this feels more like a short-story collection than a novel. Rated R. 109 minutes. Regal DeVargas, Santa Fe. (Robert Ker) SISTER The acting in this unflinching portrayal of a little boy’s need for love is superb. Simon, age 12, steals for a living. He lives in the valley of a Swiss ski town with his sister, Louise, who isn’t much inclined toward mothering her little brother. Sister asks what the difference is between love and obligation. What does it mean to be wanted? And when we know that we are not, what becomes of us? The answers are among the most emotionally brutal ever captured on film. Not rated. 97 minutes. In French and English with subtitles. The Screen, Santa Fe. (Jennifer Levin) 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; DreamCatcher, Española; Storyteller, Taos. ( Jeff Acker) THE STORY OF FILM: AN ODYSSEY This is the Lord of Film Histories, its 900-minute running time eclipsing the combined duration of Peter Jackson’s Lord of the Rings trilogy by four hours. But if you have a weak bladder, have no fear — The Screen presents it in installments.

Breathtaking and audacious, it boasts more depth and breadth than any previous effort to chronicle the history of cinema. The final episodes — 13, 14, and 15 — screen at 11 a.m. on Saturday, Nov. 17, only. Not rated. Each episode runs approximately 60 minutes.

The Screen, Santa Fe. (Jon Bowman) TAKEN 2 Liam Neeson’s turn as a bankable action star got a boost with 2008’s Taken, in which he played a man who kills everyone between him and his kidnapped daughter. But if he’s so tough, why does his family keep getting taken? This time, it’s his wife (and him). Rated PG-13. 91 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) WRECK-IT RALPH With its many nods to old-school video games, Wreck-It Ralph initially seems like a cartoon that appeals more to ex-geek parents than their offspring. And then the story — about a villain (the title character, voiced

by John C. Reilly) who breaks out of his video game to become a hero — kicks in, and the action shifts to the fictional “Sugar Rush” racing game and its colorful setting, where the film becomes a psychedelic swirl of adventure and imagination. Wreck-It Ralph may be too long, but it racks up a high score when it comes to heart, cleverness, and humor. Rated PG. 120 minutes.

Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. Screens in 2-D only at Storyteller, Taos. (Robert Ker)

other screenings Center for Contemporary Arts 3:30 p.m. Sunday, Nov. 18: Brothers.

Presented by the Santa Fe Jewish Film Festival.

Museum of Contemporary Native Arts 108 Cathedral Place, 983-1666 Grab.

Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 6 p.m. Sunday, Nov. 18: Wilderness Film Festival.

Sunday-Tuesday, Nov. 18-20: The Well Digger’s Daughter. ◀

WHAT’S SHOWING Call theaters or check websites to confirm screening times.

Some information was unavailable at press time.

CCA CINEMATHEQUE AND SCREENING ROOM 1050 Old Pecos Trail, 982-1338, www.ccasantafe.org The Big Picture (NR) Fri. to Sun. 7:15 p.m. Tue. and Wed. 7:15 p.m.

Brothers (NR) Sun. 3:30 p.m.

Samsara (PG-13) Fri. and Sat. 3 p.m. Sun. 12:15 p.m.

Tue. and Wed. 3 p.m.

Searching for Sugar Man (PG-13) Fri. and Sat. 1:30 p.m., 6 p.m., 8 p.m. Sun. 6 p.m., 8 p.m. Tue. and Wed. 1:30 p.m., 6 p.m., 8 p.m.

Tales of the Night (NR) Fri. and Sat. 1 p.m., 5:15 p.m.

Sun. 2:30 p.m., 5:15 p.m. Tue. and Wed. 5:15 p.m.

Wuthering Heights (NR) Fri. and Sat. 3:30 p.m.

Sun. 12:45 p.m. Tue. and Wed. 3:30 p.m.

REGAL DEVARGAS 562 N. Guadalupe St., 988-2775, www.fandango.com The Intouchables (R) Fri. to Tue. 1:10 p.m., 3:50 p.m.

The Master (R) Fri. and Sat. 1:05 p.m., 4 p.m., 7 p.m., 9:55 p.m. Sun. to Tue. 1:05 p.m., 4 p.m., 7 p.m.

The Perks of Being a Wallflower (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:40 p.m., 10 p.m. Sun. to Tue. 1:30 p.m., 4:30 p.m., 7:40 p.m.

Pitch Perfect (PG-13) Fri. and Sat. 7:10 p.m., 9:50 p.m.

Sun. to Tue. 7:10 p.m.

The Sessions (R) Fri. and Sat. 1:20 p.m., 4:10 p.m., 6:50 p.m., 9:45 p.m. Sun. to Tue. 1:20 p.m., 4:10 p.m., 6:50 p.m.

Seven Psychopaths (R) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:30 p.m., 10:05 p.m. Sun. to Tue. 1:40 p.m., 4:40 p.m., 7:30 p.m.

Simon and the Oaks (NR) Fri. and Sat. 1 p.m., 4:20 p.m., 7:20 p.m., 10:05 p.m. Sun. to Tue. 1 p.m., 4:20 p.m., 7:20 p.m.

REGAL STADIUM 14 3474 Zafarano Drive, 424-6296, www.fandango.com Argo (R) Fri. to Tue. 10:25 a.m., 1:20 p.m., 4:15 p.m., 7:10 p.m., 10:05 p.m.

Bless Me, Ultima (PG-13) Fri. to Tue. 10:10 a.m., 12:30 p.m., 2:55 p.m., 5:20 p.m., 7:50 p.m., 10:25 p.m.

Cloud Atlas (R) Fri. to Tue. 10 a.m., 3:55 p.m., 10 p.m.

Flight (R) Fri. to Tue. 12:45 p.m., 4:05 p.m., 7:20 p.m., 10:30 p.m.

HotelTransylvania (PG) Fri. to Tue. 10:15 a.m., 12:35 p.m., 3 p.m., 5:25 p.m.

Life of Pi (PG) Starts Wednesday Lincoln (PG-13) Fri. to Tue. 12 p.m., 3:45 p.m., 7:15 p.m., 10:35 p.m.

Red Dawn (PG-13) Wed. and Thurs. 11:20 a.m., 2:10 p.m., 5 p.m., 7:50 p.m., 10:35 p.m.

Rise of the Guardians (PG) Starts Wednesday Silver Linings Playbook (R) Wed. and Thurs. 11:05 a.m., 1:55 p.m., 4:45 p.m., 7:35 p.m., 10:25 p.m.

Skyfall (PG-13) Fri. 10:05 a.m., 11:05 a.m., 12:05 p.m., 1:15 p.m., 2:30 p.m., 3:30 p.m., 4:30 p.m., 7:05 p.m., 7:25 p.m., 7:45 p.m., 10:20 p.m., 10:35 p.m., 11 p.m.

Sat. and Sun. 10:05 a.m., 11:05 a.m., 12:05 p.m., 1:15 p.m., 2:30 p.m., 3:30 p.m., 4:30 p.m., 7:05 p.m., 7:25 p.m., 7:45 p.m., 10:20 p.m., 10:35 p.m. Mon. and Tue. 10:05 a.m., 11:05 a.m., 12:05 p.m., 1:15 p.m., 2:30 p.m., 3:30 p.m., 4:30 p.m., 7:05 p.m., 7:25 p.m., 7:45 p.m., 10:20 p.m., 10:35 p.m.

Taken 2 (PG-13) Fri. to Tue. 1:35 p.m., 7:35 p.m.

TheTwilight Saga: Breaking Dawn - Part 2 (PG-13) Fri. 10 a.m., 10:30 a.m., 11 a.m., 1 p.m., 1:30 p.m., 2 p.m., 4 p.m., 4:30 p.m., 5 p.m., 7 p.m., 7:30 p.m., 8 p.m., 8:30 p.m., 10 p.m., 10:30 p.m., 11 p.m., 11:30 p.m., 1 a.m.

Sat. and Sun. 10 a.m., 10:30 a.m., 11 a.m., 1 p.m., 1:30 p.m., 2 p.m., 4 p.m., 4:30 p.m., 5 p.m., 7 p.m., 7:30 p.m., 8 p.m., 8:30 p.m., 10 p.m., 10:30 p.m. Mon. and Tue. 11 a.m., 1 p.m., 1:30 p.m., 2 p.m., 4 p.m., 4:30 p.m., 5 p.m., 7 p.m., 7:30 p.m., 8 p.m., 8:30 p.m., 10 p.m., 10:30 p.m. Wed. 10:30 a.m., 1 p.m., 1:30 p.m., 4 p.m., 4:30 p.m., 7 p.m., 7:30 p.m., 10 p.m., 10:30 p.m. Thurs. 1 p.m., 1:30 p.m., 4 p.m., 4:30 p.m., 7 p.m., 7:30 p.m., 10 p.m., 10:30 p.m.

Wreck-It Ralph (PG) Fri. to Tue. 11:40 a.m., 2:20 p.m., 5 p.m., 7:40 p.m., 10:20 p.m.

Wreck-It Ralph 3D (PG) Fri. to Tue. 11:10 a.m., 1:50 p.m., 4:30 p.m., 7:10 p.m., 9:50 p.m.

THE SCREEN Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com Nederlands DansTheater: Move to Move Sun. 11 a.m.

A Royal Affair (R) Fri. to Wed. 2 p.m., 4:45 p.m., 7:30 p.m. Thurs. 11:15 a.m., 2 p.m.

Sister (NR) Mon. to Wed. 12 p.m.

The Story of Film:An Odyssey: Parts 13-15 (NR) Sat. 11 a.m.

STORYTELLER DREAMCATCHER CINEMA (ESPAÑOLA) 15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.storytellertheatres.com Argo (R) Fri. 4:05 p.m., 6:55 p.m., 9:45 p.m. Sat. 1:15 p.m., 4:05 p.m., 6:55 p.m., 9:45 p.m. Sun. 1:15 p.m., 4:05 p.m., 6:55 p.m. Mon. and Tue. 4:05 p.m., 6:55 p.m.

Bless Me, Ultima (PG-13) Fri. 4:15 p.m., 7:05 p.m., 9:20 p.m. Sat. 1:10 p.m., 4:15 p.m., 7:05 p.m., 9:20 p.m.

Sun. 1:10 p.m., 4:15 p.m., 7:05 p.m. Mon. and Tue. 4:15 p.m., 7:05 p.m.

Flight (R) Fri. 3:45 p.m., 6:50 p.m., 9:55 p.m. Sat. 12:45 p.m., 3:45 p.m., 6:50 p.m., 9:55 p.m. Sun. 12:45 p.m., 3:45 p.m., 6:50 p.m. Mon. and Tue. 3:45 p.m., 6:50 p.m.

Fun Size (PG-13) Fri. 4:20 p.m., 7:20 p.m., 9:25 p.m.

Sat. 1:20 p.m., 4:20 p.m., 7:20 p.m., 9:25 p.m. Sun. 1:20 p.m., 4:20 p.m., 7:20 p.m. Mon. and Tue. 4:20 p.m., 7:20 p.m.

Skyfall (PG-13) Fri. 3:55 p.m., 6:45 p.m., 9:50 p.m.

Sat. 12:55 p.m., 3:55 p.m., 6:45 p.m., 9:50 p.m. Sun. 12:55 p.m., 3:55 p.m., 6:45 p.m. Mon. and Tue. 3:55 p.m., 6:45 p.m.

Taken 2 (PG-13) Fri. 4:15 p.m., 7:10 p.m., 9:30 p.m.

Sat. 1:05 p.m., 4:15 p.m., 7:10 p.m., 9:30 p.m. Sun. 1:05 p.m., 4:15 p.m., 7:10 p.m. Mon. and Tue. 4:15 p.m., 7:10 p.m.

The Twilight Saga: Breaking Dawn - Part 2 (PG-13) Fri. 4 p.m., 4:25 p.m., 7 p.m., 7:25 p.m., 9:40 p.m., 10 p.m.

