The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
December 27, 2013
r W 13 0 2
t s e nt o C g n iti
spirited cuisine Now Taking Reservations for New Year’s Eve & Day
R I S T RLATE A L ATNITE E N I9-11 TE RISTRA Friday and Saturday nights sample our from 9-11 pm sample our NEW COCKTAIL MENU
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Appetizers • Maine Lobster Bisque with Local Goat Cheese and Green Chile Salsa • Thunderbird Smoked Duck Nachos with House Guacamole • Carne Adovada Chimichangas with Habanero-Lime Crema
Salads
• Santa Fe Caesar Salad with Parmesan Crisp • Grilled Winter Vegetable Panzanella Salad with Aged Balsami Vinaigrette
Entrées
• Roast Colorado Lamb Loin with Yukon Gold and Roasted Garlic Mashed Potatoes, Pomegranate and Red Wine Demi Glace • New Year’s Eve Vegetable Plate • 6 oz. Black Angus Filet Mignon and 4 oz. Maine Lobster Tail with Creamy Poblano Posole, and Red Chile Demi Drizzle • Fresh Maine Sea Scallops with Smoked Salmon and Green Chile Risotto, and a Lemon-Champagne Vinaigrette
Desserts
• Chocolate Mousse Trifle • Apple Pear Sreudel with Cinnamon Ice Cream and Salted Caramel Sauce
505-490-6550 • ThunderbirdSantaFe.com • Facebook.com/ThunderbirdBarGrill 50 Lincoln Ave, on the Santa Fe Plaza 2
PASATIEMPO I December 27, 2013 - January 2, 2014
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PASATIEMPO I December 27, 2013 - January 2, 2014
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THE SANTA FE NEW MEXICAN
Dec. 27, 2013 - Jan. 2, 2014
www.pasatiempomagazine.com
On the cOver 27 A writing contest for all seasons Pasatiempo’s annual writing contest got off to a vigorous start in mid-autumn as submissions from children, teens, and adults started pouring in. Throughout the weeks, the judges — the magazine’s writers and editors — read and analyzed the poems and prose pieces, and after many heated discussions, they chose the winners printed in these pages. On the cover is Susan Brearey’s oil on canvas Deer With Ferns and Leaves; courtesy Gerald Peters Gallery.
BOOKS 14 In Other Words The Language of Fiction & Susan Sontag: The Complete Rolling Stone Interview
MUSIc AnD PerFOrMAnce 16 18 20 22 25
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Assistant editor — Madeleine nicklin 505-986-3096, mnicklin@sfnewmexican.com
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chief copy editor/Website editor — Jeff Acker 505-986-3014, jcacker@sfnewmexican.com
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Associate Art Director — lori Johnson 505-986-3046, ljohnson@sfnewmexican.com
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calendar editor — Pamela Beach 505-986-3019, pambeach@sfnewmexican.com
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AnD 11 Mixed Media 13 Star codes 56 restaurant review: Izanami
ADvertISIng: 505-995-3819 santafenewmexican.com Ad deadline 5 p.m. Monday
StAFF WrIterS Michael Abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 505-986-3039, billk@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com
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cOntrIBUtOrS loren Bienvenu, laurel gladden, Peg goldstein, robert Ker, Jennifer levin, robert nott, Jonathan richards, heather roan-robbins, casey Sanchez, Michael Wade Simpson, Steve terrell, Khristaan D. villela
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PrODUctIOn Dan gomez Pre-Press Manager
The Santa Fe New Mexican
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Lawrence of Arabia Camille Claudel 1915 Space Battleship Yamato Pasa Pics
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vocal supergroup Voasis terrell’s tune-Up The best of 2013 Pasa tempos CD reviews Pasa reviews A Baroque Christmas Onstage Meow Wolf New Year’s Eve party
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. e-mail: pasa@sfnewmexican.com
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2014 Community LeCtures Santa Fe Institute Community Lectures offer a glimpse inside the Institute’s research to understand the physical, computational, biological, and social complex systems that underlie many of the profound issues facing humankind today. By transcending disciplines, breaking academic molds, and bringing together an international network of unorthodox thinkers, SFI is seeking insights that offer hope for science and society.
Lectures begin at 7:30 p.m. and take place at the James A. Little Theater, 1060 Cerrillos Road, Santa Fe. Admission is free, but seating is limited. For more information please visit www.santafe.edu.
A Wild solution for Climate Change Getting our Arms around obesity Why the internet Won’t Gain you Any more Friends is Free Will an illusion?
WeDnesDAy, JAnuAry 8
Tom Lovejoy, Senior Fellow, United Nations Foundation, and University Professor of Environmental Science and Policy, George Mason University WeDnesDAy, FebruAry 12
Ross Hammond, Senior Fellow and Director, Center on Social Dynamics and Policy, Brookings Institution WeDnesDAy, mArCh 12
Robin Dunbar, Director, Social and Evolutionary Neuroscience Research Group, Department of Experimental Psychology, University of Oxford WeDnesDAy, mAy 14
Daniel Dennett, Austin B. Fletcher Professor of Philosophy and Director, Center for Cognitive Studies, Tufts University
the Fabric of our Lives: Cities, slums, neighborhoods, People
WeDnesDAy, June 18
time travel: testing the Grandfather Paradox
WeDnesDAy, JuLy 16
the Joy of x: Doing math in Public seeing the Future in our Past: Why Archaeology matters i Get All the news i need From the sports section
Luis Bettencourt, Professor, Santa Fe Institute Seth Lloyd, Professor, Mechanical Engineering, Massachusetts Institute of Technology; External Professor, Santa Fe Institute WeDnesDAy, AuGust 6
Steven Strogatz, Jacob Gould Schurman Professor of Applied Mathematics, Cornell University tuesDAy & WeDnesDAy, sePtember 9 & 10 • 2014 STANISLAw ULAM MEMORIAL LECTURES
Jeremy Sabloff, President, Santa Fe Institute WeDnesDAy, oCtober 15
Sidney Redner, Professor, Santa Fe Institute
Why We Kill: the WeDnesDAy, noVember 12 socialization of Violence Richard Rhodes, journalist, historian, and author of both fiction and non-fiction including
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PASATIEMPO I December 27, 2013 - January 2, 2014
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PASATIEMPO I December 27, 2013 - January 2, 2014
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MIXED MEDIA
Jane Phillips/The New Mexican
Santa Fe Botanical Garden’s Glow with sculpture by Christy Hengst
What makes your garden glow? Warm lights take the chill out of the winter air as Glow — A Winter Lights Event illuminates the Santa Fe Botanical Garden on Museum Hill (725 Camino Lejo) for two more consecutive weekends: from 5 to 8 p.m. on Friday, Dec. 27, and Saturday, Dec. 28, and Jan. 2 to Jan. 4. Glow, which opened in early December, is designed by Lisa Samuel, owner of Samuel Design Group in Santa Fe. Accordionist Pedro Romero plays at Glow on Dec. 27, Dec. 28, and Jan. 4, and Buffalo Nickel Two performs on Jan. 3. Tickets are $8; children under 12 get in free. They are available at www.santafebotanicalgarden.org or at the door. Call 505-471-9103 for more information. Visitors to Glow can revel in the enchanting lights of the garden and take advantage of a concurrent sculpture exhibit, Birds in the Garden, by artist Christy Hengst. Her porcelain birds, some of which were inspired by the haikus of Santa Fe poet Miriam Sagan, are silk-screened with text exploring themes of war and peace. The exhibit runs through May 2014. Entrance is by garden admission ($5, discounts available). — Michael Abatemarco
RESIDE
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PASATIEMPO I December 27, 2013 - January 2, 2014
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STAR CODES
Heather Roan Robbins
Hang on to your hats — 2014 has a wild birth chart and looks like
it’s going to be a wild ride. We’re right in the heart of metamorphosis now. Our New Year’s resolutions will be particularly important this year. As 2014 dawns, Pluto, Mercury, the sun, and the moon conjunct in determined Capricorn. All four oppose bountiful Jupiter and square change-master Uranus and assertive Mars to form the corners of a grand square. Together they begin a new if unsettling cycle, reminding us that we’re smack in the transitional stage of societal transformation; from 2012 to 2015 Uranus in Aries calls us to innovate and revolt and wrestles with Pluto in Capricorn as it pulls us to reorganize structure and government while remembering the old ways. These planets encourage us to confront uncomfortable problems squarely but can also help us make wonderful progress. This year we can expect action in many hot spots including women’s rights, gay rights, and racial equality. A surge of freedom-seeking politics (Uranus in Aries) can trigger opposing efforts to crack down (Pluto in Capricorn). A gap between generations widens with political, cultural, and technological advances, which can be healed when we work together. Saturn, the planet of structure and training, in profound Scorpio, challenges us to take this work deep within our souls. Our ability to find our balance will be our most essential tool to stay healthy. We need to be kind, but we feel drained if we get stuck in selfpity or in enabling relationships. Saturn, now in Scorpio, and Neptune in Pisces can blur our boundaries while waking up our senses of empathy and connection. Work toward a sustainable ecology on all levels. Balance the needs of all involved so we can move forward in healthy interdependence. The more stressful the times, the more important balance will become. Expansive, abundant, freedom-loving Jupiter in Cancer opposes Pluto and squares Uranus this January through June, amping up the speed and depth of change, altering water levels, bringing storms, and singing an intense need for personal freedom. Let’s start at home, with family dynamics. Relationships will need breathing room. Mars spends an unusually long time in Venus-ruled Libra (Dec. 9, 2013, to July 28, 2014) dancing back (retrograde March 2 to May 20) and forth in that grand square with Pluto, Uranus, and Jupiter. It invites us to dance this revolution and to take a creative Venusian, heart-centered, egalitarian approach to life. Spring stays unsettled and blustery, so find the balance between the wind gusts. That grand square perfects again in April; it will be a rocky month, but we can accomplish great shifts if we ride its waves. Late spring a helpful grand trine between Jupiter, Saturn, and Chiron allows us to make headway through unusual alliances and encourages healthier architecture and economic structure. Jupiter enters Leo mid-July and waltzes with Venus — our hearts will long for more love, compassion, and time with our muse, and can flare up melodramatically when conflicted. Jupiter trines Uranus in the fall and supports all who go back to school or turn their work toward their bliss. Technological inventiveness can leap forward and leave us feeling out of date, but it may provide solutions to key problems. Tend to relationships of all kind in the fall, making sure all is on track and equal and that dreams are shared, because the sun squares Pluto and opposes Uranus from Oct. 3 to Oct. 9 and dances on our interpersonal tender spots. Let’s work together. ◀ www.roanrobbins.com
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In Other wOrds book reviews The Language of Fiction: A Writer’s Stylebook by Brian Shawver, University Press of New England, 242 pages If the idea of reading a writer’s style guide from start to finish strikes you as akin to undergoing root-canal surgery or a colonoscopy, you should probably set aside your aspirations to write a novel. If, however, you feel absolutely compelled to fill 300 pages with words to convey some made-up tale, you really should give yourself the pleasure of reading Brian Shawver’s The Language of Fiction before you get too far along. An alumnus of the Iowa Writers’ Workshop and a member of the English faculty at Park University in Missouri, Shawver has this to say about creative-writing courses: “I’ve never been in a creative writing classroom in which the instructor didn’t tell students how crucial it was to know basic grammar, yet I’ve never been in one (including those I’ve taught) in which the class spent more than a few minutes talking about how to learn it.” That leaves the endeavor up to the student, who, Shawver observes, must generally choose between a grammar manual like the Allyn and Bacon Handbook (which is “about as fun to read as the Canadian tax code”) and, inevitably, Strunk and White’s The Elements of Style (which he finds venerable but dated). The Language of Fiction leaps into the breach, pointing out pitfalls and offering advice while shoring up a writer’s sense of confidence rather than instilling despair. Some of what one encounters between these covers — proper use of commas, judicious awareness of clichés — would apply to any kind of writing, but the book is, at heart, a manual for writers of fiction, just as the title says. To this end, its chapters address topics that a potential novelist or short-story writer needs to confront. “Which Verb Tense Should You Write In?” assays not so much the relative merits of past versus present as what either choice is likely to suggest to a reader. “How Should You Format and Punctuate Dialogue?” ponders the fine points of standard double quotation marks but also considers other possibilities that authors have used effectively to convey characters’ conversations in special situations: no punctuation marks at all (Cormac McCarthy, Peter Carey); dashes before a remark (James Joyce,
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PASATIEMPO I December 27, 2013- January 2, 2014
Roddy Doyle); dashes before and after a statement (Nadine Gordimer); italics (Nicole Krauss); roman type set off by italicized dialogue tags (as Daniel Defoe did in Moll Flanders: Sit down Robin, says the old lady, I must have some talk with you.). In another chapter Shawver contemplates “Should You Phonetically Represent Characters’ Speech?”; elsewhere “What Are Your Options for Portraying Characters’ Thoughts?” Options — there’s the heart of the matter. Quite a few people got it into their minds at some point that grammar and writing style have principally to do with right and wrong. Certainly there are rules that ought to be followed, and although Shawver wants you to know what they are, he assures you that you may sometimes set them aside. But that has to be a conscious decision; otherwise, you’re liable to end up with just a sloppy misfire rather than something that lends literary emphasis. He sometimes surprises us. Most writers have been instructed — or have discovered on their own — that adverbs spell trouble. (“The typical advice about adverbs,” he writes, “boils down to ‘don’t use them, unless you’re meeting the demands of terrorists.’”) Shawver is not so sure. Yes, he allows, there’s not much to commend in the redundancy of a phrase like “a radio blares loudly”; but, on the whole, he views adverbs benevolently, and he explains why with his accustomed charm and open-minded candor. “For teachers of creative writing,” he muses, “the problem with instilling a fear of adverbs in students is that the bright ones will notice how many excellent writers disagree.” He has empathy for such a teacher, to be sure: “If he didn’t warn students against adverbs, he’d be up to his neck in phrases like ‘she glowered menacingly’ and ‘Arthur cried despondently’ and ‘the dog sneezed extremely alarmingly.’ No shame in that — a teacher should try to prevent students from doing bad work. But a teacher should also do whatever he can to encourage good work, even mastery, and in this case our theoretical instructor has limited the students’ ability to achieve it.” As you surmise from even such a brief passage, Shawver is an inviting, openhearted writer. His book is in no way a fustian treatise. Instead, it gently and logically sets forth the possibilities available to someone constructing prose and weighs in on how a wordsmith might sort through the options to arrive at a formulation that supports a desired meaning and tone. He doesn’t come out and say it, but his goal is to lead writers on a path to a distinctive style informed by good taste. He proves such an engaging companion on the page that any serious reader should delight in what he has to say — and any aspiring writer would be foolish not to listen. — James M. Keller