Sat. 1 p.m., 1:25 p.m., 4 p.m., 4:25 p.m., 7 p.m., 7:25 p.m., 9:40 p.m., 10 p.m. Sun. 1 p.m., 1:25 p.m., 4 p.m., 4:25 p.m., 7 p.m., 7:25 p.m. Mon. and Tue. 4 p.m., 4:25 p.m., 7 p.m., 7:25 p.m. Wed. 4 p.m., 7 p.m. Thurs. 1 p.m., 4 p.m., 7 p.m., 9:40 p.m.

Wreck-It Ralph (PG) Fri. 3:50 p.m., 6:40 p.m., 9:15 p.m.

Sat. 12:50 p.m., 3:50 p.m., 6:40 p.m., 9:15 p.m. Sun. 12:50 p.m., 3:50 p.m., 6:40 p.m. Mon. and Tue. 3:50 p.m., 6:40 p.m.

Wreck-It Ralph 3D (PG) Fri. 4:30 p.m., 7:15 p.m., 9:35 p.m. Sat. 1:30 p.m., 4:30 p.m., 7:15 p.m., 9:35 p.m.

Sun. 1:30 p.m., 4:30 p.m., 7:15 p.m. Mon. and Tue. 4:30 p.m., 7:15 p.m.

STORYTELLER CINEMA 110 Old Talpa Canon Road, 575-751-4245 Bless Me, Ultima (PG-13) Fri. 4:40 p.m., 7 p.m., 9:40 p.m. Sat. 2:10 p.m., 4:40 p.m., 7 p.m., 9:40 p.m.

Sun. 2:10 p.m., 4:40 p.m., 7 p.m. Mon. and Tue. 4:40 p.m., 7 p.m.

Flight (R) Fri. and Sat. 4:15 p.m., 7:05 p.m., 9:55 p.m.

Sun. to Tue. 4:15 p.m., 7:05 p.m.

Skyfall (PG-13) Fri. 6:50 p.m., 9:50 p.m. Sat. 4:30 p.m., 7:45 p.m. Sun. 4:30 p.m. Mon. and Tue. 6:50 p.m.

TheTwilight Saga: Breaking Dawn - Part 2 (PG-13) Fri. 4:35 p.m., 4:45 p.m., 7:15 p.m., 7:20 p.m., 9:50 p.m., 9:55 p.m. Sat. 1:55 p.m., 2:05 p.m., 4:35 p.m., 4:45 p.m., 7:15 p.m., 7:20 p.m., 9:50 p.m., 9:55 p.m. Sun. 1:55 p.m., 2:05 p.m., 4:35 p.m., 4:45 p.m., 7:15 p.m., 7:20 p.m.

Mon. and Tue. 4:35 p.m., 4:45 p.m., 7:15 p.m., 7:20 p.m.

Wreck-It Ralph (PG) Fri. 4:50 p.m., 7:25 p.m., 9:45 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:25 p.m., 9:45 p.m.

Sun. 2:15 p.m., 4:50 p.m., 7:25 p.m. Mon. and Tue. 4:50 p.m., 7:25 p.m.

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MOVING IMAGES film reviews

Royal flush Laurel Gladden I For The New Mexican A Royal Affair, historical melodrama, not rated, in Danish, German, and French with subtitles, The Screen, 3 chiles The title of this new film from Denmark (that country’s submission in the Oscar race for best foreign-language film, in case you’re already starting to keep track) is a bit misleading. There’s plenty of bodice ripping and royals rolling around in the sack — but A Royal Affair is more than a well-lit, expertly costumed period romance. Watching it is something like double majoring in steamy illicit love affairs and 18th-century Danish political history.

The film dramatizes the day-to-day details of actual historical events. In the 1760s, a marriage was arranged between English princess Caroline Mathilde (played here by Alicia Vikander, soon to be seen as Kitty in Anna Karenina) and Christian VII (Mikkel Boe Følsgaard), king of Denmark and Norway. Caroline is cultured and educated and loves to read; she’s hopeful about her marriage when she learns that her future husband is interested in art, literature, and the theater.

Being queen of Denmark isn’t all it’s cracked up to be, though. The Enlightenment is taking hold in Europe, but Denmark is still in the Dark Ages. Many of the beloved books Caroline has brought with her are banned in her new homeland and must be shipped back to England. In addition, though Christian is interested in the arts, he’s terribly insecure and petulant. When Caroline attempts to impress him by playing the pianoforte, he has a jealous temper tantrum and humiliates her in front of everyone at court. Frankly, the king is also a bit of a loon: he would rather booze it up in the company of largebreasted prostitutes than visit his wife’s bedchambers — or rule Denmark.

Alicia Vikander and Mads Mikkelsen

56

November 16 -22, 2012

Something’s hot in the state of Denmark: Alicia Vikander and Mads Mikkelsen

When a new physician, Johann Friedrich Struensee (Mads Mikkelsen, best known to U.S. audiences as Le Chiffre from Casino Royale), comes to court, Christian develops a massive man-crush. They become fast friends and confidants. But Struensee is not only a doctor; he’s also a man of the Enlightenment, well versed in the writings of Rousseau and Voltaire and the author of several anonymously published pamphlets. When he offers to loan Caroline one of his books, we see the first signs of a flame being kindled.

Pretty soon Caroline is shooting Struensee smoldering glances from across the royal ballroom, he’s taking her on rollicking horseback rides (not sidesaddle, either) through the idyllic countryside, and he’s making clandestine visits to her bedchamber. But their involvement isn’t limited to the boudoir.

Struensee and Caroline realize they can use Christian’s mental instability to implement changes in Denmark. Christian has always wanted to be an actor, so they convince him that being king is just another role. He memorizes the lines they write, and he presents their ideas to his council. This arrangement generally turns things on their head, bringing about then radical ideas like smallpox vaccinations, orphanages, garbage collection, humane treatment of the poor, and freedom from censorship.

You might get the feeling that co-writer and director Nikolaj Arcel (who penned the script for The Girl With the Dragon Tattoo) has laced the film with bits of commentary on the current U.S. political climate.

Christian’s royal council — which does most of the governing until Struensee gets involved — is a group of old-guard conservatives who adhere to strict, outdated religious doctrine; express blatant hostility to the poor and disregard the welfare of the king’s subjects in general; and are overwhelmingly concerned about their own salaries and estates. Struensee’s retort while confronting one council member could have been lifted from a modern-day political debate: Who is the most disturbed: the king or someone who believes the world was made in six days?

Lest he seem too liberal, Struensee isn’t above corruption. When his affair with Caroline becomes a popular meme with satirists (who use both print and puppet shows), he reinstates censorship. And many of the policies he and Caroline put into place, while admirable in theory, are simply too costly to continue.

The movie’s principals give solid, easy, and unforced performances. As portrayed by Vikander, Caroline exudes intelligence and independence without losing her luminous grace. Mikkelsen is well cast as a leading man who is strong, smart, and sensual. The chemistry between them is obvious and natural — though sometimes you wonder what they love more: each other or the changes they’re effecting. Følsgaard nearly steals the show, making the lunatic Christian both a compelling, sympathetic character and a source of welcome comic relief (his goofy giggles and silly antics may remind you of Tom Hulce in Amadeus).

This is first and foremost a period melodrama, and it’s a fine specimen, filled with lush landscapes, gorgeously lit period-appropriate sets (almost any frame could double as a painting by an 18th-century master), dewy-complexioned women, and handsome, steely-eyed heroes. Gabriel Yared wrote a fantastic, sweeping score. Still, the pacing eventually begins to drag, and overall the film feels about 20 minutes too long.

What saves A Royal Affair from being a run-of-themill costume romance is that the history of Denmark isn’t exactly familiar to audiences outside that country.

(A film about, say, Henry VIII and his wives? We know exactly how that is going to turn out.) Our lack of familiarity helps create suspense as we wait to learn the fate of Struensee, Caroline, and Christian.

Although you get the feeling from the beginning that things aren’t going to end well, a brief but poignant closing sequence involving Caroline’s children makes it clear that it’s not all that bleak. Though the film is not gripping, it’s certainly intriguing. It’s nice to get a little history lesson alongside your bodice ripping once in a while. ◀

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“A SUPERB, SUMPTUOUSLY PRODUCED FILM THAT TELLS AN ABSORBING TALE WITH A REMARKABLE SENSE OF INTIMACY. A mind-opener crossed with a bodice-ripper.”

– Joe Morgenstern, WALL STREET JOURNAL

“A SLAM DUNK IN THE GENRE, SATISFYING EVERY PERIOD PIECE CRAVING. ‘A Royal Affair’ enthralls where many historical dramas start to sag.”

– Mary Pols, TIME

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Santa Fe Jewish Film Festival present BROTHERS 3:30p Sunday, Nov 18 go to santafejff.org for advanced tickets

Fri Nov 16 1:00p - Tales of the Night* 3:00p - Samsara* 3:30p - Wuthering Heights 5:15p - Tales of the Night* 6:00p - Sugar Man 7:15p - Big Picture* 8:00p - Sugar Man * indicates shows will be in The Studio at CCA, our new screening room for $7.50.

Sat Nov 17

1:00p - Tales of the Night* 1:30p - Sugar Man 3:00p - Samsara* 3:30p - Wuthering Heights 5:15p - Tales* 6:00p - Sugar Man 7:15p - Big Picture* 8:00p - Sugar Man

Sun Nov 18

Mon Nov 19

12:15p - Samsara* 12:45p - Wuthering Heights 2:30p - Tales of the Night* 3:30p - Santa Fe Jewish Film Fest: BROTHERS 5:15p - Tales of the Night* 6:00p - Sugar Man 7:15p - Big Picture* 8:00p - Sugar Man

Cinema Closed

Tues-Wed Nov 20-21

1:30p - Sugar Man 3:00p - Samsara* 3:30p - Wuthering Heights 5:15p - Tales of the Night* 6:00p - Sugar Man 7:15p - Big Picture* 8:00p - Sugar Man

Thurs Nov 22 Cinema Closed: Happy Thanksgiving!!

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57

MOVING IMAGES film reviews

There will be squeaking Bill Kohlhaase I For The New Mexican Lincoln, drama, rated PG-13, Regal Stadium 14, 2.5 chiles You’d think a meeting of two of America’s biggest names — Spielberg and Lincoln — would result in something epic and blockbusting. But Steven Spielberg’s Lincoln, starring Daniel Day-Lewis as the 16th president, is a surprisingly small film, focused on ideas as much as action. It’s based on Doris Kearns Goodwin’s 2005 biography Team of Rivals, a book that addresses Lincoln’s first election and years as president. Spielberg takes only a slice of Goodwin’s book, focusing on the last months of Lincoln’s life and the passage of the 13th Amendment, which outlawed slavery. With the Civil War as background, it’s a political thriller without the thrills. There are only a few sweeping scenes of the war, and those concentrate on its horrors. One scene, the distant burning of the port of Wilmington, North Carolina, recalls the burning of Atlanta in Gone With the Wind. What drives Spielberg’s story isn’t the war but the politics and passions behind it. The film’s most relevant message, in light of current events, is transparently suggested: political rancor and arm-twisting, both morally sound and not, are as old as the union itself.

Day-Lewis looks the part of the president, both in size and posture. You can see him slouching under the load of the dissolved country, the deaths incurred in a war he can’t end, and the personal troubles that confront him at home. He moves through a dim world that is shaded by the smoke of pipes and cigars, fireplaces and war. Several of the scenes, frequently framed in dark rooms in front of large, bright windows, offer silhouettes that are right out of a Mathew Brady portrait. To screenwriter Tony Kushner’s credit, this Lincoln is not the saintly man of historical legend.

The Brady bunch 58

November 16 -22, 2012

His eyes have seen the glory: Daniel Day-Lewis

He slaps his adult son, argues vehemently with his wife (played by Sally Fields), and demands his political colleagues recognize his authority as he pounds and points fingers.

Day-Lewis’ voicing of the president is authentic to a fault. Lincoln was more silver-tongued than silverthroated. His voice was “thin” and “high-pitched,” according to Horace White, who reported on Lincoln’s antislavery speech at the Illinois State Fair in 1854.