SubtextS Authors confess Meredith Maran has written some dozen books, mostly nonfiction, and has edited about as many anthologies. Her credentials as a professional writer are incontestable, but one might nonetheless worry that her latest effort, Why We Write: 20 Acclaimed Authors on How and Why They Do What They Do (published by Plume/Penguin), is unpleasantly impregnated with the scent of opportunism. There’s no rule that says writing a book has to be hard, but this one appears to have been the product of exceedingly casual effort. She asked 20 well-known authors why they write and transmits what they told her. Each of her 20 sections follows an identical template: the opening line of the author’s latest novel, a minuscule introduction from Maran, a bare-bones outline of the author’s career and publications, and the author’s interview replies, normally distilled to seven or eight duodecimo pages. Pledging some of the book’s proceeds to a youth literacy program helped muscle these luminaries into participating. One may suspect that Ann Patchett’s explanation of why she accepted some hack job for a sales catalog — “I thought, turning them down will take more energy than writing it” — may be relevant to Maran’s project as well. Some chapters sound like knee-jerk responses the authors have hauled out at many a writers conference, but a few contributors do come across as awake and interested: Sebastian Junger, Susan Orlean, Meg Wolitzer, Rick Moody, Patchett. Clichés abound; get used to variations on “I write because I can’t not write” (Jodi Picoult), “I’m really not qualified to do anything else” (James Frey), and “When I was at Princeton” (Michael Lewis). Still, useful nuggets lurk in these pages, and aspiring writers may benefit from knowing that, before starting a project, Mary Karr prays “about whether it’s what God wants me to do” and that Terry McMillan fills out a McDonald’s job application for every character she creates. — J.M.K
Susan Sontag: The Complete Rolling Stone Interview by Jonathan Cott, Yale University Press, 145 pages When Susan Sontag was good, she was rock-star good. Just look at her 1975 essay “Fascinating Fascism,” in which she icily examined people’s prolonged preoccupation with Nazi regalia, noting the way that the thenemerging subculture of sadomasochists was appropriating fascist regimes’ dark aesthetics while shrugging off the weight of their murderous history. “Now there is a master scenario available to everyone,” Sontag wrote. “The color is black, the material is leather, the seduction is beauty, the justification is honesty, the aim is ecstasy, the fantasy is death.” With her exquisite prose, borrowed European sensibilities, and penchant for considering the cultural merits of sex, drugs, and rock ’n’ roll, Sontag was an intellectual who commanded the attention of the broader public. It’s no wonder that, in the fall of 1978, Rolling Stone made space alongside coverage of Rod Stewart and Blondie for a Q&A with the reigning doyenne of downtown lit-crit. The magazine trimmed two-thirds of the sprawling interview, and some 35 years later, journalist Jonathan Cott has released the director’s cut, featuring the entirety of their 12-hour talk conducted in New York and Paris, covering everything from photography and eros, Nietzsche and The Doors, illness and aging. It’s a quick and beguiling read, as much for Sontag’s offhand observations as for a muscular demonstration of her conversational style. Unusual for a writer, she lobs back interview questions with same athletic aplomb that graces her essays. As Cott notes in his introduction, Sontag’s kitchen-table oratory was a self-conscious performance, years in the making. Cribbing an entry from a volume of her personal journals published in 2012, he notes that a younger Sontag vowed “To give no interviews until I can sound as clear + authoritative + direct as Lillian Hellman in Paris Review.” Sure, over the course of a hundred or so pages, Sontag bloviates every now and then, as when she explains her refusal to consider living in San
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Francisco. “I feel that too many things have just not migrated to California — the connection with Europe, with the past, with the book world, with the world of feelings and concerns and energies that are represented by nineteenth-century literature.” But when she returns to evaluating art, her judgment is adroit. Explaining why the fragmentary form reigns in literature, film, and visual-art narratives (a motif that holds strong to this day), Sontag muses, “It’s not an art form or a thought form of young cultures that need to make things very specific. But we know a lot and are aware of the multiplicity of perspectives, and the fragment is one way of acknowledging that. ... Just as when in the eighteenth century rich people put artificial ruins on their property, so fragments in the world of thought or art are like artificial ruins.” It’s a fine explanation of the split-narrative impulse that runs from Ulysses to Pulp Fiction. But this is Rolling Stone, and the interviewer can’t help but ponder whom she sleeps with, what she smokes, and, of course, what records changed her life — questions that Sontag both provokes and evades at the same time. “I’ve taken a very modest amount of psychedelic drugs throughout my adult life,” she says. “What I did learn from drugs was a certain kind of passivity that was good for me because I was very nervous.” She also claims that writing is “desexualizing,” to the point where relationships are put on a celibate pause as she wraps up essays. Yet it is Sontag’s comments on rock music that are the most astonishing, chalking the breakup of her marriage and her relationship with the university in the late 1950s to rocking around the clock. “I think it was Bill Haley and the Comets and Chuck Berry that made me decide that I had to get a divorce and leave the academic world and start a new life.” Even in pop music, her moralist stance would not leave her. In Berry she heard a Dionysian sound and in rock music she saw one more manifestation of our culture’s ideas about pleasure and radicalism, inherited from the Romantic movement of the 19th century. “We were given a vocabulary that came into existence at a particular moment. So when I go to a Patti Smith concert at CBGB, I enjoy, participate, appreciate and am tuned in better because I’ve read Nietzsche.” An insufferable prig or a high-culture maven for nostalgie de la bouie? There’s nothing in this delightful interview that resolves the question. And for Sontag, there’s nothing wrong with that. As she confides to Cott, “For me, the most awful thing would be to feel that I’d agree with the things I’ve already said and written — that is what would make me most uncomfortable because that would mean that I had stopped thinking. Reading is my entertainment, my distraction, my consolation, my little suicide.” — Casey Sanchez
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Paul Weideman I The New Mexican
Vocal chords In the Midnight Hour with Voasis
F
ans of a cappella singing and of pop music in general will revel in the joyful noise of Voasis, which performs six concerts at Warehouse 21 on the final four days of 2013. The ensemble’s artistic director is Deke Sharon, producer of the popular NBC television show The Sing-Off, which showcases a cappella groups. The eight members of Voasis appear under the auspices of the Santa Fe Desert Chorale. “The Desert Chorale’s music director, Joshua Habermann, Deke Sharon and I have been super-close friends since we were in the third grade,” Sharon said. “They have this pocket of time between Christmas and New Year, and they’ve wondered what they could do that fits the mission and nature of the Desert Chorale organization. He asked if I’d be interested in doing a contemporary a cappella thing, and I said, ‘Yeah, let’s talk more.’ “With Voasis, we have some of the country’s best young vocalists working in movies and singing backup for some of the biggest names. We’re in some ways replicating the Desert Chorale model, but doing it with pop/rock/jazz singers.” The musical director of Voasis is Greg Jasperse, whose day job is director of vocal jazz at Western Michigan University. He has worked as a clinician and conductor all over North America. Among his credits, Jasperse sang with Adele on her song “Skyfall” at the 85th Annual Academy Awards last February. The other members of Voasis are Genevieve Artadi, frontwoman of the Los Angeles electro-pop bands Pollyn and KNOWER; Loren Battley, who has a degree in jazz studies from WMU and has sung with several groups; Eric Bradley, boasting a long association with The Vantastix quartet, led by Dick Van Dyke; Laura Dickinson, director of the a cappella sextet Vybration and a frequent singer on Disney Channel series; Katharine Hoye, possessor of a degree in ethnomusicology from UCLA and member of the a cappella band ARORA; Fletcher Sheridan, who has been a busy session singer in Los Angeles for 17 years; and Greg Whipple, whose résumé is full of television and film credits and who has worked with Burt Bacharach, Frankie Valli, and Roger Daltrey. Sharon is the founder and director of the a cappella group The House Jacks and has shared stages with Ray Charles, The Four Tops, and
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PASATIEMPO I December 27, 2013-January 2, 2014
Voasis
Run-DMC, among many others. He was arranger, music director, and vocal producer for the 2012 film Pitch Perfect. Pasatiempo called him at his home in San Francisco. Pasatiempo: Will you be singing in Santa Fe? Deke Sharon: I’m not, for the notable reason that I’m so busy and I didn’t want to hamstring the organization. The idea is that if this goes well, we can bring the group back for some things in the summer, or maybe a camp or institute teaching a cappella in all different styles. It would be a lot of fun to work with Josh on something like that, but of course both of our summers for 2014 are booked, so that would be more of a 2015 idea. The overall idea is to create a fantastic, high-quality vocal ensemble that happens to focus on a style of music that's getting a lot of attention today. Pasa: The publicity materials for the Voasis program mention songs by Michael Jackson, Frank Sinatra, and Dizzy Gillespie. Sharon: And all the way to the indie band Fun that has had all the chart hits this past year. What we’re hoping to do is take people on a real journey of music from the past 50 years. We realize demographically that the audience will be diverse, but frankly that’s what a cappella does best and that’s why people love shows like The Sing-Off and the movie Pitch Perfect, where it can appeal to someone who’s 7 years old or 70 years old. Another thing that’s really spectacular about the human voice is that it’s able to switch styles so quickly. If you wanted a program with classical music and rock and jazz and world music, you’d have to have a
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symphony orchestra, a rock band, a jazz ensemble, and African drums or a klezmer band, whatever. You need all these different instruments. The human voice can shift gears from one song to another effortlessly, which is what’s fun with The King’s Singers, who come out and sing Monteverdi and then a 20th-century classical piece, then a Randy Newman or Paul Simon song. This is what we’re going to have fun with. Pasa: Are the singers improvising on stage? Sharon: We’ll definitely have scat solos, but it can be really dangerous territory. My instrument at the New England Conservatory of Music was jazz voice. I love jazz. I’m a stalwart believer, but vocal jazz can get really cheesy, so you have to be careful with improv. Pasa: Does Voasis get into anything far-out, like we might associate with Theo Bleckmann or Meredith Monk? Sharon: No, we’re staying in the pop music realm. This is more dessert. People are going to have fun, clapping their hands, snapping their fingers. You’ll leave with a smile on your face. Pasa: You’re the artistic director. Are the arrangements by you or Greg, or are they pre-existing? Sharon: None are pre-existing. All are from myself and Greg, and also from some members of the ensemble. Well over half, probably all, of the singers could easily music-direct this group. If you had to categorize it, this is a superstar group. It’s like getting Eric Clapton, Jimmy Page, and Jeff Beck together for a classic electric-guitar summit; it’s like that for vocal music. Pasa: It’s cool that you chose the Warehouse 21 teen center as the venue. Sharon: Initially it was going to be in one of the churches, but we want this to be different, to say that this is something different. Some fans of the Desert Chorale will come, but hopefully we’ll get other people with no real connection to classical music, and hopefully Voasis will be the gateway drug into contemporary classical music. Pasa: What else have you been doing this fall and winter? Sharon: The Sing-Off is on NBC right now. We taped that into December, which was a great deal of fun, and the groups are phenomenal. And then I have my own professional group, The House Jacks. We just got back from a four-country tour in Europe. The Sing-Off concert tour was just announced for February and March. I’ll be busy directing for that. I won’t be going on tour with them, because by then I’ll most likely be into making Pitch Perfect 2. But I love being on stage. Frankly, it makes me a better director and arranger. It’s so easy to tell other people what to do. And being on stage is fun. I started singing in a boys choir when I was 5. I would gladly sing with Voasis, but with the level of talent in the ensemble, I thought it was more important to structure it in such a way that didn’t rely on my presence on stage. ◀
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Gather around the fire, sip hot cocoa or cider, listen to live music from local performers.
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TERRELL’S TUNE-UP Steve Terrell
Top 10 and counting I recently read a funny article on Cracked.com titled “4 Common Music Arguments and What They Really Mean.” The very first argument struck me as I was compiling my annual best-albums list: “There Is No Good Music Anymore.” According to Cracked, what people who say this are really saying is “I don’t know how to use a computer.” “Look, thanks to the Internet, there is good everything available pretty much everywhere,” Cracked contributor Adam Tod Brown writes. “And nothing is easier to find than new music. ... It’s not rocket science. You can find anything on the Internet, and bands making music you enjoy are no exception.” I’m aware that most people haven’t heard the music on this list or even heard of many of the artists I enjoyed in 2013. And sadly, record stores are scarce in these parts these days. So get yourself to a computer and check out any of my selections that sound interesting. And if you like any of them, buy the darn things. Top 10 in 2013 ▼ Floating Coffin by Thee Oh Sees. This one’s a rocker, and I knew right away that it would end up high on my year-end list. It became the benchmark against which I measured all contenders. Most of the songs have happy, catchy melodies that make you want to sing along. However, just below the surface there seems to be something sinister lurking. Just look at the cover. There’s a bunch of ripe red strawberries — delicious looking, except for vampire teeth and eyeballs peering out. Singer/guitarist/frontman John Dwyer has said, “These songs occur in the mind-set of a world that’s perpetually war-ridden. Overall, it’s pretty dark.” Thee Oh Sees came to Albuquerque in November and performed a mighty show. But as I began preparing this list there came some bad news: The band is
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PASATIEMPO I December 27, 2013- January 2, 2014
going on an “indefinite hiatus.” Dwyer is moving from San Francisco to Los Angeles, while keyboardist and vocalist Brigid Dawson is leaving for Santa Cruz. The one spot of good news is that Thee Oh Sees will be releasing a new album — hopefully not their final one — early next year. ▼ Vanishing Point by Mudhoney. Sometimes I wish it would have been Mudhoney instead of Nirvana to carry the banner back in the days when the flannel flew. I’d argue that Steve Turner is a better guitarist than Kurt Cobain was. Mark Arm’s lyrics have lots more humor than those of Cobain. Musically, Mudhoney drew far more from garage, psychedelic rock, and The Stooges than Nirvana did. Two decades after the glory days of grunge, Mudhoney has recorded one of its finest albums ever. ▼ Electric Slave by Black Joe Lewis. This is the hardest-edged record so far in Lewis’ short but thrilling catalog. Electric Slave is raw, punk-infused electric blues rock — less jive and more wallop. Unlike his earlier records, this one was released under Lewis’ name alone, not with his band The Honeybears. While the Honeybear horn section is still here, the soul and funk elements of Lewis’ early work are less apparent. ▼ Merles Just Want to Have Fun by Bryan & the Haggards with Dr. Eugene Chadbourne. I wouldn’t be surprised if a lot of Merle Haggard fans who came across this album went away thinking that these guys were making fun of ol’ Hag considering some of the off-key horns and Bizarro World solos. But that’s not true. Eugene Chadbourne, an avant-garde guitarist, and sax maniac Bryan Murray just want to have fun. And even though Hag didn’t do it this a-way, this is a sincere tribute done with smiles on faces and love in hearts. ▼ Dig Thy Savage Soul by Barrence Whitfield & The Savages. After a powerful comeback album (Savage Kings) a couple of years ago, Boston’s — perhaps the world’s — greatest R & B/punk-rock band shows the savagery continues. Once again the group gives us a near-perfect collection of songs for those who like a little garage rock in their soul music or a lot of soul in their garage. ▼ Desperation by The Oblivians. The first studio album by this Memphis trio in 16 years is full of humor, passion, and lo-fi crazy slop, with echoes of soul, blues, rockabilly, and of course, wild, unfettered garage rock. There are even a few somewhat melodious tunes that almost suggest a certain tenderness. ▼ Pura Vida Conspiracy by Gogol Bordello. “Borders are scars on the face of the planet,” frontman Eugene Hütz sings in his thick Ukrainian accent on “We Rise Again,” the opening song. And where better to make such a proclamation than in
El Paso, a real live border town? That’s where this New York-based multinational group recorded this rousing album. ▼ Wilderness by The Handsome Family. Once again Brett and Rennie Sparks have made a mysterious, dark, and alluring album. We wouldn’t expect any less from them. The melodies are mostly pretty, sentimental, and frequently sad, with sweet harmonies. Most tunes remind me of old folk songs or parlor music from some century gone by. But when you allow the lyrics to sink in, you realize there’s a lot more going on here than sweet nostalgia. ▼ Sonic Bloom by Night Beats. Here’s the psychedelic album of the year, a good-time rock ’n’ roll journey to the center of the mind. The Night Beats’ sound has several discernible DNA strands in addition to psychedelia. You’ll hear bits of T. Rex as well as The Velvet Underground and even echoes of 1960s soul music. ▼ Hairy Chafin’ Ape Suit by The Hickoids. Mamas don’t let your little babies grow up to be cowpunks. This record is a raw, trashy gas, a drunken joy ride down Thunder Road all the way to Armageddon. Honorable mention: Ooey Gooey Chewy Ka-blooey by The Dirtbombs Gone Away Backward by Robbie Fulks Old World’s Ocean by The Calamity Cubes! Haunted Head by Kid Congo & The Pink Monkey Birds ▼ Divided & United: Songs of the Civil War by various artists ▼ Indigo Meadow by The Black Angels ▼ The Dinosaur Truckers (self-titled) ▼ Re-Mit by The Fall ▼ Bottom of the World by Terry Allen ▼ El Valiente by Piñata Protest (This might have landed in the Top 10 had it been a full album, not just a 15-minute EP.)
▼ ▼ ▼ ▼
Reissues/archival releases of the year: The South Side of Soul Street: The Minaret Soul Singles, 1967-1976 by various artists ▼ Honky Tonk Man: Buck Sings Country Classics by Buck Owens ▼ Another Self Portrait (1969-1971) by Bob Dylan ▼ Los Nuggetz: ’60s Garage & Psych From Latin America by various artists. ▼ I’m a Loser by Doris Duke. (This is my favorite album released as part of Alive/Natural Sound’s Swamp Dogg archives series. Too Many People in One Bed by Sandra Phillips, The Brand New Z.Z. Hill, and the self-titled Wolfmoon also are fine examples of late ’60s, early ’70s deep Southern soul. There’s also one in the series I haven’t heard yet by Irma Thomas. It’s hard to imagine that one not being worthy as well.) ◀ ▼
SFCA
The Santa Fe Concert Association presents
THE LENSIC in partnership with THE ACADEMY FILM ARCHIVE presents
DECEMBER 27 2 PM MATINEE
WHITE CHRISTMAS 35mm ARCHIVAL FILM SERIES
Classic films, on 35mm prints preserved by some of the country’s finest archives and collectors
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LAWRENCE OF ARABIA
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NEW YEAR’S
EVE CONCERT SFCA ORCHESTRA Brahms Claire Huangci, pianist Poulenc Joseph Illick, pianist & conductor
Symphony No. 2 Concerto for Two Pianos
December 31, 5:00pm Lensic FAMILY CONCERT SERIES
December 31, 2:00pm
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PASA TEMPOS
album reviews
MUTUAL BENEFIT STEVEN DANN AND Love’s Crushing Diamond JAMES PARKER Sonatas & (Other Music Recording) This debut Suite (ATMA Classique) The viola is album by Boston musician Jordan Lee basically an enlarged version of the violin, — recording with a bunch of friends under but it was far slower than its cousin to the name Mutual Benefit — is bookended be embraced as a soloist by the musical in part with the line “a river only knows establishment. “Of all the instruments to carry on.” That tells you much of in the orchestra, the one whose excellent what you need to know about the album, qualities have been longest unappreciated is which is a little bit precious (Lee sings in a back-of-throat the viola,” wrote Hector Berlioz in 1855. The three little-known whine that folk-pop artists have been affecting at least since works played here with fine sensitivity by violist Steven Dann and Neil Young’s Harvest) but also very pretty. The album contains a pianist James Parker were composed in France during the ensuing stream of baroque compositions that unfurl with the lazy, languid century. Pierre de Bréville’s Sonata dates from 1944, but it sounds churn of a river in summertime. It recalls the sprawling folk of the much earlier. Indeed, in the 1880s he was a protégé of César Franck, early 2000s, such as Lambchop or Badly Drawn Boy, and the Saddle whose shadow looms over the first-ever recording of this refined-yetCreek Records output of that era, alternating between meandering, passionate piece. You might call it the viola sonata Franck never wrote. string-heavy numbers (“Advanced Falconry”) and pulsing, sturdy songs This CD also represents the first recording of the Suite in Three Parts (1897) (“Golden Wake”). Lee’s friends and collaborators bring a relaxed, by Charles Tournemire, who is remembered almost exclusively for communal atmosphere that belies the attention that went his organ music. He, too, was a Franck pupil; and though this into the songwriting. The best song is the closer, “Strong work’s language sounds more forward-looking, it nonetheless Swimmer,” a seven-minute meditation on loss and bravery displays the cyclic processes for which his teacher was that swirls about like an eddy, with Lee drawing his famous. In between comes the somber, mysterious, somesyllables out with a laid-back croon. The most remarkwhat Ravel-like Viola Sonata of the eccentric Charles ‘Love’s Crushing Diamond’ able thing is how it all flows together, floating from Koechlin, an iconoclastic Fauré pupil who numbered the source of the river to the mouth. Merrily, merrily, Poulenc and Sauguet among his followers. (He dedicontains a stream of baroque merrily, merrily. Life is but a dream. — Robert Ker cated it to Milhaud, who played viola in its premiere, in 1915.) These are top-drawer performances of compositions that unfurl with D NUMBERS III (Mesa Recordings) The opening fascinating, worthwhile repertoire. — James M. Keller notes of “Sneaker Toss,” the first track on III, have the lazy, languid churn of a the informality of a band loosening up onstage before MARK ORTON Nebraska: Music From the Motion launching into its set, or of a racer shaking out his limbs Picture (Milan) Tin Hat composer and guitarriver in summertime. before the pistol goes off. Soon the trio has embarked dobro-banjo player Mark Orton delivers sympathetic on one of its signature ambient journeys, which combine accompaniment for director Alexander Payne’s blackelectronic with acoustic instrumentation and improvisation and-white epic of a prairie relic and his son on the road to with composition. Loops and live playing are layered with the collect an imagined million dollars. Orton’s pleasantly quirky meticulousness of bricklaying, yet the wall-of-sound approach orchestrations are, like the story, something just the other side of is often passed over in favor of cultivating spaciousness. If there had Americana. Violin and trumpet leads are propelled by guitar, accordion, been a live audience present to contribute applause and background and bass harmonica. There’s no percussionist and no lack of rhythm. The murmurs, the newest album from D Numbers would sound like it had tunes, in both mood and rhythm, suggest the film’s wide, empty landscapes been recorded in concert. Though polished, it has none of the stiffness and uniquely challenged personalities. But mostly, the 17 selections heard in some studio recordings of its genre, probably because the are variations on the opening (and closing) theme, a somber vignette three members of D Numbers are equally at home onstage and in called “Their Pie.” It reappears with subtle temper and orchestration the studio — they have been making music together since 2002 adjustments. On the first, a trumpet, played less somberly, and also run their own label, Mesa Recordings. In fact, this gives the theme quixotic airs. On another, keyboardist newest Mesa release was recorded from Rob Burger adds tinkling, childlike the comfort of bassist Brian Mayhall’s livsentimentality. A mournful piano version of ing room. As a result, the band explains, “Their Pie” accompanies the film’s visit to “We feel like [the tracks] truly capture “The Old House.” Tempos sometimes suggest the essence of our live shows, more so scenery going by. There’s a tired tango with a than any other album we’ve released so lazy violin line, and a character sketch — “Bill” far. III feels simultaneously spontaneous — with Burger’s savvy accordion. Though and meticulous; a reflection of years of it’s tied closely to the film’s content, this friendship and shared inspiration.” music stands remarkably on its own. — Loren Bienvenu — Bill Kohlhaase
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PASATIEMPO I December 27, 2013- January 2, 2014
tonight . DECEmBEr 27, 2013 . 5-7pm tonight . april 26, 2013 . 5-7pm
l as t Fr i day a r t wal k In Santa Fe’s Vibrant Railyard Arts District LASt FRIDAy EvERy moNtH
lewallen galleries Group Show: Now & Then
david richard gallery Leon Berkowitz, Phil Binaco, Color As Abstraction
lewallen P S pA Eo
mARkET STATIon
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SAnTA FE DEpoT
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RAIlyARD plAzA
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Join us to view Alan Shields Maze/ Stephen petronio Into the Maze, and experience what Pasatiempo calls a “Tailor-made masterpiece: Alan Shields’ labyrinth”.