Lincoln’s law partner and biographer William Herndon described Lincoln’s voice as “squeaking” and “piping.” But Hollywood has often made it rich, even thunderous. D.W. Griffith’s 1930 epic Abraham Lincoln — Griffith’s first full-sound production — features Walter Huston voicing a resounding, full-throated Lincoln. In the 1982 television miniseries The Blue and the Gray, Gregory Peck’s Lincoln speaks with resonance and an air of sophistication. (The most melodious Lincoln is Benjamin Walker’s in the recent Abraham Lincoln: Vampire Hunter.) Hal Holbrook’s performance as the president in the 1974 television documentary Sandburg’s Lincoln is the exception.

Holbrook, who plays the conciliatory Republican Francis Preston Blair in Spielberg’s Lincoln, received hate mail when he made the president sound like “a hick.” In his own defense, Holbrook, something of a Lincoln scholar, was quoted as saying that biographers use five words “over and over again to describe Lincoln’s voice — flat, nasal, high, shrill, and unpleasant.” Day-Lewis, overcoming his English accent, commands these qualities while going full hick. His Lincoln is more Walter Brennan than Walter Huston.

But he falls into a certain predictable cadence that makes his backwoods speech all of a sort. The effect is something like Meryl Streep’s Polish accent in Sophie’s Choice. It sometimes gets in the way.

What Lincoln is given to say also piles up on him.

When not being profound, he’s being folksy. In the middle of heated negotiations, he starts a speciously relevant story with a laugh, much to the dismay of his cabinet. (The scene recalls one in Griffith’s Abraham Lincoln in which Ulysses S. Grant, well into a bottle, bemoans another story from the president.)

He decorates his speech with symbolism, not all of it

appropriate. Day-Lewis seems too conscious of the weighty language, something that clashes with the naturalness of his country twang.

Tommy Lee Jones, as the radical abolitionist Thaddeus Stevens, transcends the character acting around him whenever he appears. Wearing an absurdlooking wig, he still manages to be the most sincere character presented. Fields captures the complex and confused character of Mary Todd Lincoln — hungry for social acceptance, anxious to stand up for her man even as she nags him in private. Again, her country drawl, emphasized to the point of irritability, occasionally separates her from her character. Joseph Gordon-Levitt, as Robert Todd Lincoln, seems insincere when demanding that his parents allow him to enlist, a home-of-the-brave plot complication that pits privilege against country. A well-disguised Jared Harris (Lane Pryce in Mad Men) is a too-sober Gen. Grant.

The film’s best scenes — other than when Confederate delegates are greeted by black Union soldiers — take place in Congress, where the shouts and name-calling reflect contemporary divisions in their righteous venom. Considering the kind of language bandied about in today’s politics, it doesn’t seem shocking to hear Lincoln called a dictator and worse by those resisting abolition. But there is a reminder — as Spielberg suggests — that such language came at a time when men were in actual, not figurative, chains. There’s also the seemingly quaint notion that compromise in the face of outrage is possible.

Anti-abolition Democrats are made to change their minds with the help of favors and, in one slapstick scene, cash.

Spielberg goes for laughs at just the wrong times.

In the final-vote scenes, the stuttering uncertainty and repeated dramatic pauses of vote casters undercut the mood and historical importance of the moment. When Stevens’ motivation is revealed, it hardly comes as a shock. The film’s only worthy surprise comes at its end, with the audience expecting the conclusion that every schoolchild knows. This break from the predictable final scene in an otherwise all too predictable film is a bit of dramatic genius, keeping us from once more witnessing that familiar American climax. ◀

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59

MOVING IMAGES film reviews

The moors’ revenge Jennifer Levin I For The New Mexican Wuthering Heights, melodrama, not rated, Center for Contemporary Arts, 1 chile When it comes to sagas of doomed, angry passion, Wuthering Heights, the 1847 novel by Emily Brontë, is the granddaddy. Filmmakers never seem to tire of Cathy, Heathcliff, and endless trips back and forth across the windy moors, evidenced by more than a dozen movies and miniseries made from the tale. It’s a complex novel ripe for ambitious adaptation. Each version uses a slightly different structure, although the basic plot points tend to be similar. Some versions are more Gothic and stylized than others. The 1939 version, starring Merle Oberon and Laurence Olivier, is a popular favorite. It’s dark and moody, although by today’s standards of psychology in cinema, Heathcliff has a treatable anger-management problem, and Cathy is shallow and silly. It’s positively lighthearted compared with the 1992 version, starring Juliette Binoche and Ralph Fiennes, in which Cathy and Heathcliff are obvious sociopaths engaged in shared madness, and yet the movie still presents their cruelties toward each other through the lens of romance. My favorite is the unassuming, narratively lucid 1970 version, starring Anna Calder-Marshall and Timothy Dalton. It has psychological depth and provides context for the pair’s messed-up affections.

The new version directed by Andrea Arnold gets one chile solely for its ambition, which was to tell the story, without much dialogue, in a gritty, dirty

Kaya Scodelario

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November 16 -22, 2012

Solomon Glave and Shannon Beer

way that might indeed reflect the conditions of the historical period more accurately than other versions. However, it is terrible. It’s laughable in its self-conscious artfulness, its ambient sound design that eschews music and embraces the sexualization of slick mud and the raspy beat of insect wings. And in this version, there is gratuitous necrophilia. It’s not as if Brontë didn’t allude to it in the novel, but allusion is all we really need. Heathcliff’s “O face” as he has intercourse with Cathy’s dead body is not only unnecessary but deeply stupid and unbelievable.

Arnold dispenses with Brontë’s framing device of a stranger being told the story through flashback and begins at the beginning, when Cathy and Hindley Earnshaw’s father brings home an orphaned boy from the streets of London to the moors of Yorkshire to be their new brother. Or so he says. Young Earnshaw uses him as a servant and whipping boy.

Mr. Earnshaw is a brute, a Christian in name only, who loathes the very sight of his daughter and says terrible things to her about her looks, her mind, and her value as a human being. In a bit of fancy footwork, the script uses a line here and there from the novel, but it often changes the context in which it’s delivered, as when Cathy has her head on her father’s knee and he asks why she can’t always be a good girl.

Cathy is wild, a tomboy, and this is supposed to be a moment of repose, when her behavior is not alarming to her father. In Arnold’s version, it’s just one more opportunity for Mr. Earnshaw to be vile.

Most of the actors in the film are amateurs, and it shows. The line delivery is largely grumbled in a hostile monotone. Most of the performers fail to

bring any emotional nuance to their roles. Shannon Beer, who plays Cathy as a child in the first half, is the movie’s one bright spot. She is luminous and dangerous, convincing as a blossoming psychotic, if that was the intention. Kaya Scodelario, as teenaged and young-adult Cathy, is a disappointment by comparison. She looks nothing like Beers and is, unfortunately, the only one in the film who tries to act out her character’s hot-headed passion. The results are embarrassing. Young and older Heathcliff, played by Solomon Glave and James Howson, respectively, are dramatic dead weight. Neither actor does much but stare straight ahead and grab the wrists of women who dare to look at him with love. Heathcliff comes across as simple and pathetic. In this version, he is black.

It might have been an effective new interpretation, but though Arnold plays up the racism against him, it doesn’t ultimately have any bearing on the story.

Cathy doesn’t reject Heathcliff for the psychologically stable Edgar Linton (played as a spineless, sniveling beanpole by James Northcote) because of his race but, just as in every other version, because he is poor.

The visual style is a character unto itself. Had the script and acting been more satisfying, the repetitive but lovely establishing shots of the moors might have been effective, but it amounts only to pretty colors because neither it nor the shaky, annoying camerawork contribute to the storytelling. We’re often seeing just a piece of ear or hair, or a smudgy blur of rain out a dirty window. This is not storytelling. There is no invitation into this movie. If you haven’t read the book or seen a few film versions, it is unlikely you will even know what’s going on. ◀

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61

MOVING IMAGES film reviews

A light touch Jonathan Richards I For The New Mexican The Sessions, sex ed, rated R, Regal DeVargas, 3.5 chiles The Sessions is an adult movie about sex that requires us to redefine the way we use those terms. There was a time, in an era long, long ago and far, far away, when the word adult meant something like grown-up, intelligent, and thoughtful and was not typically followed by a row of X’s. That’s what this film delivers. And sex?

This movie presents it in such a searching, nonexploitative way that, for all its frankness and full frontal nudity, it’s unlikely to offend.

The movie tells the true story of the late poet and journalist Mark O’Brien, who was poleaxed by polio at the age of 6 and spent the rest of his life mostly confined to an iron lung, able to leave his apparatus and go out into the world with portable oxygen for only a few hours at a time. He retained feeling throughout his body, but the only muscles that worked were the ones above the shoulders. His parents refused to give up on him and stick him in an institution, and he became a familiar figure as a student at Berkeley, navigating the campus on a self-propelled gurney until a few neardisasters canceled his solo privileges.

The Sessions finds O’Brien ( John Hawkes) in 1988 at the age of 38, approaching what he describes as “my use-by date.” He is a successful writer, painstakingly tapping out his words on a keyboard with a pencil he holds in his mouth. During the day he is looked after by caregivers, one of whom is the pretty and sympathetic Amanda (Annika Marks). He falls in love with her, declares his love, proposes, and scares her off.

This brush with romance awakens, or reawakens, a yearning to experience sex with a woman before it’s

William H. Macy and John Hawkes

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November 16 -22, 2012

Helen Hunt and John Hawkes

too late. O’Brien, a devout Catholic who continues to believe in God, because “I would find it absolutely intolerable not to be able to blame someone for all this,” goes to his parish priest for counsel. The church has certain ideas, frowning on sex outside of marriage.

But Father Brendan (William H. Macy) is inclined to consider the big picture in Mark’s case. “I know in my heart that God will give you a free pass on this one,” says the good-hearted pastor. “Go for it.”

Through a therapist, O’Brien connects with a sex surrogate. Her name is Cheryl Cohen Greene (Helen Hunt). She’s a lapsed Catholic who left the church because it disapproved of her enthusiasm for sex.

So now she’s working at what she likes best.

But she has strict rules. A prostitute, she explains, wants your repeat business. Cheryl will see a client for a maximum of six sessions. Anything more might risk the relationship taking on a personal edge.

These sessions, as you will have guessed, are the core around which this story revolves. Hunt plays Cheryl as part sex worker, part therapist, part clinician, and

part normal suburban mom. She strips to the buff in front of O’Brien and joins him in bed, asking questions, touching parts, conscientiously learning and explaining what works, what hurts, what pleases. She goes home to her husband (Adam Arkin) and teenage son, fixes dinner, and runs a household. And at night she dictates case notes into a tape recorder.

Hunt is superb and fearless. The challenge for Hawkes is very different. Where Hunt goes the full monty, working her nakedness with unselfconscious aplomb, Hawkes is confined to the expression he can discover in his face, and in a voice thinned by the ravages of polio.

We know him from the savage characters he’s played in Winter’s Bone and Martha Marcy May Marlene. Here he’s reduced to a face attached to a helpless but sentient rag doll, so incapable of movement that you’ll find yourself twisting your head sideways to get a better look at him.

Hawkes is agonizingly witty and unsentimental in his portrayal of a man who writes as “a way of living and working inside my head, which is where I spend most of my time.” He and Hunt deliver the kind of performances that often capture Oscar’s attention, and the supporting cast, especially Macy and an actress with the head-turning name of Moon Bloodgood as a caregiver, is uniformly fine. Writer-director Ben Lewin, a 66-yearold polio survivor who gets around on crutches, crafts the material with such tenderness and humor that most of the time you’ll find yourself dabbing at tears that run down toward a big smile pasted across your face.