P RAIlyARD pARkIng gARAgE
T TA n
FARmER’S mARkET
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site santa Fe
REI
william james david kelly richard siegal charlotte jackson
READ ST.
WAREHouSE 21
zane bennett contemPorary art Dunham Aurelius, Ruminative Figures
cAmIno DE lA FAmIlIA
El muSEo culTuRAl
P
tai gallery FUKUNISHI Ryosie, Gentle Waves, bamboo
william siegal gallery Greatest Hits
james kelly contemPorary Pablo Picasso, Sculpture in Small Scale, Group Show
mAnHATTAn
cAmIno DE lA FAmIlIA
charlotte jackson Fine art Group Exhibition
zane bennett
Image: Alan Shields, Maze, 1981-82, courtesy of the Estate of Alan Shields and Van Doren Waxter, new york
The Railyard Arts District (RAD) is comprised of seven prominent Railyard area galleries and SITE Santa Fe, a leading contemporary arts venue. RAD seeks to add to the excitement of the new Railyard area through coordinated events like this monthly Art Walk and Free Fridays at SITE, made possible by the Brown Foundation, Inc., of Houston. We invite you to come and experience all we have to offer. PASATIEMPOMAGAZINE.COM
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Wishing you a joyful Holiday Season!
PASA REVIEWS Santa Fe Pro Musica Baroque Ensemble: A Baroque Christmas Loretto Chapel, Dec. 20
on the P laza
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PASATIEMPO I December 27, 2013- January 2, 2014
Holiday roundelay
J
ohann Melchior Molter’s charming Concerto pastorale set the 18th-century tone right from the outset of Santa Fe Pro Musica Baroque Ensemble’s annual A Baroque Christmas offering at the Loretto Chapel, heard on Dec. 20, in the second of the program’s 10 go-rounds. In this opening piece, as in the rest of the evening, the presiding spirit was that of violinist Stephen Redfield, whose clearly conceived phrasing, elegant timbre, and precise intonation set a high standard for his seven period-instrument colleagues. At the low-pitched end of the ensemble, bassoonist Danny Bond joined organist Susan Patrick in providing discreet but secure support from the basso continuo section, and violist Gail Robertson contributed assurance in the middle of the group’s texture. A great deal of time went into tuning before each of the numbers, and all of the eight players would have needed to be on board for that to have paid off. Still, if one listened past some free agentry in the intonation department, there was much to enjoy. Henry Purcell’s D-Major Fantasy on a Ground (here the ground being a constantly repeated bass line of six measures’ duration) proved quirky — perhaps even more quirky than the composer envisioned when, at one point, the players sounded as if poised on the precipice of uncertainty. Nonetheless, it provided opportunities for sizzling displays from Redfield, Robertson, and second violinist Karen Clarke, all of whom rose to the occasion when the score invited them to. Sally Guenther was the cellist. I will confess having reached a point in my life where a little Telemann goes a long way. He often turned a nice phrase and sometimes managed an entire wellwrought movement, but on the whole it’s hard to inveigh against his reputation for being overproductive and underinspired. At least his E-Minor Concerto for Recorder, Flute, and Strings illuminates the interesting historical moment when the recorder’s popularity was waning while that of the transverse flute was on the rise. This concerto documents their overlap as equal soloists, with their parts being rendered by Carol Redman (flute) and MaryAnn Shore (recorder; elsewhere in the concert she doubled on oboe). Both musicians brought admirable accomplishment to their task, but a more pointed approach to articulation might have furnished greater buoyancy and personality to their interpretation, which sometimes seemed flattened out by the dense acoustic of the performing space. The mezzo-soprano Deborah Domanski was the soloist in two opera arias by Handel: Ruggiero’s “Mi lusinga il dolce affetto” from Alcina, and Arsace’s “Furibondo spira il vento” from Partenope. The long-spanning phrases of the Alcina aria made for a challenging warm-up (Handel was careful not to make it Ruggiero’s opening aria in the opera), but Domanski settled in during its central section. Her handsome, well-projected tone also carried her through the spirited coloratura of “Furibondo,” in which she produced low A’s of powerful intensity. Some phrases were marred by downward-drooping portamentos, perhaps the result of fatigue but otherwise a flaw that might signal a problem and should not go unaddressed by such an impressive and appealing singer. A pleasant group of carol arrangements was selected with Baroque style in mind. The only exception was Adolphe Adam’s “O Holy Night,” which in this context was a strange interloper from a later era. This final set confirmed the concert’s comforting atmosphere. — James M. Keller Guest soloists assist the Santa Fe Pro Musica Orchestra, playing on modern instruments and conducted by Thomas O’Connor, in Bach’s six “Brandenburg” Concertos, at 6 p.m. on Saturday, Dec. 28, and 3 p.m. on Sunday, Dec. 29, at St. Francis Auditorium of the New Mexico Museum of Art, 107 W. Palace Ave. Tickets ($20 to $65) are available directly from Pro Musica (505-988-4640, www.santafepromusica.com) and from Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org).
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PASATIEMPO I December 27, 2013 - January 2, 2014
ON STAGE Order, order: Brandenburg Concertos
The Santa Fe Pro Musica Orchestra convenes this week to continue its annual tradition of presenting Bach’s Brandenburg Concertos at the holiday season. Various musicians will step out from the ensemble of 25 players to assume the duty of soloists as the orchestra works through Bach’s six masterworks. Thomas O’Connor conducts these supernal works, which will be played on modern instruments and (be forewarned) not in the sequence Bach ordered them when he assembled the set to accompany a job application to the Court of Brandenburg in 1721. The group offers two performances, both at St. Francis Auditorium in the New Mexico Museum of Art (107 W. Palace Ave.): at 6 p.m. on Saturday, Dec. 28, and at 3 p.m. on Sunday, Dec. 29. Tickets ($20 to $65) can be had through Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org). — J.M.K.
THIS WEEK
Jungle fever: Meow Wolf New Year’s Eve celebration Meow Wolf seeks to one-up its packed New Year’s Eve celebration last year with a ferocious and vibrant celebration to herald in 2014. Judging from both the artistic capacities of the host group and the event name (Psychic Jungle), Molly’s Kitchen & Lounge is likely to transform into either an immersive tropical environment that is somehow capable of reading thoughts or maybe just a supernatural and lush alternate reality populated by futuristic revelers. The DJ list is not yet confirmed as of this writing, but it promises to be lengthy and formidable. The celebration starts at 8 p.m. on New Year’s Eve (that’s Tuesday, Dec. 31, for those unfamiliar with the Gregorian calendar). Molly’s is at 1611 Calle Lorca. Advance tickets, $15, are available at www.thevibehut.blogspot.com; it’s $20 at the door. Call Meow Wolf at 505-603-9176. — L.B.
Before and after: Santa Fe Concert Association
Following study at the Curtis Institute of Music in Philadelphia and the Hannover Conservatory of Music in Germany, the American pianist Claire Huangci has been establishing a busy concert career, mostly in Europe. At 5 p.m. on Tuesday, Dec. 31, she’ll join Joseph Illick as co-soloist in Poulenc’s Concerto for Two Pianos, a high-spirited work from 1932 commissioned by the Princess Edmond de Polignac, née Winnaretta Singer (of the sewing-machine Singers). Illick will lead the Santa Fe Concert Association Orchestra in both this and Brahms’ placid Second Symphony in this performance at the Lensic Performing Arts Center (211 W. San Francisco St.). At 2 p.m. that afternoon, also at the Lensic, the group opens the door to its dress rehearsal for the same program, presented as a family concert in which Illick offers explicatory commentary. Tickets ($25 to $95 for the main concert, discounts available; $10 for the dress rehearsal) can be purchased through Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org). For those so inclined, a gala black-tie dinner-dance follows the evening concert; for information, call SFCA at 505-984-8759. — J.M.K.
Electro weirdness: A Hater holiday party
Frustrated by the lack of a local electronic music scene, CP² started throwing parties under the moniker “Haterkids” back in 2010. The latest installation, at The Matador (116 W. San Francisco St.), brings together three very different DJs. The inimitable Mr. Limn opens with a mix of soul, R&B, funk, and electronic. Rising star beat-maker BoomBaptist (visiting his hometown following a recent Japanese tour) follows with a focus on ’90s classics, trap music, and dance. Capping it off is the host, CP², with bass music, instrumental hip-hop, nu disco, smooth vocals, and some stuff you’ve probably never heard of — “It gets progressively ‘weirder’ as the night goes on,” he explained. Acknowledging that the scene for electronic music has diversified, he added, “Being a Hater is not necessarily a bad thing, because it pushes people to get more creative and expand their horizons.” The music starts at 9 p.m. on Friday, Dec. 27. — L.B. PASATIEMPOMAGAZINE.COM
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Thank You! Celebrating 30 Years
Honoring 2013 Luminarias Estevan Arellano, Embudo, NM
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VOASIS
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THE DESERT CHORALE’S NEWEST A CAPPELLA ENSEMBLE Join us New Year’s weekend to welcome Deke Sharon and Voasis for an end-of-year a cappella spectacular.
“A perfect, sexy ensemble of amazing talent.”
IN THE MIDNIGHT HOUR with Voasis produced by Deke Sharon, Music Producer of NBC’s The Sing-Off and Music Director of the hit comedy, Pitch Perfect
DEKE SHARON ON THE SET OF NBC’S THE SING-OFF, WINTER 2013
artistic Director, Deke Sharon | Music Director, Greg Jasperse
S a n t a Fe
DESERT CHORALE 26
WAREHOUSE 21 – Santa Fe Dec 28, 29 4pm Dec 28, 29, 30, 31 8pm
PASATIEMPO I December 27, 2013 - January 2, 2014
For tickets visit: desertchorale.org
or call 505.988.2282
Winter Festival 2013 is made possible, in part, by the National Endowment for the Arts; New Mexico Arts, a division of the Department of Cultural Affairs; and the City of Santa Fe Arts Commission and 1% Lodgers’ Tax.