Sex is a form of communication so intense and so intimate that we typically turn away from the honest expression of it in civilized society. But for a man deprived of access to the normal approaches to that grail — the mating dance of pickup bars, the backseat fumbling of adolescence, the quick release of the one-night stand, the church-sanctioned envelope of marriage, or even the lonely intimacy of masturbation — the sex surrogate provides a lifeline on which even a Catholic God, as Father Brendan suspects, might be inclined to smile. ◀

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PASATIEMPO

63

RESTAURANT REVIEW Susan Meadows I For The New Mexican

ÓMG

Ó Eating House 86 Cities of Gold Road, Pojoaque, 455-2000 Lunch & dinner 11 a.m.-9 p.m. TuesdaysSaturdays; closed Sundays & Mondays Vegetarian options Noise level: intimate conversation Patio dining in season Wheelchair accessible Full bar Credit cards, no checks

!

The Short Order Most New Mexicans drive a lot, so the sophisticated cooking with nightly specials based on local farm produce at Ó Eating House in Pojoaque should be a magnet for diners from Santa Fe, Los Alamos, and Espanola. Chef-owner and Albuquerque native Steven Lemon is part owner of Albuquerque’s Scalo, and before 1996 he headed the kitchen at Santa Fe’s Pranzo. His specials often feature unique combinations of traditional New Mexican and northern Italian fare. The atmosphere is wine-lover-friendly, with excellent bottle values and half glasses available. Weekend evenings may find guitarist Tony Sanchez enlivening the bar. To ensure you get reliable, professional service, go for lunch or on weekend evenings, when Lemon or server/sommelier Casper Dowlen is there. Recommended: chileinfused house margarita, fried green tomatoes, fritto misto, individual pizzas, sautéed chiles, buffalo loin with chicos and chile relleno, halibut cheeks with chorizo and kale, braised lamb shanks with polenta and harissa, braised meatballs, chocolate layer cake, and chocolate ganache cake.

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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November 16 -22, 2012

In Europe, it’s not uncommon to find a wonderful chef-owned restaurant that takes advantage of local produce in some tiny village, where diners flock from miles around. All of this describes chef-owner Steven Lemon’s Ó Eating House, in the renovated La Mesita building in Pojoaque — except for the flocking diners part. It’s about 15 minutes from Santa Fe, Los Alamos, and Española, but some nights it’s as quiet as a nearly deserted frontier outpost. It’s not as if Lemon is unknown. An Albuquerque native, he’s a partner in Scalo there and headed the kitchen at Pranzo in Santa Fe from its opening in 1989 until 1995. After acquiring “the Ó,” as locals call it, in 2010, he’s created a food-lover’s mecca that’s just waiting for the pilgrims.

Lemon and sous-chef Martín Jaramillo bake their own lemon focaccia for dipping in olive oil and balsamic vinegar. The rare bumper crop of cherries in local orchards this year inspired cherries mostarda, an Italian sweet-sour cherry conserve, this one incorporating grape must as in the Piedmont. One night, the piquant cherries balanced the creamy ricotta stuffing of fried zucchini blossoms, while a local arugula pesto added bite. What does the Piedmont have in common with Pojoaque? Centuries-old agricultural traditions survive in rich valleys fed by mountain streams. So bring on the Alcalde green chiles sautéed in olive oil with garlic and a butter finish — you’ll sop up the sauce with that focaccia.

We devoured a plate of fried green tomatoes with a crunchy polenta and quinoa crust with aromatic basil.

Fresh-picked heritage tomatoes — some as big as grapefruits — lined a window sill. Be advised that the fritto misto — a delectable platter of fried calamari, bay scallops, and tiny shrimp lolling on a spicy marinara with a side of lemon aioli — is big enough for three or four as an appetizer. Don’t miss the individual pizzas on a separate menu. They win on flavor and crisp crust, and compete on value ($9 to $10).

I heartily recommend the specials, including the braised pork-and-beef meatballs in a fresh tomato sauce served on polenta with a perfect earthy texture. Or try the well-charred buffalo loin, exactly medium rare, atop a meaty broth scattered with chicos alongside a handsome chile relleno stuffed with mozzarella. If this sounds like the fusion between traditional New Mexico and European cooking that you’ve been promised elsewhere in Santa Fe but never really encountered, that’s because it is. Another special included halibut cheeks, the brown crispness of their crust contrasting perfectly with the moist delicate flesh atop a mélange of chorizo chunks, kale, olives, fennel bulb, and garlic for a combination of flavors that culminated in something greater than the parts: salty, smoky, and bitter, with anise making the fish all the sweeter. Braised lamb shank cooked until the flesh fell from the bone was brilliantly served with a scoop of that great polenta ladled with

a mild harissa, the spice and garlic-laced chile sauce recalling North African shores.

Martín often expertly staffs the stoves alone, but he’s a pastry chef by training. His chocolate ganache cake with an ethereal lemon curd chantilly would satisfy any chocoholic, but my money is on the multilayer extravaganza of moist chocolate cake and butter cream with a new flavor in each successive layer: Frangelico, espresso, cherry, and almond. Meyer lemon sorbet in a caramelized lemon “cup,” tarte Tatin, and bread pudding, though tasty, don’t quite reach the same heights.

The well-selected wine list offers choice and value.

Casper Dowlen, a consummate professional server, is in on weekends. He has passed his first sommelier course, is excited about wine, and has great recommendations.

The able bartender mixes up a good house chileinfused margarita and other cocktails. The improvised dinner service midweek, however, can be anything from slow and unprofessional to maddeningly absent, while the elegant dine-in bar with a kitchen view is vastly preferable to the sterile dining room.

Ingredients here are respected, and age-old preservation techniques are mined to put the seasons’ bounties on the table. Lemon is in the perfect location to benefit from all Northern New Mexico farmers have to offer. It’s time the city folk heard the call. ◀

Check, please Dinner for two at Ó Eating House: Zucchini blossoms........................................... $ 12.00 Sautéed chiles.................................................. $ 5.00 Braised meatballs............................................. $ 18.00 Buffalo loin with chile relleno..........................$ 48.00 Dessert sampler for two................................... $ 15.00 Bottle, Barbera d’Alba ...................................... $ 31.00 TOTAL............................................................. $129.00 (before tax and tip) Dinner for two, another visit: Fritto misto......................................................$ 12.00 Fried green tomatoes....................................... $ 8.00 Braised lamb .................................................... $ 26.00 Halibut cheeks.................................................$ 28.00 Tarte Tatin .......................................................$ 7.00 Martín’s chocolate layer cake........................... $ 10.00 Two glasses, falanghina....................................$ 22.00 Glass, aglianico................................................ $ 11.00 Glass, verdejo ..................................................$ 4.50 TOTAL.............................................................$128.50 (before tax and tip)

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Visit laposadadesantafe.com/local to book a guestroom or call 505≠ 986≠ 0000 for dining or spa reservations.

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704 Camino Lejo / PO Box 5153 Santa Fe, NM 87502-5153 505-982-4636 www.wheelwright.org

330 East Palace Avenue ï Santa Fe, New Mexico 87501

Thanksgiving Dinner served from 3-8pm on November 22, 2012.

We also offer THANKSGIVING Dinners TO GO. To Go Dinners will serve 8-10 people

This year, GIVE friends and family a thoughtful gift, as unique and individual as they are.

Visit us online at www.lacasasena.com for complete menus.

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2012 Writing Contest for All Seasons Tell Us a Story in Poetry or Prose Storytelling is an honored New Mexico pastime.

Here is your chance to be part of that tradition.

Write about a memory, a special place, or a person who has had an impact on your life. Fiction, nonfiction, parody, or fantasy; in the style of Thurber or Ferber, Sedaris or Seuss, Hillerman or Cather — it’s up to you.

Winning entries will be published in Pasatiempo on Friday, Dec. 28

Adults (ages 19 and up): 1,000 words maximum Teens (13-18): 1,000 words maximum Children (5-12): up to 500 words

Rules: Entries must be received by 4 p.m. Monday, Dec. 3.

No exceptions.

Prizes to the winners courtesy: The Ark Bookstore, Bee Hive Children’s Book Store, Collected Works Bookstore & Coffeehouse, Garcia Street Books, Osteria D’Assisi, Santa Fe Bar and Grill, San Francisco Street Bar and Grill

Deadline: 4 p.m. Monday, Dec. 3

We reserve the right to edit work for publication.

Submissions must include name, address, telephone number, email address, and age; entries from schools should include grade and teacher’s name.

Mail entries to: 2012 Writing Contest c/o The Santa Fe New Mexican, 202 E. Marcy St., Santa Fe, N.M. 87501 ï Phone: 505≠ 986≠ 3096

Email entries to: writingcontest@sfnewmexican.com Electronic submissions are highly recommended.

66

November 16-22, 2012

pasa week 16 Friday

BOOKS/TALKS Alcove 12.6 conversations Local artists discuss their works in the exhibit at the New Mexico Museum of Art, 5:30-7 p.m., alcove galleries, 107 W. Palace Ave., no charge, 476-5068.

Beginnings Tutor emeritus Samuel Kutler speaks on what it means to begin something using examples from poetry, mathematics, and philosophy, 7:30 p.m., Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge, 984-6070.

Jonah Raskin The author of James McGrath: In a Class by Himself and teacher James McGrath in conversation, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see Subtexts, Page 12).

GALLERY/MUSEUM OPENINGS Art Exchange Gallery 60 E. San Francisco St., Suite 225, 603-4485.

New paintings by Jeff Tabor, reception 4-6 p.m., through Dec. 7.

David Richard Gallery 544 S. Guadalupe St., 983-9555. Optic Drive, abstracts by Gabriele Evertz; paintings

by Sanford Wurmfeld; reception 5-7 p.m., through Dec. 22.

Hill’s Gallery Remix: Then & Now 217 Galisteo St., 989-2779. Group retrospective exhibit honoring Hill’s Gallery, reception 5-7 p.m., through Jan. 5.

Pop Gallery 142 Lincoln Ave., Suite 102, 820-0788. Ted Geisel originals and production work from the 1966 film How the Grinch Stole Christmas, through Jan. 1.

Red Dot Gallery 826 Canyon Rd., 820-7338. Remarkable, group show of contemporary works, reception 5-6:30 p.m., through Dec. 9.

EVENTS Aid & Comfort celebrity chef dinner 7 p.m., La Posada de Santa Fe Resort & Spa, 330 E. Palace Ave., $200 includes admission to the 24th annual Aid & Comfort Gala on Saturday, Nov. 17, tickets available online at southwestcare.org, sales end at 6 p.m. (see story, Page 40).

Many Hands, Many Feet: Belly Dance Festival Three days of workshops ($30-$45), two performances, and a free all-day world bazaar, workshops 1:30 and 4 p.m., dance party and performances 7:30 p.m. ($15 in advance at minaswirled.com, $18 at the door, discounts available), El Museo Cultural de Santa Fe, 555 Camino de la Familia, through Sunday, Nov. 18.

Turkey Bowl on Ice Bowl a strike and win a turkey, 5:30-7 p.m., Genoveva Chavez Community Center, 3221 Rodeo Road, $3 per bowl, proceeds benefit The Food Depot, 577-0444.

CLASSICAL MUSIC Serenata of Santa Fe Chamber music ensemble in Classic Drama, featuring pianist Norman Krieger, music of Bach, Mozart, and Beethoven, 6 p.m., Scottish Rite Center, 463 Paseo de Peralta, $20 in advance online at serenataofsantafe.org, $25 at the door.

TGIF piano recital Duo-pianists Lauren Bomse and David Bolotin perform music of Mozart, 5:30 p.m., First Presbyterian Church, 208 Grant Ave., 982-8544, Ext. 16, donations appreciated.

IN CONCERT Reverend Peyton’s Big Damn Band Americana and blues, 8 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $14, 988-1234, ticketssantafe.org.

Santa Fe Musician Showcase Singer-songwriter Lisa Carman, rocker Cristen Grey, Mystic Measures, and others, 7-9 p.m., Santa Fe Center for Spiritual Living, 303 Camino de los Marquez, $15 at the door, 983-5022.

NIGHTLIFE

THEATER/DANCE ‘Fancy Clew and the Boarding House Mystery’ Santa Fe Playhouse Children’s Theatre Productions presents local playwright Rebecca Morgan’s melodramatic spoof on lost films from Hollywood’s Golden Age, 7-8 p.m., 142 E. De Vargas St., $10, discounts available, 988-4262, continues Saturday, Nov. 17.