Pasatiempo’s Writing Contest for all Seasons
T
his year’s submissions to Pasatiempo’s annual writing contest were strong. There was fierce debate among the panel of judges — Pasa writers and editors — especially for the honorablemention selections, because so many were deserving of mention, including a wonderful array of reveries about growing up in Santa Fe and misspent youths in faraway locales. We received sonnets from high schoolers, flash fiction from home schoolers, handwritten prose poems from seniors, and a few stories in the emerging genre of Santa Fe Gothic. We even received entries from out of state that cast an outsider’s eye on the city. What was most noticeable this year was how hard everyone worked to perfect their entries. More than one person submitted revised versions of their pieces before the contest deadline. We would like to thank everyone who participated. Special thanks go to the teachers and parents who guided children and teens through the writing process and to the contest sponsors: Collected Works Bookstore, the Center for Contemporary Arts, Garcia Street Books, the Ark Bookstore, the Lensic Performing Arts Center, and the Santa Fe Concert Association. So many Santa Feans sitting down to write in such a serious manner is an inspiring way to end 2013 and ring in 2014. Happy New Year! A Winter's Tale by Alexandra Eldridge; courtesy Nüart Gallery
PASATIEMPOMAGAZINE.COM
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1st place
Remembering Rebeccah Peshlakai
chilDrens’ stories
A
s I walk down the unfamiliar street I can see the Christmas lights hanging from the trees. I can smell the chiles being roasted. No one is staring at me like they used to. I like it better here, but then again I don’t even know where I was before here. I think I am getting better. I don’t have the urge to eat all the time. Things are improved from last winter, the way they would watch me eat a person, but I need to eat. I mean I’m not going to starve myself. I see two men carrying boxes into an alleyway. I eat them, even though I know it makes me worse. What else am I supposed to eat? I mean normal food has no taste anymore. I cannot even remember what it used to taste like. It doesn’t look appealing either, but a human looks like a real amazing meal. I need to figure out where I am. I keep walking down the streets, and there are many art pieces. Some of them are abstract and some are realistic. I see a sign that says “Canyon Road Art Gallery” or something like that. There are many people, and I’m still hungry. I say that my friend broke her leg behind that gallery, and she needs help. They come and ask where she is. I don’t talk to them; I just eat them. I stare blankly and eat them. I can remember some things, but it’s blurry. There is one memory that I can’t quite remember, but my brain is telling me that it’s important. I have no clues or hints though. I see brown paper bags glowing with light on buildings and different streets. There are people handing out apple cider, which tastes like cardboard. I remember my mouth hurting. I don’t know why. I’ve been eating people for awhile now, but I bet I could remember so much more. I do recall that I always wanted to be somewhere else than where I actually was. I like it here, though. Everyone is so different. Some of the people here have black, blond, or brown hair; but personally the people with dark brown hair don’t taste very good. There are some people who dress, talk, and look the same, but they all are probably different in some way. They certainly taste different in my mouth. When I first became whatever I am now, I tried being like other people so I would seem normal. It was very hard to do. Whenever I even tried being normal I would just seem so different or kind of insane. Now I act like myself and I’m normal — well, kind of. I am also starting to remember again. I am remembering who I am and what I am. I am Kim Wallace, I am 22, and I am half zombie. ◀
Rebeccah Peshlakai, 12 years old, is a student at the Santa Fe School for the Arts & Sciences.
In the Quiet by Margi Lucena; courtesy Selby Fleetwood Gallery
2nD place
Haunted Molly Kreitman
I
t’s funny how people can be forgotten. If someone goes missing it might be in the press for a bit, but a few weeks later most people will forget. Usually, the only people who remember it forever are the people who went missing, the family of the person who went missing, and the person responsible. Sometimes it can be a lot worse for the person who was responsible. It haunts you forever. I should know. Only I did something a whole lot worse than kidnap someone. I would do anything to forget, that’s how I ended up like this, not being able to die. I remember it so clearly. I wish I didn't. Every day I regret pushing him. If I could go back I would. He had been my friend. I remember the night we had hiked to the cliffside. He and my youngest brother got into a fight. It progressed from bad to worse; they started shoving and kicking. They were getting really rough, and he almost killed my brother. What choice did I have? I chose to push him. I knew I would get in trouble and go to jail. Now I live here in the middle of nowhere. Every day I try to forget. I went to a man who said he'd help me forget. He gave me some pills and some liniment. But I didn't forget. I just stopped feeling. I didn't feel sad or happy, mad or calm, scared or surprised. I stopped feeling physical stuff too. I couldn't hurt myself at all. When I fell off of something that should have broken a bone, I didn't hurt and the doctors said everything was in order. I stopped feeling nice stuff too. I couldn't feel my dog's silky fur or my little sister’s hands touching my face. I told my daddy and he said I was going crazy and I should stop being a sissy and realize I never felt anything because I never did anything. My big brother said I had a condition. Weeks passed. Everything was normal except for the police who came knocking on our door one night saying that I was a suspected murderer. I ran away the night before my hearing. All the way from our little farm by Plaza Blanca to Lordsburg. This old lady sold me a big house for dirt cheap. A few weeks later she died. I stayed in that house for days at a time — the only time I did leave was when I had to go get some books to read. A while ago, maybe some 40 years ago, I went into town to check it out. It was dusty and dry and small like usual but something was different. I looked at the date. It was 1973. I was 83. I was so old, but when I look in the mirror I see a 17-year-old girl. No matter what I do, I see a person who pushed her friend off a cliff and is haunted by it forever. ◀ Molly Kreitman is in the seventh grade at the Santa Fe School for the Arts & Sciences.
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PASATIEMPO I December 27, 2013- January 2, 2014
3RD place (TIe)
Bosque Del Apache 2006 Henry Joyce
T
Henry Joyce, a student at the Santa Fe School for the Arts & Sciences, is 12 years old.
Renewal by Ann Laser; courtesy Vivo Contemporary
3RD place (TIe)
Reminiscing: A Summer Memory Katherine Wang
I
t was quiet that morning as our black Honda drove up the curved road toward Cochiti Lake. The navy waters of the reservoir reflected the gray clouds in the sky, and small waves danced gently on the lake’s surface. Mom and Dad exited the car to survey the area, while Jeffrey and I swiftly opened the Honda’s doors to expose our faces to fresh air and stretch our aching legs. I remembered clearly my family’s last fishing trip. I had forgotten to bring my fishing rod and, as a result, fished with a makeshift pole created out of a fallen tree branch and some fishing twine I had found on the ground. Surprisingly, I was the first to catch a fish. The rainbow trout was small but had put up an award-worthy fight. I was proud of my catch and for the rest of the day lounged around the area watching other Jemez River fishers gut their fish and load their rods with bait. Looking up at the sky, I crossed my fingers that the water stored in the gray clouds would not be released too soon and bounded down the hill toward the lake. At the age of 8, I was quite scared of the gloomy waters. Mom and Dad had instructed Jeffrey and me not to wade into Cochiti until the adults had set
chIlDRens’ sToRIes
he car took a sharp turn onto a dirt road. The road became bumpy and my mom let Cole and I take off our seat belts and sit on the car doors with our heads out the windows. I clung to the roof and reached out farther to touch a bush. I got back in the car and we stopped. My dad disconnected the bike rack and handed us our bikes. I started to ride into the dust following our car. We pulled up to a small dock overlooking a marsh of water, birds, and grass. There were a few great blue herons in it. I stayed in the car to draw. I colored the paper with designs of birds and grass with my melted crayons. A blanket was wrapped around me, but I made a space for my hands to slip through and draw. My family came back, and we visited a few more birdwatching sites. I was still cold and stayed in. Snow fell softly outside, thickly but softly and slowly. I finally left my nest when we came to a river. A wooden bridge crossed the water. My brother and I dropped sticks in the river and watched them float to the other side of the river. We tried boats made of bark, grasses, and twigs. Mine sunk. I crossed and found a deck on the other side. A stillwater pond with tall grasses emerging from the water was just beyond. The water was like glass and looked endless when mist covered the other shore. I could see rain far away in the city. The hills pierced high in the mist as rain bled from the clouds. It was only fog by the time the rain reached my face. From the deck, we came to a long dock leading into some tall spiky brush. I ran with my brother to the end. I fell in the sand and tumbled down the hill. I stopped myself and got up. We were at a small beach. I slipped under a rope keeping us from the waterfront and made a boat. It floated away and into the mist. It was sunset by the time we came to the last stop. We gathered around a tree far from the deck overflowing with people. Cranes and snow geese began to nest there for the night. Suddenly the red sky turned white with flapping wings everywhere. Once that flock landed, more flew up, erupting into the sky. The sky became a dark red and as the sun went down, so did the birds. We got back into the car and watched a tree full of red-winged blackbirds empty like leaves blowing away. The sky became black as the birds pulled away the red curtain that made up the sky. Our car followed the red curtain until it came to Socorro. We stopped and the red curtain disappeared over the horizon. ◀
continued on Page 30
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Reminiscing: A Summer Memory
childrens’ stories
continued from Page 29
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up their fishing gear and supervision was present. I had shrugged in nonchalance telling myself that I wouldn’t enter the water anyway. When Hannah and Sean arrived with their families, I alienated myself from everyone else. Being the oldest in the group, I felt peculiar conversing with the other children. Jeffrey approached Hannah and Sean with enthusiasm, and soon the three began larping [live-action role playing]. I rolled my eyes and became embarrassed by my brother’s childish behavior. I stalked to a shallower pool farther down Cochiti’s shoreline. Here, thin golden grass poked its heads out of the murky water, and schools of minnows played about. I was entertained just by the sight of the creatures. They darted about in jocular gestures but never wandered too far into deeper waters. When I placed my fingers into the cool lake, the fish would retreat near the grass with rapidity and wait for the ripples to disappear; upon my fingers’ leave, they would return with alacrity and resume their game, appearing as if nothing had happened and a disturbance had never occurred. After a simple lunch of bread, cheese, and turkey breast, the sun began to show its face from behind the arras of the clouds. Mom urged us all to wear our hats and sunglasses, but I opted instead for Banana Boat SPF 50. Barefooted, I made my way back down to the shoreline and became fascinated by a group of people training four new rescue dogs. Each black Labrador was larger than me and embraced the water like a fish. I was broken out of my trance when Jeffrey and his friends approached me and proposed a rock-skipping contest. The dogs and their trainers were getting ready to leave and the heat from the sun made me forget my fear of the water, so I accepted the challenge. Before long, the contest evaporated into thin air, and Jeffrey and Hannah began splashing water at Sean and me. Sean hopped onto Jeffrey’s back in an attempt to escape the bombard. Jeffrey slowly backed into the water laughing, but alas, the ground level changed dramatically, and his head became submerged below the murky surface. On instinct, I began screaming as loud as I could. Everything seemed to be moving in slow motion. Sean laughed as he sat atop Jeffrey, unaware that Jeffrey’s life was slowly slipping away. The adults reacted without haste, moving sluggishly through the water toward my brother. Why couldn’t they hurry up? Finally, to my great relief, Jeffrey and Sean were pulled to the shore. Jeffrey started to cry, his face changing from a dangerous blue to a faint red. Dinner at the lake was quiet. A catfish was roasted over a wood fire, and the parents conversed and laughed in a subdued manner. We children entertained ourselves by watching a hornet’s nest under a nook in a bathroom-facility ceiling nearby. The clouds had creeped back into the sky, and a wind had built itself up in preparation for a storm. Just as Dad closed the driver’s door on the Honda, the rain started falling in steady sheets. Jeffrey was already fast asleep, eager to erase his memory of the black walls of water that had swallowed him. ◀ Katherine Wang is in the 10th grade at Los Alamos High School.
PASATIEMPO I December 27, 2013- January 2, 2014
Ice Skaters by Barbara Latham; courtesy The Owings Gallery
honorable Mention
Tony Jaquez Kayla Mackowski
M
y grandpa, Tony, is a kind, caring, and thoughtful man. He is now 76 years old and retired from the post office and is operating the Lamy Shuttle. This shuttle takes passengers to the Lamy train station and back to Santa Fe. He is also retired from the United States Army. My grandpa and my grandma raised six daughters. In January of 2011, my grandpa was 74, and he was sent to the hospital for a check-up. I was going to be 8 that year. The doctor said that in his kidney there was cancer, and it was spreading quickly. They rushed him to UNM and did the surgery there. After the surgery was over, they checked him and said that he was cured and he could go home. After one week, he went back to the doctor because his gallbladder was giving him bad problems. The doctor had to remove the gallbladder. Now, he only has one kidney and no gallbladder. One time, he took me to IHOP. He could barely walk, and he needed a cane to move around. He forgot his cane at home and had to hold onto my shoulder. I felt very pleased to be able to help him and he held onto me tightly and I held him tightly as well. Everyday my grandpa is getting stronger, and now he does not even need a cane to help him walk around. He has remained healthy and every day that he is alive with us is a gift. I enjoy each day that I spend with him. He is my hero. ◀ Kayla Mackowski, 11 years old, is a student at Piñon Elementary School.
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31
1st place
Black and White
32
Life is bleak and boring, All I can hear is the city snoring, There is a wall separating us from them all. On the other side there is a life of happiness, color, and singing, But all the colorless people hear is the constant horrid ringing. The world is separated right down the middle. On our side there is only crying, Never a laugh or a giggle. There are no birds, All there is are the city lights. On the other side the world has pride, Leaving us to sob and cry, We sit all day in the dark. All our food is flavorless, All our drinks are tasteless, And our mangy dogs are faceless. The other side is filled with music, While we sit here in the wreckage, Never speaking to those we love, Never shoving meaning into our lives. Though we sit in boredom, We never give up on life. We hear banging on the wall, All the men can see it all. There is a hole in the wall, Out comes a man in color, I have to admit he is such a lover. He runs around up and down the streets, Bringing colorless people back to life by singing his songs of joy. By the time he is done, The color people have won, The very next day the wall is down, And now we can hear the sounds, We can hear laughing, shouting, and chirping, We can see running, playing, and dancing. We stay up until the day goes dark, Dancing, playing, and running all around. The very next week, The man who brought love into our lives became the president of the world, His name was Sir Colorsalot the Third. He was the one who brought meaning into the world, He was the greatest of the great, The strongest of the strong, And the smartest of the smart. He was Great, inside and out. Leo Stewart is a fifth-grader at the Santa Fe School for the Arts & Sciences.