‘Freud’s Last Session’ Fusion Theatre presents Mark St. Germain’s play centered on a meeting of the minds

compiled by Pamela Beach pambeach@sfnewmexican.com

Photographs by Bob Gomel, at Monroe Gallery of Photography, 112 Don Gaspar Ave.

between Sigmund Freud and C.S. Lewis, 8 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $10-$40, 988-1234, ticketssantafe.org, continues Saturday, Nov. 17 (see story, Page 34).

‘Noises Off’ Santa Fe Preparatory School presents the farce by Michael Frayn, 7:30 p.m., school auditorium, 1101 Camino de Cruz Blanca, $7 at the door, discounts available, 982-1829, through Sunday, Nov. 18.

(See Page 68 for addresses) ¡Chispa! at El Mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30 p.m., no cover.

Cowgirl BBQ Eric George & Man No Sober, roots-rock duo, 5-7:30 p.m., no cover. Americana/blues band The Attitudes, 8:30 p.m., $5 cover.

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

Evangelo’s Classic rock band The Jakes, 9 p.m.-1 a.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 Jimmy Stadler Band, Americana/rock, 8-11 p.m., no cover. ▶▶▶▶▶▶▶▶

Pasa’s Little Black Book......... 68 Exhibitionism...................... 70 At the Galleries.................... 71 Libraries.............................. 71 Museums & Art Spaces........ 71 In the Wings....................... 72

Elsewhere............................ 73 People Who Need People..... 74 Under 21............................. 74 Short People........................ 74 Sound Waves...................... 74

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

67

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

Le Chantilly Café at Garrett’s Desert Inn Equinox, Lou Levin on keyboard and Gayle Kenny on acoustic bass, 6:30-9 p.m., no cover.

The Mine Shaft Tavern Open mic, 8 p.m.-midnight, no cover.

The Palace Restaurant & Saloon The Strange, rock and funk, 5-7 p.m., no cover.

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

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

Rouge Cat Scorpicorn: A Celebration of Scorpios and Unicorns with DJs Geoff White, Tony Z, and Feathericci, 9 p.m.-2 a.m., $5 cover.

Second Street Brewery Alpha Cats, jazz/rock/swing quartet, 6-9 p.m., no cover.

Second Street Brewery at the Railyard Americana duo Todd & The Fox, 6-9 p.m., no cover.

Taberna La Boca Accordionist Pedro Romero, 6-8 p.m., no cover.

Tiny’s Snyde Parton and John Rieves, 5:30-8 p.m., no cover. Country band Forty Miles of Bad Road, 8:30 p.m.-12:30 a.m. no cover.

Vanessie Pianist Doug Montgomery, show tunes and standards, 6-8 p.m., no cover. Andy Kingston Trio, jazz, 8:30 p.m., call for cover.

PASA’S LITTLE BLACK BOOK nt & Bar Anasazi Restaura Anasazi, the of Rosewood Inn e., 988-3030 113 Washington Av nch Resort & Spa Ra Bishop’s Lodge Rd., 983-6377 1297 Bishops Lodge ón ¡Chispa! at El Mes 983-6756 e., Av ton ing 213 Wash Cowgirl BBQ , 982-2565 319 S. Guadalupe St. lton Hi e th El Cañon at 8-2811 98 , St. al ov nd Sa 0 10 El Farol 3-9912 808 Canyon Rd., 98 ill El Paseo Bar & Gr 848 2-2 99 , St. 208 Galisteo Evangelo’s o St., 982-9014 200 W. San Francisc Santa Fe Hotel Chimayó de 988-4900 e., 125 Washington Av Hotel Santa Fe ta, 982-1200 1501 Paseo de Peral La Boca 2-3433 72 W. Marcy St., 98 ina nt Ca na Se La Casa 988-9232 125 E. Palace Ave., at La Fonda La Fiesta Lounge , 982-5511 St. o 100 E. San Francisc

68

November 16 -22, 2012

17 Saturday GALLERY/MUSEUM OPENINGS Eclectics Art Gallery 7 Caliente Rd., Suite A-10, Eldorado, 603-8811. Acrylic paintings by David Friday, reception 6-9 p.m.

Green River Pottery 1710 Lena St., 795-7755. Annual holiday open studio and sale, 9 a.m.-6 p.m.

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

Metal and Mud — Iron and Pottery, showcase of works by Spanish Market artists, through April, 10 a.m.-5 p.m., artist talks 2-4 p.m.

IN CONCERT Alexis Gideon The animator/composer presents his video opera and live performance Video Musics III: Floating Oceans, opening puppet show by Flying Wall Studios, 6 p.m., Lucky Bean Café, 500 Montezuma Ave., Sanbusco Center, presented by Santa Fe Art Institute, $10, 424-5050.

High Mayhem Fall Concert Series Loud, Louder, Loudest, featuring rockers The Late Severa Wires, We Drew Lightning, and Pitch and Bark, 7 p.m., High Mayhem Studio, 2811 Siler Ln., $10 suggested donation, highmayhem.org, 470-5291.

Karrin Allyson The jazz singer/pianist performs in a benefit for the Georgia O’Keeffe Museum, 7 p.m., La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., $35 and $75, 988-1234, ticketssantafe.org (see story, Page 28).

La Posada de Santa Fe Resort and Spa 330 E. Palace Ave., 986-0000 Le Chantilly Café at Garrett’s Desert Inn 311 Old Santa Fe Trail, 984-8500 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 Ore House at Milagro 139 W. San Francisco St., 995-0139 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 Pyramid Café 505 W. Cordova Rd., 989-1378 Rouge Cat 101 W. Marcy St., 983-6603

Red Elvises Russian-American rockabilly/surf/reggae band, 8 p.m., doors open at 6:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $15 in advance, holdmyticket.com.

THEATER/DANCE ‘Cinderella!’

Pandemonium Productions presents a musical version of the tale, 2 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, discounts available, 982-3327, final weekend.

‘Fancy Clew and the Boarding House Mystery’ Santa Fe Playhouse Children’s Theatre Productions presents local playwright Rebecca Morgan’s melodramatic spoof on lost films from Hollywood’s Golden Age, 6-7 p.m., 142 E. De Vargas St., $10, discounts available, 988-4262.

‘Freud’s Last Session’ Fusion Theatre presents Mark St. Germain’s play centered on a meeting of the minds between Sigmund Freud and C.S. Lewis, 2 and 8 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $10-$40, 988-1234, ticketssantafe.org (see story, Page 34).

‘Noises Off’ Santa Fe Preparatory School presents the farce by Michael Frayn, 7:30 p.m., school auditorium, 1101 Camino de Cruz Blanca, $7 at the door, discounts available, 982-1829, continues Sunday, Nov. 18.

BOOKS/TALKS Alpine Hiker — Germany to Italy Jim Melisi gives an illustrated talk, 5 p.m., Travel Bug Books, 839 Paseo de Peralta, 992-0418.

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 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 Tortilla Flats 3139 Cerrillos Rd., 471-8685 The Underground at Evangelo’s 200 W. San Francisco St., 577-5893 Upper Crust Pizza 329 Old Santa Fe Trail, 982-0000 Vanessie 434 W. San Francisco St., 982-9966 Zia Diner 326 S. Guadalupe St., 988-7008

Dust in the Machine gallery conversation Participating artist Jesse Vogler moderates a panel of researchers, scientists, artists, and administrators linking image, text, and citation in conjunction with the exhibit, 4 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, no charge, 982-1338.

How to Attract More Birds to Your Back Yard This Winter Wild Birds Unlimited co-owner Anne Schmauss speaks, 1 p.m., in conjunction with the exhibit Light,Wood, Wax, Fire, La Tienda Exhibit Space, 7 Caliente Rd., Eldorado, 466-3919.

James Edward Kaune The local author signs copies of his novel The Spiral Code, noon-2 p.m., Kaune’s Neighborhood Market, 511 Old Santa Fe Trail.

Jason Lewis The author celebrates the release of The Expedition: True Story of the First HumanPowered Circumnavigation of the Earth, Part I: Dark Waters, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226, a portion of the sales benefits Wild Earth Guardians.

EVENTS 24th annual AID & Comfort Gala Performances by Frenchie Davis, Donna Sachet, Burlesque Noir, and DJ Austin Head, 8 p.m., Hilton Santa Fe Golf Resort & Spa at Buffalo Thunder, Pojoaque Pueblo, off U.S. 84/285, $50, advance tickets available online at southwestcare.org, proceeds benefit Southwest CARE Center’s AID & Comfort fund (see story, Page 40).

Annual Contemporary Clay Fair New Mexico Potters and Clay Artists presents a group show of porcelain, terra cotta, and stoneware, 10 a.m.-5 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, no charge, 983-9455 or contemporaryclayfair.com, continues Sunday, Nov. 18.

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 Dec. 30.

Man Hands, Many Feet: Belly Dance Many Fe Festival Three days of workshops ($30-$45), tw performances, and a free all-day world bazaar, two wo workshops 10 a.m., 2 p.m., and 5:15 p.m., dance party and performances 7:30 p.m. ($15 in advance at minaswirled.com, $18 at the door, discounts available), El Museo Cultur de Santa Fe, 555 Camino de la Familia, Cultural continues Sunday, Nov. 18.

Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Fr Friday-Sunday through December.

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

Santa Fe Council on International Re Relations event Santa Fe participants of the Summer 2012 teacher tour of Turkey shar their experiences; Turkish luncheon share and discussion noon-2:30 p.m., Jemez Room, Sant Fe Community College, 6401 Richards Ave., Santa $15 includes lunch, advance reservations 982-4931 982-4931.

Santa Fe County Extension Association Annual Holiday Fair Needlework, stained gl glass, jewelry, woodwork, baked goods, and Fr pies, 10 a.m.-3 p.m., Santa Fe County Frito Exhibit Hall, 3229 Rodeo Road, 471-4711, no charge.

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

Santa Fe Indian School Holiday Bazaar 20th annual event with craft sales, silent auction, entertainment, and a senior class concession stand, 9 a.m.-5 p.m., Pueblo Pavilion, 1501 Cerrillos Rd., 989-6318.

NIGHTLIFE (See Page 68 for addresses) ¡Chispa! at El Mesón J.Q. Whitcomb Quartet, jazz, 7:30-10:30 p.m., no cover.

Cowgirl BBQ Luke West, alt. rock/country, 2-5 p.m., no cover. The Hot Club of Santa Fe, Gypsy jazz and Bluegrass, 8:30 p.m., $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 Jimmy Stadler Band, Americana/rock, 8-11 p.m., no cover.

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

Second Street Brewery Americana multi-instrumentalist Josh Martin, 6-9 p.m., no cover.

Second Street Brewery at the Railyard Bluegrass flatpicker John Rollinger and friends, 6-9 p.m., no cover.

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

Tiny’s Showcase karaoke with Nanci and Cyndy, 7-11 p.m., no cover.

Tortilla Flats Singer-songwriter Dave Maeslon, 6-9 p.m., no cover.

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

Vanessie Pianist Doug Montgomery, show tunes and pop/jazz standards, 6-8 p.m., no cover.

Talking Heads

Local author James Edward Kaune signs copies of his adventure tale The Spiral Code from noon to 2 p.m.

Saturday, Nov. 17, at Kaune’s Neighborhood Market, 511 Old Santa Fe Trail. The story unfolds in three parts exploring the idea that all lives have meaning as narrated by the author.

18 Sunday GALLERY/MUSEUM OPENINGS

Altermann Galleries 345 Camino del Monte Sol, 690-3514 or 690-8961. Masters of the West auction, session 1, 10 a.m.-noon, session 2, 1 p.m.

New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200.

Tall Tales of the Wild West: The Stories of Karl May, collection of photographs and ephemera in relation to the German author, reception 3-4 p.m., through Feb. 9, 2014. Karl May’s Wild West, lecture by Karl May Museum curator Hans Grunert 2 p.m. (see story, Page 44).

CLASSICAL MUSIC

Concordia Santa Fe The wind ensemble’s Chamber Music Series continues with L’Histoire du Soldat, 2 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations welcome, 913-7211.

Santa Fe Symphony Orchestra & Chorus Handel’s Messiah, 4 p.m., pre-concert lecture 3 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 988-1234, ticketssantafe.org.

IN CONCERT The Concert for Hurricane Sandy Relief Local musicians Joe West & The Santa Fe Revue, Jono Manson, Todd & The Fox, Jaka, and others, 3-11 p.m., Cowgirl BBQ, 319 S. Guadalupe St., by donation, call Arne Bey for information, 732-673-5038.

Treemotel The Santa Fe indie-rock/dirtypop ensemble joined by 50 members of the Santa Fe University of Art & Design Chorus; includes Ugandan songs by the chorus using traditional instrumentation, 4 p.m., followed

by Treemotel and members of the chorus; Muñoz Waxman Gallery, Center for Contemporary Arts, 1050 Old Pecos Trail, no charge, 982-1338, treemotel.com; SFUAD’s classical music chamber ensemble Collegium XXI performs 20th-century dance orchestra selections, 3:30 p.m., front gallery,

THEATER/DANCE ‘Cinderella!’ Pandemonium Productions presents a musical version of the tale, 2 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, discounts available, 982-3327.

Julesworks Follies The local-talent showcase series continues with Drunkard, a new short play by Jodi Drinkwater, Julesworks newest play Whatever You Do, Part 8: Lighter, spoken-word performers, and comedy sketches, 6 p.m., Lucky Bean Café, 500 Montezuma Ave., Sanbusco Center, $5 at the door, 310-9997.

‘Noises Off’ Santa Fe Preparatory School presents the farce

by Michael Frayn, 7:30 p.m., school auditorium, 1101 Camino de Cruz Blanca, $7 at the door, discounts available, 982-1829.

Performance at The Screen The HD series continues with Move to Move at the Nederlands Dans Theater in The Hague, 11 a.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $20, discounts available, 473-6494.

BOOKS/TALKS Breaking the Silence: Women Driving Change in the World’s Most Challenging Places Neema Namadamu of the Democratic Republic of Congo speaks with KSFR Radio host David Bacon, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226, presented

by JourneySantaFe.

New Mexico Potters and Clay Artists presents its annual Contemporary Clay Fair from 10 a.m. to 5 p.m. Saturday and Sunday, Nov. 17-18 at the Santa Fe Woman’s Club, 1616 Old Pecos Trail; (tile by Kathleen Koltes).

Drama on Barcelona poetry readings Santa Fe Poet Laureate Jon Davis and Institute of American Indian Arts creative-writing students, 3 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., 982-9674 or 992-0665, in celebration of IAIA’s 50th anniversary.

Kathy Kriger The author discusses and signs copies of Rick’s Café: Bringing the Film Legend to Life in Casablanca, her account of opening a business in Morocco, 3 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

EVENTS Annual Contemporary Clay Fair New Mexico Potters and Clay Artists presents a group show of porcelain, terra cotta, and stoneware, 10 a.m.-5 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, no charge, 983-9455 or contemporaryclayfair.com.

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 Dec. 30.

Macedonian celebration Lace-making demonstration 1-4 p.m., Balkan musical groups: 2 p.m., a capella performance by the ensemble Slaveya, 3 p.m., dance band Goddess of Arno, in conjunction with the exhibit Young Brides, Old Treasures: Macedonian Embroidered Dress, Museum of International Folk Art, 706 Camino Lejo, Museum Hill, by museum admission, 476-1211.

Many Hands, Many Feet: Belly Dance Festival Four workshops: 10 a.m., 12:15, 2:30 and 4:45 p.m. ($30-$45) and free all-day world bazaar, El Museo Cultural de Santa Fe, 555 Camino de la Familia.

Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday Sunday through December.

Railyard Artisans Market 10 a.m.-4 p.m. weekly, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 670-6544.

NIGHTLIFE (See Page 68 for addresses) El Farol Nacha Mendez and guests, pan-Latin music, 7-10 p.m., no cover.

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

La Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 6-9 p.m., no cover.

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

19 Monday BOOKS/TALKS Ancient Astronomy of the Southwest Archaeoastronomer John L. Ninneman speaks, 6 p.m., part of Southwest Seminars’ lecture series, Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.

Blurb — Self Publishing Gallery talk by Dan Milnor, 7 p.m., Tipton Hall, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., no charge, 473-6341.

C. Joseph Greaves The local novelist reads from and signs copies of Hard Twisted, based on the true story of Lucille “Lottie” Garrett, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see story, Page 14).

Archaeological Society of Santa Fe Lecture Having Fought and Died Together: Examining the Battle of Glorieta Pass Confederate Mass Grave, lecture by Matthew J. Barbour, 7:30 p.m., Courtyard Marriott, 3347 Cerrillos Rd., no charge, 982-2846 or 455-2444.

EVENTS 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.

pasa week

continued on Page 73

PASATIEMPO

69

EXHIBITIONISM

A peek at what’s showing around town

Zachariah Rieke: Painting 8, 2012, acrylic on raw canvas.

Zachariah Rieke’s new and recent, mostly monochromatic, abstract paintings are on view at Wade Wilson Art Santa Fe (409 Canyon Road, 660-4393.). The exhibition continues through Jan. 2, 2013.

David Friday: Wild Grass New Mexico, 2012, acrylic on canvas. Eclectics Art Gallery (7 Caliente Road, Suite A-10, Eldorado) presents an exhibition of Albuquerque-based artist David Friday’s festive and colorful acrylic paintings. The show opens Saturday, Nov. 17, with a reception at 6 p.m. Call 603-8811.

Ralph Sena: Spurs, 2002, iron. The Museum of Spanish Colonial Art (750 Camino Lejo, Museum Hill) presents Metal and Mud — Out of the Fire! The exhibition features ironwork and micaceous pottery by 10 Spanish Market artists, including Steven Lucero, Ralph Sena, Debbie Carrillo, and Annette Morfin. The show opens Saturday, Nov. 17, at 10 a.m. Artist gallery talks begin at 2 p.m.

Entrance is by museum admission. Call 982-2226.

Jeff Tabor: Pecos River, 2012, acrylic embellished giclée print on canvas. An exhibition of new paintings by Jeff Tabor opens at Art Exchange Gallery (60 E. San Francisco St.) with a 4 p.m. reception on Friday, Nov. 16.

Tabor captures the idyllic landscape of the Southwest in his colorful works.

Call 603-4485.

70

November 16 -22, 2012

Douglas Kent Hall: Lompoc, early 1980s, silver gelatin photo print. Hill’s Gallery Remix: Then and Now, a pop-up gallery at 217 Galisteo St., presents the second of three rotating exhibits commemorating Santa Fe’s original Hill’s Gallery, which was founded by artist Megan Hill in 1970 and closed in 1981. The show features work by photographers Paul Caponigro, Douglas Kent Hall, Edward Ranney, Siegfried Halus, and Sol Hill, among other artists. The show opens Friday, Nov. 16, with a 5 p.m. reception.

Call 989-2779.

AT THE GALLERIES David Copher Studio 41-A Bisbee Ct., Turquoise Trail Business Park, 466-2838. EX-EX VII, annual group show, through Nov. 24, Land Commissioner Gallery New Mexico State Land Office, 310 Old Santa Fe Trail, 827-3650.

Paintings by Jim Brandenburg, through November.

Monroe Gallery of Photography 112 Don Gaspar Ave., 992-0800. ‘Life’ in the 1960s, work by Bob Gomel, through Sunday, Nov. 18.

Phil Space Gallery 1410 Second St., 670-2560. Photographs by Carlan Tapp and others, proceeds benefit the Question of Power project, which highlights communities affected negatively by the extraction, production, and consumption of coal in the U.S., through Monday, Nov. 19.

Photo-eye Gallery 376-A Garcia St., 988-5159, Ext. 121. Solar, group show of photographs, through November.

Radius Books 227 E. Palace Ave., Suite W, 983-4068.

Sharon Core: Early American, exhibit of photographs, through mid-December.

Scheinbaum & Russek 812 Camino Acoma, 988-5116. Gila, photographs by Michael Berman, through Saturday, Nov. 17.

Yares Art Projects 123 Grant Ave, 984-0044.

By the Sea: Paintings on Paper 1948-1955, work by Byron Browne (1907-1961), through December.

LIBRARIES 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. Visit santafe.edu/library for online catalog.

Open 1-5 p.m. Monday-Friday to current students (call for details).

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. Dust in the Machine, group show, through Nov. 25 ï Stitch Thought, installation of felt livingroom furnishings by Tamara Wilson, Spector Ripps Project Space, through Dec. 9. Gallery hours available by phone or online at ccasantafe.org, no charge.

Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Georgia O’Keeffe and the Faraway: Nature and Image, through May 5, 2013. Open 10 a.m.-5 p.m. SaturdayThursday, open 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.

Governor’s Gallery State Capitol Building, fourth floor, Old Santa Fe Trail and Paseo de Peralta, 476-5058. Works by recipients of the Governor’s Awards for Excellence in the Arts, through Dec. 7.

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 December. Open 10 a.m.5 p.m. Monday and Wednesday-Saturday, 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 Mexican Hispanic Artists 1912-2012, installation in Lloyd’s Treasure Chest, through

Little Black Mesa, by John Sloan (1871-1951), in the exhibit Treasures Seldom Seen, New Mexico Museum of Art

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.

Metal and Mud — Iron and Pottery, showcase of works by Spanish Market artists, opening Saturday, Nov. 17, through April, artist talks 2-4 p.m. ï San Ysidro Labrador/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin ï New Deal Art: CCC Furniture and Tinwork; Transformations in Tin: Tinwork of Spanish Market Artists; through December 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.

Tall Tales of the Wild West: The Stories of Karl May, collection of photographs and ephemera in relation to the German author, reception 3-4 p.m. Sunday, Nov. 18, through Feb. 9, 2014, Karl May’s Wild West, lecture by Karl May Museum curator Hans Grunert 2 p.m. (see story, Page 44) ï 47 Stars, tongue-in-cheek installation and items from the collection in celebration of New Mexico’s Centennial, through Nov. 25 ï Altared Spaces: The Shrines of New Mexico, photographs

by Siegfried Halus, Jack Parsons, and Donald Woodman, through Feb. 10 ï 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 Dec. 30 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. TuesdaySunday. No charge on Fridays 5-8 p.m.; Open 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; NM residents no charge on Sundays.

New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Alcove 12.6, revolving series of group exhibits, through Dec. 2 ï Chromatic Fusion: The Art of Fused Glass; Emerge 2012: A Showcase of Rising Talents in Kiln Glass; through Jan. 6 ï Treasures Seldom Seen, works from the permanent collection, through December ï It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday. Open 5-8 p.m.

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

New Mexico National Guard Bataan Memorial Museum and Library 1050 Old Pecos Trail, 474-1670. Housed in the original armory from which the 200th Coast Artillery Regiment was processed for entry into active service in 1941. Military artifacts and documents. Open 10 a.m.-4 p.m.

Tuesday-Saturday, by donation.

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. Tuesday-Saturday; 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. 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 Wovenhand Alt.-country/neo-folk band, 8 p.m. Tuesday, Nov. 27, Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, 988-1234, ticketssantafe.org.

Harmonia/3 Featuring cellist Michael Fitzpatrick, storydancer Zuleikha, and percussionist Issaq Malluf, 7:30 p.m.

Friday, Nov. 30, Railyard Performance Center, 1611-B Paseo de Peralta, $25, 12 and under $10, harmonia3.brownpapertickets.com, proceeds benefit Esperanza Shelter for Battered Families, Solace Treatment Center, and The Storydancer Project.

World Party Alt.-rock band, 7:30 p.m. Tuesday, Dec. 4, Santa Fe Sol Stage & Grill, 37 Fire Pl., $21, 988-1234, ticketssantafe.org.