PASATIEMPO I December 27, 2013- January 2, 2014
HonoRable Mention
Solstice Sledding
Ava, Friend to the End
Deedee K. Jansen
Samantha Gurule
Swoosh, slide down the hill avoiding trees. Finally everything is still, quiet, peaceful snowflakes falling all around. Then I’m up again, going left, then right. I see light. I did it! I made it past the tree, I made it past my goal in the Sangre de Cristo Mountains. Presentiment - Distraction by David Nakabayashi; courtesy Zane Bennett Contemporary Art
Deedee K. Jansen is 10 years old and a student at the Santa Fe School for the Arts & Sciences.
I met her one day As hot as a stove In one classroom As soon as I saw her I felt a spark I knew we would be friends Like springtime I felt A sprout grow in my heart We were in a group Nothing was going well She came over “Half a cup is better Than nothing” Then summer The flower finally blooms After she told me To look on the bright side Halfway through the summer She told me She was going Halfway around the world
2nD place
Kindergarten
All happiness fled Sorrow rushed over me Like a tidal wave In fall The flower shriveled up
Sofia Saavedra I bumped my head. Bricín got a laceration. Addie had a blister. It was a bad day, In Middle K. Everyone was injured.
Crack Went my heart I would never See her again But we’re still pals Pen pals at least She tells me lots of times “I hate life without you” Now like an empty flower pot My heart waits
Too many bruises, Too many bumps, Too many band-aids, I need more than one! Sofia Saavedra is 7 years old and attends Graland Country Day School in Denver.
Ava My best friend Always to stay But for now Like an empty flower pot Waiting for a seed to grow
Winter Faithful by Page Allen; courtesy The Owings Gallery
Like she told me Half a cup is better Than nothing. Samantha Gurule is in the fifth grade at Chaparral Elementary School.
cHilDRens’ poeMs
cHilDRens’ poeMs
Leo Stewart
3RD place
PASATIEMPOMAGAZINE.COM
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1st place
Gallery Mouse Tess Heneghan
teens’ stories
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tephano was a mouse that lived in an art gallery in the Plaza. He considered himself more refined and tasteful than others of his species. While all the other mice were scurrying around avoiding cats and clumsy feet, Stephano would admire the lovely art at the gallery he lived in. While all the other mice were stealing bread crumbs and bits of cheese from pantries, Stephano would enjoy fine cuisine at the many diners found on the Plaza, and had a particular fondness for chile. If you wanted to look for him, you could find him in the art museum, having sophisticated conversations with the museum patrons. He was a very classy mouse, and very smart, but he was frustrated because none of his kind were as intelligent. He tried educating them about the wonders of art and the amazing taste of chile, but they turned up their pointy noses at both. Stephano had one real passion, and that was painting. He would paint and paint all he could, and when he saw something that piqued his interest, he would take out his tiny mouse easel and paint it to his heart’s content. He used his tail to paint long bold strokes, and his thin fingers on his tiny mouse hands to paint the fine details. He was incredibly proud of his work. One day Stephano was sitting outside the gallery admiring the scenery. It was lightly snowing, and there was a small dust of white over everything visible. He thought it looked absolutely wonderful. Someone should paint a picture of this amazing scene, he thought. The idea to do it himself didn’t strike him until five minutes later, because although he was a smart mouse, he wasn’t that quick. But when he did think of it, he was so excited he could hardly wait to get started. He went inside his house and fetched some paint and paper, and then used his thin little fingers to paint what he saw in front of him. This painting looks like it belongs in a gallery, he thought, pleased with his work. Then he began to think. Why had he never asked that his paintings be hung before? He did live in a gallery that would be perfect for his art. He went to the museum curator and asked what it would take to have one of his paintings hung there. The curator laughed. “A painting done by a mouse! We would love to have one, provided it’s big enough for people to see.” Stephano agreed. Painting a large picture would be very difficult, but anything could be done if one tried hard enough. He set up a large canvas outside and again began to work. This time it took much longer. He painted and painted and had to run across the canvas to reach the other end. Soon a crowd gathered around him, aahing at his work. “Look! That mouse is painting!” Stephano did not notice them — he was much too absorbed in his work. He took brown, beige, ginger, peach, and swirled them into adobe buildings and added green and red doors, with burgundy sidewalks with white powder on them. He painted the little curiosities inside the souvenir shops. He could paint the details in his painting so finely that it looked like a photograph. He drew the faces of the people walking by, and the
PASATIEMPO I December 27, 2013- January 2, 2014
Winter Crowd by David Kapp; courtesy Zane Bennett Contemporary Art
pigeons that dotted the rooftops and pecked at the streets. Everyone oohed and aahed, and as Stephano finished his painting with a final flourish, the people began to clap. The curator was astounded by Stephano’s painting. He did not expect it to be so beautiful and accurate. The colors were bold and the scene was lively, and the whole thing gave off the illusion of movement. There were people walking and pigeons flying and snow falling and children laughing and trees swaying and so many other things happening in the painting. “This is certainly going to the museum!” he exclaimed. “It is a masterpiece!” Stephano was filled with pride, from the tip of his nose to the end of his tail. He watched the people parade into the gallery with his painting and hang it ceremoniously on the wall. The minute they finished, a thought popped in his head. “Wait!” He scurried over to the edge of the painting and signed his name in black curly letters. His painting was complete. ◀ Tess Heneghan is in the eighth grade at the Santa Fe School for the Arts & Sciences.
2nD place
3RD place
The Rocky Shore
Dancing Coyotes
Martine Q. Perez
Tiana Paras
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look. I look longingly back into the gray mist as I stand on the rocky shore of my regrets. The breeze brushes across my face, the shivers seem to remain with me forever after. I can see my family in the interminable cloud of gray. I can hardly see the mountains, just a faint dark outline of their presence. The waves are lapping up against the canoe; the tide is creeping in as I watch the white caps bounce and glide off the waves. There is not a living soul in sight. I am alone. The stones on the shore are cold as ice as they prick my feet. I know I have to move and fight my fears, keep on going until the end. I guess all I can say now is goodbye. ◀
Martine Q. Perez, 13, attends the Santa Fe Waldorf School.
Teens’ sToRies
Loveland Pass Lake by Leon Loughridge; courtesy Gerald Peters Gallery
p in the Sangre de Cristo Mountains, there lived a coyote named Nakomo. He was what the typical human being would call a loner. Nakomo was always by himself. Hunt alone, sleep alone, die alone. Although Nakomo sounded gloomy and miserable, the only thing that would make him cheerful was singing. He would sing all night if he could, but just like other coyotes, they need their rest. One night, Nakomo heard something far, far away. He followed the noise with his canine ears and hid behind a nearby yucca plant. He peeked over the spiky plant realizing that it was a pack of coyotes dancing under the moonlight. Nakomo had never seen anything like it! It was such a creative art that was so unique and different to him. He watched while they frolicked and yipped under the golden full moon. After watching the pack for quite some time, Nakomo wanted to experience the movements for himself. The next couple of nights, he discovered that the coyotes would dance in the same spot every night. Nakomo finally decided that he wanted to join the group and dance with them from then on. He approached them cautiously, remembering that he didn’t socialize that often. Once the pack had realized there was a strange coyote hiding behind the yucca, they stopped dancing. “Who are you?” one of the coyotes asked. “My name is Nakomo,” he said shyly, “and I would like to dance with you.” The other coyotes looked at him with awe. No other coyote had ever approached them so courageously, for the only coyotes they knew were themselves. The group formed a huddle, murmuring under their breaths. A few moments later, one of the coyotes stepped up. “To be included in our group you must prove yourself worthy of your dancing skills.” he said. “By performing the following tests, we will see if you are worthy,” he said with a sly grin, “or not.” The smile changed to a disapproving scowl. Nakomo was a little frightened by the facial expression but kept listening to the coyote. “For the first test, you must climb to the top of Turquoise Hill
and honor the moon with wildflowers and sage, showing that you are grateful for the light she is shining on us.” Nakomo obeyed and fetched the desert plants. After finding the suitable amount of wildflowers and sage plants, he treaded up the rocky hill and gently set down the offerings. Taking a moment to look at the moon, he noticed it was very bright and golden. He admired it. “I have performed my first test. What is the second one?” Nakomo said proudly. “To prove your worthiness, you must sing a song, honoring all the animals that sacrifice themselves for our health and well being.” Although he had never sung in front of other coyotes before, Nakomo was thrilled with the idea and began to sing his favorite song. Afterward, the group of coyotes congratulated Nakomo for the amazing gift he was born with. “What is the third test?” Nakomo asked. “Your third and final test,” the coyote said, “is to dance under the moon with us and prove that all the tests you’ve taken and completed come out through your dancing.” Nakomo was absolutely overjoyed. He could finally try the art for himself and love it! As the rest of the coyotes got into their circle formation, Nakomo settled in next to one of the other coyotes who made room for him. With the light of the moon shining down on them and the rhythmic drum beats sounding off in the distance, the coyotes started to move in such a way that was unique to their own personality yet were in unison. Nakomo followed along and danced and sang. He was truly born with a gift. The pack danced until the sun started to show over the desert horizon. With one final jump and a spin coming from Nakomo, the dance ended. “Thank you! Thank you so much for the opportunity. I am honored to be a part of your pack,” said Nakomo gratefully. “Yes. With your artistic talents, we are lucky to have you!” said Aiyana, one of the female coyotes. The pack agreed with no hesitation. Nakomo actually felt accepted for once. He felt like he had a family who loved and cared for him. They danced every night from sundown to sunset, and they all lived in harmony and peace for the rest of their lives. ◀ Tiana Paras, 13, is a student at the Santa Fe School for the Arts & Sciences.
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Honorable MenTions
Tepees Area, Moon and Snow by Lisa Grossman; courtesy Evoke Contemporary
Lost in the Mountains Elizabeth Armishaw
Teens’ sTories
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t was late November, and I was taking my horse for a weekend out in the Sandia Mountains. As I led Picasso out of the trailer, I looked up. It was hardly 10:30 in the morning, and there was a light dusting of snow near the campsite. It was a good thing Picasso had a super thick winter coat, and a blanket for the night. Early the following morning, after Picasso had been fed, I tacked him up and rode him on the trails. I noticed that the usually easygoing gelding seemed wired. He was sidestepping, tossing his head, and whinnying loudly. I wondered what was upsetting him. As we rode, I heard the sound of a passing helicopter. Picasso had had enough. Swishing his tail wildly, he bolted up the trail at a dead gallop. I was so focused on trying to stop him that I never noticed when he turned off the trail. Finally, Picasso slowed his mad rush. His sides were heaving, and I knew he was exhausted. Only then did I notice that the trail was nowhere in sight. We were in trouble. I searched for the trail for hours. The clouds were thickening, and the temperature was dropping. It was getting darker. It was already nearly too dark to see anything. It would be foolish to search in the dark. We would have to wait until morning. After the worst, coldest night of my life, the sun finally appeared over the horizon. Picasso gazed down at me. I must have fallen asleep at some point in the night. Yawning, I stood up, stretched, and decided to tack Picasso up again to search for the trail. I noticed that my girth was missing, so I gave up looking and jumped on bareback. We continued our search. It had to be midday now. The sun was high overhead, and there wasn’t a shadow on the ground. The clouds from yesterday had been gone but were coming back in a dark, ominous shade of gray. It was going to snow. I had to find the trail! After another two hours of looking, Picasso and I finally found the trail. But how far away from the campsite were we? I didn’t recognize anything around me. We must be far. But I knew that the campsite
PASATIEMPO I December 27, 2013- January 2, 2014
was at a higher altitude than where we were now, so I turned Picasso toward the trail that was leading into the higher grounds. All was going well when Picasso and I came to a four-way split in the trail, and all the signs were faded and unreadable. By now, I was nearly ready to give up. I dropped the reins and tried to think. I had no idea which trail to take. Picasso decided which trail to follow. He pricked his ears and turned toward the trail going to the far right. I was about to stop him when a thought struck me. Was it possible that Picasso knew his way back to the site? Maybe. I decided to let him choose the path. It was nearly dark when we came to the sign. It said that the campsite was seven miles away. I decided to stop and sleep near the sign for the night. In the dark, we could easily lose the trail again, a risk I was not willing to take. I had left the saddle back where we had been lost, but it had only been a cheap Wintec saddle, so I knew finding it wasn’t important. I tied Picasso loosely to the sign and tried to sleep. Morning had once again come. I was getting really hungry, since this was the second day since we had lost track of the trail. At least we had found the trail and would be able to return to the campsite today. Picasso wasn’t as bad; he could nibble on little plants here and there. Someone had to have noticed I was gone by now, since I was supposed to have left the site yesterday. I remounted and headed up the trail. About two miles away from the camping grounds, we came to another fork in the trail, this one with readable signs. One pointed to the northeast grounds and one to the north. We had been staying at the north campsite, so I turned Picasso to the trail going slightly left. After another hour of riding, since we were going slowly, we finally came upon the campgrounds. Picasso whinnied loudly when he saw it. There was another horse in the enclosure as well. I recognized Patches — the half-mustang that was stabled near Picasso back home. Picasso probably wanted hay, so I put him in the enclosure and threw both horses some hay. We had finally found the campsite using only our instincts and each other. My horse was the reason we were back here. I owe my life to him now. He never left my side on our adventure, even though he could have. ◀ Elizabeth Armishaw is an eighth-grade student at the Santa Fe School for the Arts & Sciences.