David Hidalgo and Alejandro Escovedo Singer/songwriters, 7:30 p.m. Thursday, Dec. 6, Lensic Performing Arts Center, 211 W. San Francisco St., $32-$62, 988-1234, ticketssantafe.org.

The Mountain Goats Folk-rock trio, Matthew E. White opens, 7:30 p.m. Friday, Dec. 7, Santa Fe Sol Stage & Grill, 37 Fire Place, $18, ticketssantafe.org, 988-1234.

The Met Live in HD Verdi’s Un Ballo in Maschera, Saturday, Dec. 8; both screenings 11 a.m. and 6 p.m.; Lensic Performing Arts Center, 211 W. San Francisco St., $22-$28, encores $22, discounts available, ticketssantafe.org, 988-1234.

Horse Feathers Acoustic folk band, 7:30 p.m. Saturday, Dec. 8, Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, 988-1234, ticketssantafe.org.

Washington Saxophone Quartet 7 p.m. Sunday, Dec. 9, Lensic Performing Arts Center, 211 W. San Francisco St., $15-$30, 988-1234, ticketssantafe.org.

Santa Fe Symphony Orchestra & Chorus Weiss-Kaplan-Newman Trio join SFSOC in a celebration of Beethoven, 4 p.m. Sunday, Dec. 16; pre-concert lectures 3 p.m.; Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 988-1234, ticketssantafe.org.

Sutton Foster Broadway performer, 7:30 p.m. Thursday, Dec. 27, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$75, 988-1234, ticketssantafe.org.

UPCOMING EVENTS 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.

HOLIDAY FARE HAPPENINGS A Luminous Feast Wise Fool New Mexico celebrates its 10th year with a fundraising gala dinner, 6:30-9 p.m. Sunday, Nov. 25, Taberna La Boca, 125 Lincoln Ave., Suite 117, $150, $250 per couple, available in advance at wisefoolnewmexico.org.

Tribute to Susan Berk: A Community Legacy Hosted by the New Mexico Committee of the National Museum of Women in the Arts; 5-8 p.m. Saturday, Dec. 1, La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., $25 and $100, 988-1234, ticketssantafe.org.

Santa Fe Film Festival pre-festival screening and dinner 5 p.m. Wednesday, Dec. 5 screening of Now, Forager: A Film About Love and Fungi, Q & A with co-director Jason Cortlund follows, New Mexico History Museum; three-course dinner created by chef Eric DeStefano 7:30 p.m., Coyote Café, $135 includes screening and dinner, $20 film only, a portion of the proceeds from dinner benefits the festival, 988-7414, santafefilmfestival.com.

Lannan Foundation Literary Event Hamid Dabashi discusses Iran with Alternative Radio host David Barsamian, 7 p.m. Wednesday, Dec. 5, Lensic Performing Arts Center, 211 W. San Francisco St., $3 and $6, 988-1234, ticketssantafe.org.

Circus Luminous Circus-arts troupe Wise Fool New Mexico’s 10th annual Thanksgiving tradition, 7 p.m.

Friday, 2 and 7 p.m. Saturday, 4 p.m. Sunday, Nov. 23-25, Lensic Performing Arts Center, 211 W. San Francisco St., $10-$30, discounts available, 988-1234, ticketssantafe.org.

Santa Fe Children’s Museum events Gift sale and fundraiser, handmade glass beads, jewelry, and handknit accessories; also, children are welcome to participate in a make-your-own crafts station; 11 a.m.-3 p.m. Saturdays, Nov. 24 and Dec. 22, noon-3 p.m. Sunday, Dec. 16, no admission charge, but donations welcome; Winter Solstice Festival, nightime farolito-lit labyrinth, flying farolitos, storytelling, and warm snacks, 6-8 p.m. Friday, Dec. 21, $6, 1050 Old Pecos Trail, 989-8359.

New Mexico Bach Chorale Winter Solstice Celebration, Bach’s Christmas Oratorio, chorales, and German carols, 5:30 p.m.

Sunday, Nov. 25, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $25 in advance, discounts available, ihmretreat.com, presented by the New Mexico Performing Arts Society, 474-4513.

‘The Nutcracker’ Aspen Santa Fe Ballet’s annual holiday-season performance, 2 p.m. Saturday, 1 and 5 p.m.

Sunday, Dec. 1-2, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$62, 988-1234, ticketssantafe.org.

THEATER/DANCE ‘Peter Pan’ Eldorado Children’s Theatre and Teen Players present the musical, 7:30 p.m.

Friday, Nov. 30 and Dec. 7, and Saturday, Dec. 8, 2 p.m. Saturday and Sunday, Dec. 1-9, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, discounts available, eldoradochildrenstheatre.org, 466-4656.

Sacred Music, Sacred Dance Performance by the Drepung Loseling Monks of Tibet, 7 p.m. Saturday, Dec. 15, James A. Little Theater, New Mexico School for the Deaf, $20, advance tickets available at Ark Books (133 Romero St., 988-3799), Project Tibet (403 Canyon Rd., 982-3002), and at the door.

Golden Dragon Acrobats Chinese troupe in the premiere Cirque Ziva, 7 p.m. Thursday and Friday, 1 and 7 p.m. Saturday, Dec. 20-22, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$35, discounts available, 988-1234, ticketssantafe.org.

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Folk-rock trio The Mountain Goats perform Friday, Dec. 7, at Santa Fe Sol Stage & Grill.

Santa Fe Women’s Ensemble Caroling party and silent auction, 6 p.m.

Saturday, Dec. 1, Manitou Galleries; A Winter Festival of Song 2012: 7 p.m. Dec. 7, 9, and 14, Loretto Chapel; continues at 3 p.m. Saturday, Dec. 15, Immaculate Heart of Mary Retreat and Conference Center Chapel; visit sfwe.org for full schedule and details, call 954-4922 for tickets.

Santa Fe Men’s Camerata and the Zia Singers Holiday concert of readings and carols, 7 p.m. Saturday, 4 p.m. Sunday, Dec. 1-2, Scottish Rite Center, 463 Paseo de Peralta, $20 at the door, discounts available.

Coro de Cámara The chamber chorus in A Christmas Songbook, 4 p.m. Sunday, Dec. 2, First Presbyterian Church, 208 Grant Ave., donations welcome.

Chanticleer A cappella men’s chorus, 7:30 p.m. Friday, Dec. 7, Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place, $10-$50, 988-1234, ticketssantafe.org.

Santa Fe Skating Club Holiday Ice Show Let’s Go to the Movies, performances by the SFSC, Desert Ice Figure Skating Club, Chavez Center Learn-To-Skate participants, and special guests, 4 p.m. Saturday, Dec. 8, 1 p.m. Sunday, Dec. 9, Genoveva Chavez Community Center, 3221 Rodeo Road, $10, ages 2-12 $6, under 2 no charge, 955-4033, santafeskatingclub.org.

Sangre de Cristo Chorale The 45-member chorale celebrates its 35th anniversary with a holiday concert, 2:30 p.m.

Sunday, Dec. 9, Church of Santa Maria de la Paz, 11 College Ave., $20, discounts available, ticketssantafe.org, 988-1234.

Aaron Neville Christmas Soul and R & B artist. 7:30 p.m. Monday, Dec. 10, Lensic Performing Arts Center, 211 W. San Francisco St., $35-$62, 988-1234, ticketssantafe.org.

The Romeros With Concerto Málaga The guitar quartet and the chamber ensemble offer seasonal favorites, 7:30 p.m. Monday, Dec. 10, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$50, 988-1234, ticketssantafe.org.

Santa Fe Desert Chorale Carols and Lullabies, 8 p.m. Dec. 14, 18, 20, and 22, Cathedral Basilica of St. Francis of Assisi, $15-$65; The Big Holiday Sing, members of Desert Chorale with the University of New Mexico Concert Choir and the Rio Grande Youth Chorale, 2 p.m. Saturday, Dec. 15, Cristo Rey Parish, $20 and $25; The Lighter Side of Christmas, concert preceded by champagne, hors d’oeuvres, and a silent auction benefitting the chorale’s education programs, 6:30 p.m.

Wednesday, Dec. 19, LewAllen Galleries at the Railyard, $80; ticketssantafe.org, 988-1234.

Santa Fe Concert Band The annual holiday performance presented by the Santa Fe Concert Association, 7 p.m.

Monday, Dec. 17, Lensic Performing Arts Center, 211 W. San Francisco St., no charge, 988-1234, ticketssantafe.org.

Santa Fe Pro Musica Baroque Orchestra A Baroque Christmas, music of Purcell, Vivaldi, and Corelli, Loretto Chapel, Dec. 20-24, 207 Old Santa Fe Trail, $20-$65, 988-1234, ticketssantafe.org.

Harlem String Quartet Contemporary classic music ensemble performs at the Santa Fe Concert Association’s New Year’s Gala, 5 p.m. Monday, Dec. 31, Lensic Performing Arts Center, 211 W. San Francisco St., $25-$95, 988-1234, ticketssantafe.org.

pasa week

(See Page 68 for addresses) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover.

El Farol Geeks Who Drink Trivia Night, 7 p.m., no cover.

La Fiesta Lounge at La Fonda Soulstatic, funk and R & B, 8-11 p.m., no cover.

Taberna La Boca Flamenco guitarist Chuscales, 7-9 p.m., call for cover.

Tiny’s Great Big Jazz Band, 7-9 p.m., no cover.

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

Evangelo’s Rock cover band Chango, 9 p.m., $5 cover.

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

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

The Palace Restaurant & Saloon Bluegrass band Free Range Ramblers, 7:30-10:30 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 Jazz trumpeter Chief Sanchez, 8 p.m.-midnight, no cover.

Vanessie Pianist David Geist and friends, 6:30 p.m.-close, call for cover.

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

20 Tuesday

22 Thursday

from Page 69

19 Monday (continued) NIGHTLIFE

EVENTS International Folk Dances Lesson 7-8 p.m., dance 8-10:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, or 983-3168, beginners welcome.

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

NIGHTLIFE (See Page 68 for addresses) ¡Chispa! at El Mesón Argentine Tango Milonga, 7:30-11 p.m., $5 cover.

Cowgirl BBQ Pop-Americana band Caitlin Cannon & The Artillery, 8 p.m., no cover.

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

La Fiesta Lounge at La Fonda Soulstatic, funk and R & B, 8-11 p.m., no cover.

Rouge Cat Ultra-Fabulous Dance Competition, individual and team categories, all styles of dance, weekly cash prizes, Tuesdays through Nov. 27, call for time and cover.

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

Stats Sports Bar & Nightlife Reggae Dancehall Tuesdays with Brotherhood Sound and DJ Breakaway, 10 p.m., $5 cover.

Tiny’s Open-mic night with John and Synde, 7-10 p.m., no cover.

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

21 Wednesday NIGHTLIFE (See Page 68 for addresses) ¡Chispa! at El Mesón Jazz guitarist Pat Malone, 7:30-10:30 p.m., no cover.

Cowgirl BBQ David Borrego and friends, Northern New Mexico folk/rock, 8 p.m., no cover.

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

NIGHTLIFE (See Page 68 for addresses) La Fiesta Lounge at La Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover.

The Matador DJ Inky spinning soul/punk/ska, 8:30 p.m., no cover.

La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio with Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 7-10 p.m., Staab House Salon, no cover.

▶ Elsewhere ALBUQUERQUE Museums/Art Spaces 516 Arts 516 Central Ave. S.W., 505-242-1445. ISEA2012 Albuquerque: Machine Wilderness, international group show of interactive installations, prints, and sculpture, part of the International Symposium of Electronic Art, through Jan. 6.

Holocaust and Intolerance Museum of New Mexico 616 Central Ave. S.W., 505-247-0606. Disturbing, But Necessary, Lesson, scale model of a WW II prisoner transport to Auschwitz ï Hidden Treasures, 158-year-old German-Jewish family heirloom dollhouse belonging to a family that fled to the U.S. and settled in New Mexico. Open 11 a.m.3 p.m. Tuesday-Saturday, donations accepted.

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 (19092009), paintings, sculpture, and furniture, through January 2013 ï Stitching Resistance: The History of Chilean Arpilleras, a collection of appliqué textiles crafted between 1973 and 1990, through January 2014 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.