Snowflakes
AYS e! D 10ice Sa l L A FIN 2 Pr of 1/
Amy Borton
O
ne of the best things about winter for me is that warm comforting feeling you get when you're sitting by the fire wrapped like a burrito in your favorite fuzzy blanket, and everyone around you is laughing and smiling. It's a feeling you really can't get during the rest of the year. You can look out the window and see the evergreen trees and cacti covered in a thin blanket of snow and wonder how long it will last. When I go outside in the snow during the winter months, the first thing I notice is all the different snowflakes. When you look at them from a distance, it just looks like a big white blob of snow. But if you look closer at each tiny individual snowflake, they're actually all really different. Some are big, some are small, some are complicated, and some are more simple. Kind of like people. In a way, we're all like snowflakes. Some people are big, some are small, some are complicated, and some are more simple. We're all unique and completely irreplaceable, but somehow we all come together to form one big society of people. Knowing that I'm just a unique little snowflake in my patch of snow is part of what gives me that cozy warm feeling I talked about before. It makes me feel like I can blend in and be an individual at the same time. So, while I’m sitting by the fire wrapped in my warm blanket drinking hot cocoa, I can look out the window and remember that even though I’m not the only one in this world drinking hot cocoa, I know that I’m just drinking it slightly different than everyone else. All this makes me wonder about the people around me. What makes them different? How do they drink their hot cocoa? What kind of snowflake are they? Of course, every New Mexican is an individual snowflake. And we are all part of a big blanket of snow that we call New Mexico. ◀
Amy Borton is in the eighth grade at the Santa Fe School for the Arts & Sciences.
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Chinese Lantern by Nina Tichava; courtesy NüArt Gallery
NO GIMMICKS E JUST GREAT CAR PASATIEMPOMAGAZINE.COM
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1sT Place
New Mexico Emma Ehlers I am an individual, who stands I stand on the cracked dry ground on the Navajo Nation I hear the ceremony drum beat, each step I take Each snowflake that falls takes me back. Back to when the farolitos light up To when the leaves fall, With the golden and yellow ground I stand as an individual. Who steps outside in the first snow fall, and lets the snow set in my hair Who then walks on the crunching ground Trying to step in untouched snow. I make my own trail A trail that I only know. The trail of turquoise, that ends up on the Plaza I stand as an individual, Who is captured by the sunset And who stole the sunrise. I am an individual, who stands I stand on the dry cracked ground of the Navajo Nation. Emma Ehlers is 13 and attends the Santa Fe School for the Arts & Sciences.
2nD Place
Polar Bear Sleeping (Starry Night) by Susan Brearey; courtesy Gerald Peters Gallery
This Place
Teens’ Poems
Weston Emanuel Winkler I am here, I am finally here. Here I will not be judged, I am free, we are all free. We decided to take this journey because we could, not because we had to. We took this trip through our red mountains, our rushing streams, our scarred deserts, and our worn canyons. Here I am, where I am free. I am not judged. This place is where I always am, yet I haven’t stopped moving. This place is safe, this place is my home. Wherever it is, it is always there for me, always there for each of us. Our home, our cabin, our apartment, our car, our cave. It is always there. In this place, I am always safe. This place can be a home as much as an experience or an adventure. And through this place, you can live your life. This place is not a place. This home is not a home. It is a journey. A journey that has gone through our red mountains, through our rushing streams, through our scarred deserts, and through our worn canyons. This is our journey, intertwined. Your journey with mine. We are here, we are finally here. Here we cease judgment. We are all free. Weston Emanuel Winkler is in the 7th grade and attends the Santa Fe School for the Arts & Sciences.
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PASATIEMPO I December 27, 2013- January 2, 2014
3RD Place
HonoRable menTion
The Ashes That Hold All the Memories
Halloween Kiss
Castille Aguilar The memories flashed. The millions of walks and stormy nights, The whimpers and old age. A flash of memories like a movie playing, A feeling of sadness from life and death. A heart beating one last beat. The last breath of air breathed. Peace and quiet sounded throughout the house. Eyes closed to the world, Eyes cried tears. Memories causing the most painful tears, But the same memories causing the happiest smiles. Painful and sad, A child never forgot, A child never replaced, A child’s biggest loss. Irreplaceable was he who took the fear from the darkness, And the pain from the sadness. A protector no longer able to protect, A lingering soul not ready to part, Not ready to leave. A little girl’s best friend and first love, The day she knew would come finally come ... Unready for the moment She wasn’t able to hold herself together. Lonely nights with lights out, Staring at the ceiling every night before falling asleep. The last thought was him every night, And the horrible feeling was yet familiar again. The fear came back into the darkness, The sadness was filled with pain. The memories, The fear, The pain, The ashes.
Rosemary Sartor As the evening grew dark on the night of living souls, as bats flew above us, and the coyotes howled at the starless sky, with wild abandon, we screamed, ran, danced, though the night. The night was growing old; the rogue teens screamed their hearts out, and the lights in the jack-o'-lanterns died, and we sensed everything that happened this night. And then, you leaned over and kissed me quickly. We stood there awkwardly, then disappeared into the night, like ghosts, going our separate ways, but even now, the memory haunts me. Rosemary Sartor is a junior at Los Alamos High School.
Castille Aguilar is in the 10th grade at the Academy for Technology and the Classics.
Teens’ Poems
Taos Pueblo Snow by Ed Sandoval; courtesy Blue Rain Gallery
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1st plAce
Our First Smoke James E. Roghair
Adults’ stories
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40
n the Fourth of July 1949, under a cottonwood tree at the edge of a dry creek, two little boys tried to light a cigar! Richard and me. As early as I can remember, my cousin Richard was a part of my life. He is two years older than me. He, his parents, two brothers, and three sisters lived in a tiny farmhouse not far from ours. We saw each other Sundays at church. There were no other boys our age. When I was 6 and starting school Richard was already in the third grade. In the primary room with us were his brother in fourth grade and his sister starting with me. In the grammar room were his older brother and sister, and in the high school were our two youngest uncles — eight of us in the same building. Richard and I saw a lot of each other. I’m not sure we were best friends, but Richard tolerated a younger cousin, somebody to play with. I enjoyed his company, looked up to him. I was amazed by how still Richard could sit during the church services, not fidgeting as I always did. And the way he folded the weekly Sunday-school papers! Mine always got rolled up and the end frayed from being in my mouth, but Richard’s were always carefully folded to precisely fit his pocket. How could anyone do that? A big event in our community was the Fourth of July Sunday school picnic held in a cow pasture. There was nothing particularly religious about the picnic, except our grandfather Henry’s long prayer before we began to eat the sumptuous potluck meal. The moms got up early to prepare fried chicken, potato salad, pies, and all sorts of goodies from our farms and gardens. We would all overeat. My brother Gene and I each got a dollar or two to spend at the picnic concession stand. It was an open structure of rough planks nailed together with a galvanized open water tank in the center. Normally the tank was for watering cattle, but for the picnic it was filled with icy water to keep soda pop cold. Also for sale were candy, firecrackers, and other assorted items. Our dad or one of our uncles would staff the stand with someone from the other large family in the church. Although we rarely had pop in our home and what we had was parceled out sparingly, at the picnic our parents uncharacteristically indulged us kids to drink as much pop as we wanted. Supervision was lax for the day. What kind of trouble could we get into at the Sunday school picnic? Except to get sick. I don’t know whether Richard’s parents were as lenient as ours about what their kids bought at the picnic. Nor do I remember which of us first thought of our plan or whose nickel we used. But at the ages of 8 and 6 Richard and I bought a cigar. Our Uncle Albert sold it to us. The tallest of my dad’s siblings at about six foot four inches and very slender, Albert always had a twinkle in his eye, as if he were about to tell a joke. We had to pay close attention to determine when he was telling us a tall tale. He challenged kids to think and take some risks: that day with a cigar. Richard and I didn’t intend to smoke the cigar but to use it as a punk to light the fuses of our firecrackers. We wouldn’t have to strike so many matches. Slow burning punks with wire handles for lighting firecrackers were available for sale at the time, but no punks were
PASATIEMPO I December 27, 2013- January 2, 2014
M 08/24 by Forrest Moses; courtesy LewAllen Galleries
stocked in the picnic stand. So our idea was practical and inventive — just how farm kids are supposed to be. We had learned to “make do” from our elders. We knew a match held to the end of a punk would light it. So we didn’t understand that we had to draw in on the cigar to get it going. Had we gotten it lit and inhaled real smoke, we likely would have been nauseated, but we weren’t successful. Although our adult uncle had been part of our scheme, we knew we weren’t really supposed to have a cigar. We wanted to make our cigar punk work but couldn’t risk asking for any adult help. Nobody missed us since they were all watching the annual baseball game between the married men and the singles. When we couldn’t make the cigar burn, we finally gave up and threw the cigar away — a wasted nickel. It was at least 20 years before I actually smoked, and probably about the same for Richard. I wonder if Albert expected us to get the cigar lit. I’m not sure whether he understood our plan. Surely he thought of the sale as a joke and was curious to see what would happen. Would these two foolish nephews get sick? Wouldn’t that be a good lesson to keep them from becoming smokers? Whatever he thought, he was our accomplice. In retrospect it seems odd that cigars were for sale at our picnic. Hardly anyone in the family smoked, although I think Grandpa might have lit up from time to time. There was rarely even a cigarette in the extended family or church community. So who was expected to buy cigars at the picnic? Indeed, what was in Albert’s mind to sell us the cigar? Was it his responsibility to corrupt his nephews — just a little? We weren’t his kids. His kids weren’t born yet — in no danger from cigars. But I have wondered over the years: Did Albert ever give any of his own three children a cigar? Whose responsibility would it be to corrupt Albert’s kids — just a little? ◀
2nd plAce
Daphne Catches the Light Vicki Holmsten
O
n a high desert June afternoon full of sunlight and wide blue sky, Arturo Toscanini Romero had gone out to the hammock for a nap, and he had dreamed his way right off this planet. He left Daphne Barrett Billingsworth behind.