The 31st annual Placitas Holiday Fine Arts & Crafts Sale runs 10 a.m. to 5 p.m. Saturday and Sunday, Nov. 17-18, in the village of Placitas; (Gila Herd, by Lynne Pomeranz).

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.

UNM Art Museum Center for the Arts Building, 505-277-4001.

Dancing in the Dark, Joan Snyder Prints 1963-2010, exhibit of prints spanning 47 years of moments in Snyder’s life ï The Transformative Surface, film and digital works by faculty; both exhibits through Dec.15. Open 10 a.m.-4 p.m.

Tuesday-Saturday; $5 suggested donation.

Events/Performances Eliza Gilkyson Roots/Americana singer/songwriter, 7:30 p.m. Saturday, Nov. 17, Outpost Performance Space, 210 Yale Blvd. S.E., $25 and $30, 505-268-0044.

Sunday Chatter The chamber-music ensemble performs music of Beethoven and Schumann, with poet Lauren Camp, 10:30 a.m. Sunday, Nov. 18, Factory on 5th, 1715 Fifth St. N.W., chatterchamber.org, $15 at the door.

ESPAÑOLA Bond House Museum 706 Bond St., 505-747-8535. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945).

Open noon-4 p.m. Monday-Friday, no charge.

Misión Museum y Convento 1 Calle de los Españoles, 505-747-8535. A replica based on the 1944 University of New Mexico excavations of the original church built by the Spanish at the San Gabriel settlement in 1598.

Open noon-4 p.m. Wednesday-Friday, 11 a.m.3 p.m. Saturday; no charge.

LOS ALAMOS Museums/Art Spaces Bradbury Science Museum 15th and Central Avenues, 667-4444. Open 10 a.m.-5 p.m. Tuesday-Saturday, 1-5 p.m.

Sunday-Monday; no charge.

Pajarito Environmental Education Center 3540 Orange St., 662-0460. Exhibits of flora and fauna of the Pajarito Plateau; live amphibians, an herbarium, and butterfly and xeric gardens.

Open noon-4 p.m. Tuesday-Friday, 10 a.m.-1 p.m.

Saturday, no charge.

Events/Performances ‘The Woman in Black’ Los Alamos Little Theatre presents the spooky 1987 play adapted by Stephen Mallatratt from Susan Hill’s 1983 book of the same name; 7:30 p.m. Friday and Saturday, Nov. 16-17, 1670 Nectar St., 505-662-5493; $12, discounts available, tickets at C.B. Fox, 1735 Central Ave., 505-662-2864, and at the door.

MADRID Johnsons of Madrid 2843 NM 14, 471-1054.

Gallery talk by photographer Ford Robbins on the process of photopolymere gravure, 1:30-3 p.m.

Saturday, Nov. 17. Group show of gallery artists; paintings by Mel Johnson; through Nov. 28.

Madrid Old Coal Town Mine Museum 2846 NM 14, 438-3780 or 473-0743. Steam locomotive, mining equipment, and vintage automobiles. Open 10 a.m.-6 p.m. daily. $5, seniors and children $3.

PLACITAS 31st annual Placitas Holiday Fine Arts & Crafts Sale Art raffle, 80 artists, food and wine, 10 a.m.-5 p.m. Saturday and Sunday, Nov. 17-18, south of Santa Fe on Interstate 25 to Exit 242, and 6 miles east on NM 65, details and map available online at placitasholidaysale.com.

TAOS Museums/Art Spaces E.L. Blumenschein Home and Museum 22 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish Colonial antiques. Open 10 a.m.5 p.m. Monday-Saturday, noon-5 p.m. Sunday.

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

Encore Gallery Taos Community Auditorium, Taos Center for the Arts, 133 Paseo del Pueblo Norte, 575-758-2052. Force of Nature, group show of Taos-based contemporary artists, through Dec. 2. ▶▶▶▶▶▶▶▶ PASATIEMPO

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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, noon5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday.

Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 11 a.m.-5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge.

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 December. 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 Taos Chamber Music Group The 20th season continues with music from past seasons in Old Friends, selections from Chan Ka Nin, David Lang, and Philippe Gaubert, performers include flutist Nancy Laupheimer, pianist Debra Ayers, and violinist Elizabeth Baker, 5 p.m. Saturday and Sunday, Nov. 17-18, Arthur Bell Auditorium, Harwood Museum of Art, 238 Ledoux St., $20 in advance; $22 at the door; discounts available, 575-758-9826, taoschambermusicgroup.org.

▶ People who need people Volunteers Reading Tutors Share your love of reading with children in the United Way Let’s Read Afterschool Program at Aspen Community Magnet School, 450 La Madera; grades K-5; Mondays-Thursdays; call Susan, 216-2983, or Erin, 670-5044.

Santa Fe Botanical Garden Guide garden tours, organize events, and help in the office; santafebotanicalgarden.org or 471-9103.

Donations Canyon Road — Giving Back to the Community The Canyon Road Merchants Association and participating galleries will provide food-collection barrels for The Food Depot through Dec. 14; drop off nonperishable food at Canyon Road Contemporary Art, Darnell Fine Art, Dominque Boisjoli Fine Art, William & Joseph Gallery, and Ventana Fine Art; contact Mary Bonney for information, 982-9404.

Smith’s Holiday Program Smith’s Food & Drug invites customers to donate $5, $10, or $15 to their purchases for gift cards to be given to The Food Bank through Dec. 29.

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Artists/Craftspeople 62nd Annual Traditional Spanish Market 2013 Artists may submit work for jurying on Feb. 2; applications due by Jan. 25; guidelines available upon request; visit spanishcolonial.org for details and applications, 992-8212, Ext. 111.

Landscape Dreams Photo Contest Santa Fe Creative Tourism seeks contestants’ images of New Mexico places, portraits, and moments, Friday, Nov. 30 deadline; visit newmexicophotocontest.com for information and guidelines.

Musicians/Performers Santa Fe Bandstand 2013 Visit santafebandstand.org if interested in performing in the seven-week series on the Plaza; deadline Friday, Nov. 30.

Filmmakers/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 Feb. 1; visit pen.org or write to awards@pen.org for more information.

Pasatiempo 2012 Writing Contest Contribute a story on any subject in poetry or prose. Prizes for winning entries. Three categories: Ages 19 and up 1,000 words maximum, ages 13-18 1,000 words maximum, and ages 5-12, 500 words maximum. (A great holiday classroom activity!) Mail entries to: 2012 Writing Contest, c/o The Santa Fe New Mexican, 202 E. Marcy St., 87501. Email entries to: writingcontest@sfnewmexican.com.

Electronic entries are highly recommended.

Deadline 4 p.m. Monday, Dec. 3, winning entries will be published in Pasatiempo on Friday, Dec. 28.

Snow Poems SITE Santa Fe’s SPREAD 3.0 winning community poetry project stenciling selected lines of poetry onto public windows, buildings, and schools through out the city; one poem per person may be submitted online at snowpoemsproject.com beginning Saturday, Nov. 17, through Monday, Dec. 17; presented by the Cut + Paste Society (cargocollective.com) and the Santa Fe Art Institute (sfai.org).

Taos Shortz Film Fest call for entries Held March 7-10 at the Taos Center for the Arts; deadline Dec. 15, $33; taosshortz.com.

▶ Under 21 Here in the Spotlight Concert with Crown Royalty, Manny Locs, Cloud Nine, Nympho, and others, 7-10 p.m.

Friday, Nov. 16, Warehouse 21, 1614 Paseo de Peralta, $5, 989-4423.

Through the Looking Glass An Alice in Wonderland-themed rave; Mickey Paws, MONO-STEREO, DJ Kaos, and others, 7 p.m. Saturday, Nov. 17, Warehouse 21, 1614 Paseo de Peralta, $10, 989-4423.

▶ Short People Family animated movie matinees 2 p.m. Saturdays, Nov. 17 and Dec. 8, Santa Fe Public Library, Southside Branch, 6599 Jaguar Dr., no charge, call 955-2820 for information.

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 santafepubliclibrary.org for other events. ◀

Untold fantasy kingdoms stretch before us When I was a wee lad — a scrawny second grader in Westport, Connecticut, with poor jungle-gym and social skills and therefore a propensity for receding into my own made-up worlds — my brother and I created a miniature city out of Styrofoam and paperboard. We called it Floxnoxia, which, while it sounds today like a venereal disease or a prescription medication for acid reflux, was Still image from Video Musics III: Floating Oceans actually a pretty cool place to escape to.

At the same time Floxnoxia was being created, my babysitter agreed to direct my brother and I in a home movie about vampires. I lost interest in the film quickly, as caring for my Stretch Armstrong doll — a latex rubber he-man type in underwear filled with gelled corn syrup — took up most of my free time. None of this would have rapped on the door to my adult subconscious were it not for animator, video artist, composer, and performer Alexis Gideon, whose stylish and thoughtful “video opera” animation works constantly make me wish I had combined the creative endeavors of my youth into a tangible and entertaining multimedia narrative once the technology became available.

Gideon, a New York native and jazz-loving student of LaGuardia High School of Music & Art (known as the Fame high school) and a product of a family that loved classical music, creates colorful narratives that blend live music and animation that are then projected on the big screen. His Video Musics series of works embrace surreal and fantastical notions grounded in pop culture and international literature in an attempt to celebrate what he has called “the commonalities in the human experience and human expression.

“Gideon’s latest work in the series, titled Video Musics III: Floating Oceans, takes inspiration from the writings of early-20th-century Irish writer Lord Dunsany — often cited as a major influence on H.P. Lovecraft and J.R.R. Tolkien — and the time and dream experiments of Irish physicist John William Dunne, who was a firm believer in precognitive dreams).

While the intellectual depths that Gideon mines for his works are perhaps infinitesimally more intricate than those that spawned our humble Floxnoxia, I can’t help but think he approaches his art with a certain childlike wonder. We all have flashes of creative brilliance, but Gideon is a living, breathing, beacon than seems to know no artistic bounds.

Combining his filmmaking skills with jazz, hip-hop, psychedelic rock, and what I would call electrofolk, Gideon tells stories, but he does it in a most unusual fashion. His work has been called “freaky fun,” and to be sure, there’s a definite strangeness to his narrative approach. Others in the realm of strangeness and good storytelling have taken notice.

Video Musics III: Floating Oceans, was made in collaboration with artist/stop-motion animator Cynthia Star (Robot Chicken, Coraline) and writer, editor, and filmmaker Jacob Rubin, to name a few.

At 6 p.m. Saturday, Nov. 17, the Santa Fe Art Institute and the Santa Fe After Hours Alliance present Alexis Gideon and Video Musics III: Floating Oceans at Lucky Bean Café, located inside the former Borders Books & Music space as Sanbusco Center (500 Montezuma Ave.). Tickets are $10 at the door. Gideon performs a live score to his most recent piece in the midst of an international tour, and lands in a place where both opera and video art share eager and oftentimes overlapping audiences.

I won’t rest until Stretch Armstrong storms Floxnoxia’s boutique district in search of a nice pair of jeans to cover up that tattered underwear, all the while fighting off vampires who want to drain him of his gelled corn-syrup bloodlife. As Oscar Goldman said about the Six Million Dollar Man, “We can rebuild him ... we have the technology.” Well, Alexis Gideon does, anyway.

— Rob DeWalt rdewalt@sfnewmexican.com Twitter: @Flashpan @PasaTweet

A weekly column devoted to music, performances, and aural diversions. Tips on upcoming events are welcome.

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and paper whites for the holidays. Paper whites can be grown in a shallow dish with gravel and water while amaryllis should be potted up in a 6â&#x20AC;? to 8â&#x20AC;? container with good quality potting soil. Both will typically bloom in six to eight weeks after planting. After blooming for the holidays amaryllis make a good easy to grow house plant and will rebloom once or even sometimes twice a year. If you planted a tree or shrub this past year donâ&#x20AC;&#x2122;t forget that it still needs water every ten days or so.

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