Adults’ stories
In this one afternoon’s nap, Daphne Barrett Billingsworth had lost the love of her life to cancer. No rhyme or reason or explanation. One doctor’s visit during last year’s dark days of December had brought the unthinkable diagnosis, and then she had only six more months with her beloved Arturo. Now in another December, Daphne Barrett Billingsworth’s step had lost its spring, and her eyes had lost their twinkle. Arturo left Dix Range Winter by Harold Weston; courtesy Gerald Peters Gallery her behind, and she wasn’t sure that she wanted to be here. One exceptionally cold and dark morning, the alarm went off too early. Then the next odd thing of the day happened. Daphne looked into her Daphne Barrett Billingsworth was reluctant to give up the visions of rear-view mirror and she caught a glimpse of her beloved Arturo. sugarplums that were dancing in her head, so she hit the snooze button He peered right back into her mirror and said, “A dime for your thoughts, in her brain. Ten minutes later, the crow sitting on the fence outside her Daphne Barrett Billlingsworth.” window laughed, and there was no escape from the day. Daphne Barrett “Arturo! Are you leaving me these dimes? What are you trying to tell Billingsworth was forced to open her eyes and face the day. me?” The day, viewed from the window above the coffee pot, promised gray “Give up the darkness, Daphne. Reclaim your place in the sun and the skies and snow. The color of the sky indicated that this was not going to be light. Laugh back at the crow.” a festive, cheery snow that would lightly coat the evergreens and make the Then he was gone, as quickly as he had appeared. All day at her desk, Christmas lights glitter happily. This was going to be the kind of snow that she puzzled it out. She had started her day with a big fat crow on the fence, makes even winter people want to curse their neighbors for driving like laughing at her. She had found another in a series of dimes. And then idiots and threatening their tender bumpers. Arturo came for a visit and claimed responsibility for the dimes. He had Daphne Barrett Billingsworth stuffed herself into her heaviest coat, pulled given her advice, but she could see no possible future in laughing at that a gloomy hat over her head, and dug through the box on the closet floor crow. until she found her mittens. She sighed as she cracked through the ice On her way home, the day turned even deeper into dark and cold. The that jammed the lock on her car door. She hummed no happy tune as she low clouds had left behind a layer of fresh white snow while Daphne had scraped the ice off her windshield. been busy pondering the mysteries of her day. The crow was still there on the fence watching her every move. Where As she pulled into the driveway, the crow landed on his perch on her did that stupid crow come from anyway? She had never seen such a large fence. No sane bird would be out in this weather in this dark and cold air. bird around her house, and on this morning, she was in no mood to make This insane crow laughed at her for the second time that day. friends. Arturo’s advice was fresh in her head. She threw back that head, opened “Go away, crow. Am-scray.” her throat, and laughed. She laughed so hard tears streamed down The crow made no move and did not answer. her cheeks and her stomach hurt. She couldn’t stop laughing and it felt Daphne Barrett Billingsworth looked down at her grubby driveway as she shockingly good. climbed into her cold car. She saw a dime, a shiny silver dime, peering back In this moment, Daphne Barrett Billingsworth realized that all of those at her. She bent to pick it up. After all a dime is a dime is 10 cents. Then religions had gotten it right. Deep into the generations, the Elders, the she remembered the dimes that had appeared to her earlier in the week. People of Faith, had gotten it right. Winter Solstice, Hanukkah, Yule, “Odd,” she said to herself as she got into the car and turned the key to Christmas. Something happens in the deepest, darkest days of midwinter crank the cold engine. that can only be called a miracle. On the darkest and coldest day, we She thought about the dime that she found sitting square in the middle of celebrate the light. the blotter pad on her desk when she went to work last Monday morning. Daphne Barrett Billingsworth breathed in the smell of piñon smoke, she She remembered the dime at the foot of her bed as she was on her way to listened to the crunch of her boots on the new snow, and she looked up at slumberland on Tuesday night. She could see in her mind’s eye the dime the bright stars in the clearing winter sky. that came rolling down the steps straight for her as she began her ascent to In this later moment, Daphne understood the meaning of light and the upper section of the movie theater where she went to hide in the dark dark. She realized that the dark and the light are parts of the Whole. She on Wednesday. understood that she would laugh and take notice again. Daphne Barrett Billingsworth drove on as she continued her dark and The crow flew away into the night sky. Daphne turned in the starlight dreary way to work. She was as sad as the slate gray of the low-hanging clouds. and waved goodbye. ◀
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3RD place
My Last Aunt Ken McPherson
aDults’ stoRies
“Y
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ou remember Aunt Ida, Chet, she was my sister who lived in Chicago.” I remembered. She was the aunt who lived in a dreary gray apartment in a dismal part of Chicago. Just because I couldn't remember who lived next door to us for a year when I was 5 years old, my mother assumed I couldn't remember anything from my youth, including relatives. “Remember?” Mother asked. “We visited her every time we drove through Illinois.” I remembered that whenever we went there, Mother and I had to stay in the car in front of Aunt Ida's apartment while Dad walked down the block to pull her out of the corner saloon. “Oh, you remember. She always gave you chocolate when we visited.” Truchas, Winter Vista by Margi Lucena; courtesy Selby Fleetwood Gallery Yes, I remembered, but it would do me no good to say so until my mother wound down a little. To be precise, Aunt Ida gave me chocolate cigarettes. I would take one and stand in “Oh, don't you worry yourself about the details, Chet. I'll take care front of her full-length bedroom mirror to practice looking cool with of everything. Is it all right if we leave Thursday evening?” a cigarette dangling from my mouth while she talked to my parents “Sure. And please book us into a nice hotel. I'll pay for the rooms.” about distant cousins, tragic deaths, and foggy memories. I practiced “Oh, don't you worry, I'll take care of everything. You don't need to every tough-guy look I could remember from the movies, my James spend your hard-earned money on overpriced hotels.” Dean being near perfect when I took off my glasses. When Aunt Ida She had the same concern for my finances as she did my health, my caught me in front of the mirror, she laughed and called me her little future, my love life — whatever — while she sacrificed in whatever gangster. way she could. Yes, I especially remembered her every time I tried to quit smoking. “Okay, Mom. I have to get back to work. Call and let me know when “You remember, Chet, she had the parakeet you liked so much.” to pick you up.” I remembered the blue parakeet Aunt Ida had taught to drink beer “I can take the shuttle bus, Chet. No need for you to come all the from her glass. Blue Boy would perch himself on the edge of her glass way over to the west side.” while she tipped it until the beer reached far enough that the bird “Mother, let's not get into this. I'll pick you up at whatever time you could take a sip, gleefully raising his head up and back to swallow the tell me.” golden liquid. Aunt Ida would also let me sneak a drink of beer while “Oh, you must be busy. I can tell because your voice gets a little she pretended not to notice. tense whenever you're busy. I'll let you go then. I promise I'll call as A few years after learning this trick, Blue Boy drowned while soon as I get the information. No, I'll call you tonight at home so I attempting to perform it solo. I wish I still had the fond memory of won't be disturbing you at work.” him doing his tricks and walking around on the kitchen table, but my “Okay, Mom. Goodbye.” memory holds only the imagined image of Blue Boy wedged upside “Bye, sweetie. You remember, Ida used to call you Mr. Potato Head down in a half empty highball glass. ... she was very fond of you. Bye.” Yes, I shared Aunt Ida stories at AA, but I thought she was already I remembered that when I wasn’t being James Dean in front of the dead. mirror, I was examining my head to see if I did indeed look like the “Yes, Mom, I remember Aunt Ida. When is the funeral?” famous Mr. Potato Head. I had the glasses, and my ears did stick out “This coming Friday. I thought we could be finished packing her a little. I spent weeks after our last visit to Ida ashamed to show my things away by Sunday afternoon easily. She never had much in the face in my neighborhood. The only saving grace was that my dad was way of possessions. But she was a good soul.” in the Army and we moved every two to three years. So I got a fresh I looked at the project calendar on my office wall. My secretary had start, hoping that no one at our new assignment would notice my drawn a happy face on that Saturday and Sunday, which meant that resemblance to the popular toy. we had no projects scheduled to carry over into the weekend. I could Maybe it’s unfair to blame my last aunt for my past drinking binges probably even manage to skip work on Friday. and excessive smoking, but the memories won’t go away. ◀ “Okay, Mom. Shall I make the reservations or will you?” I knew the answer, but I played my part of the game by asking.
PASATIEMPO I December 27, 2013- January 2, 2014
Honorable Mention
The Departed Sterling Grogan Jaborandi, Brazil 1965
C
Grey on Grey (Study for Grey Orioles) by Robyn Geddes; courtesy Gerald Peters Gallery
my neck. The most I’ve sweated since crosscountry races in high school. The little guy up front comes to shake my hand, other villagers come to say thanks for carrying The Departed. I am exhausted, in pain, ecstatic. Useful. Three women were saying rosaries as The Departed was lowered into her grave. The fever of culture shock was broken. The Departed did that for me. I’m thankful that I will probably never finish Os Sertões. There is work to be done. ◀
adults’ stories
ulture shock is a fever, as debilitating as mono: nothing is familiar, nothing works, there is no hope, no one wants to be my friend. I could walk to the river for a bath, and I could read. But that was all. Reading the 19th-century prose of Os Sertões was like wading through molasses, but I was betting few Peace Corps Volunteers read the only Brazilian epic in the original Portuguese. So I was feeling intellectually superior, and totally useless. Out my little window I could see a commotion at the tiny chapel that served Jaborandi, without a priest. I ignored it. Then Dona Faustina knocked on my door. I had visitors. Two women I didn’t know were at the door of the pensão. We need you to help carry The Departed to the cemetery. That was a word I didn’t know, so I had to ask: What is The Departed? An old woman. She died last night. I imagined hefting a polished wooden coffin and a short walk to the little cemetery behind the chapel. OK, I am glad to help. Follow us. A chance to be useful. A Volunteer’s dream. So I struggled out of culture-shock fever, put on my black Converse low-cuts and a work shirt, followed the women to the chapel. The Departed lay wrapped in white cotton sheeting on a canvas sling spread on the floor, tied in several places to two long poles. An old man about half my height told me to pick up one end of the poles. He picked up the other end, put the poles on his shoulders. To keep The Departed level, so she wouldn’t slide out of the sling, I had to carry the poles in my hands. Oh ... Where is the coffin? There are no boards in the village suitable for a coffin, and anyway her family doesn’t have money to pay men to saw a log to make boards. What’s a sawmill without electricity? The log perches on a frame two meters off the ground, one guy on top, one on the ground, a long saw with two
handles on each end. One board per hour. Oh ... Where are we going? To the cemetery. I thought it was behind the church. That is only for Seu Euclides (the richest guy in town, my sponsor and patron, who built the chapel) and his family. The village cemetery is there, gesturing with his lips to a hill that seemed a long way off. It’s close, just over that hill. Oh ... The procession grew as we walked the length of the village, then down the hill at the edge of town. Most of the village eventually joined us, chattering softly, shooing the kids out of the way. The smell caught me off guard. Like sweat, but not exactly, more pungent. A little like the smell that surrounds the butcher every Saturday morning, when he kills and dissects that week’s steer under the big tree at the edge of the village. This was the closest I had been to a dead person since I stood on tiptoes to look at my father in his coffin. He didn’t smell. By the time we crossed the little stream at the bottom of the hill, my arms were killing me. But the little guy up front showed no signs of tiring, so I couldn’t either. Then we started up, and I was sure I couldn’t make it. But he wasn’t slowing. Up we went. Sweat pouring from every pore, muscles in my arms aching, I tried to think of something other than the smell and the heat and the aches. Cold beer. The village dentist, who gave up stealing chickens for dentistry because it was more lucrative, pulls teeth without Novocain. Girls on the beach in Rio, bikinis called “dental floss.” Barbara from San Francisco, the dark cloud that appeared behind her father’s eyes when she revealed that I wasn’t a Christian Scientist. Scratchy transistor radio talking about bombing North Vietnam, American planes shot down, hospital destroyed. Is this what JFK had in mind? We are at the top of the hill. Where the hell is the cemetery? I learned a painful but important lesson: When a local says it’s close, just over that hill, BEWARE! “Close” and “just” are relative: relatively meaningless. Suddenly, we are there. Two guys with big hoes digging a grave. There are no shovels. We set The Departed down next to the grave. No feeling in my arms or hands. Big patches of dark blue under my arms, around
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1st PlAce
Veteran Elizabeth Raby One hundred and seven years old, survived Pearl Harbor, Iwo Jima, came home to Texas to be sent to the back of the bus — kept on keeping on — drives his neighbor to church in his ’71 Chevy — keeps on, keeps on, where did it come from, his courage to survive every day and to make something of it. A small man who can still smile. He stands up straight.
Moonrise Chapel by William Haskell; courtesy Manitou Galleries Opposite page, End of Winter by Elmer Schooley (1916-2007); courtesy The Meyer East Gallery
2Nd PlAce
The Snow Shaman Judith Toler She wakes me in the middle of the night, woofing gently to tell me the world has changed. I am not pleased to see it come: the end of color, the cold silence of snow. In the morning, even the sun cannot push through the weight of a steel sky; the world is something to pull the blinds against. But Lucy dances about me,
Adults’ Poems
body wiggling in expectation — she will not be denied. Grumbling, dismal and damp as the sky, I search out the heavy winter clothes, weigh
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myself down with boots and gloves and let her pull me where I don’t want to go, hoping she’ll want to turn back, dispirited when she sees the road we’d walked so often now is gone, our paths vanished, a world no longer known. But she welcomes this new white world, roses blackened, wisteria drooping like dreadlocks, sodden grasses, torpid trees, their limbs weighed down by snow. Doesn’t even miss the whirr of leaping grasshoppers with wings the color of fire, filling the air so numerous
PASATIEMPO I December 27, 2013- January 2, 2014
they bumped into one another and into her; forgets how yesterday she’d leap on them. But today nothing matters but the snow, the crunch and buzz of it. She can’t get enough — over and over again she stops to push her muzzle full of snow, prancing in delight; then, once past the houses, past the place of the leash and into the wild arroyos, she races in circles wider and wider, her tracks curving into great loops of infinity, racing for joy, flash of golden fur, white plumed tail, ears blown back against the wind. Then a final rolling in snow, and she trots back to me, heaves a huge dog sigh, content. We walk together slowly now to the steady beat of her panting, the plodding of my boots. Suddenly, she stops. Stands watching, listening, ears alert to something I cannot hear. Stares beyond the shape-changed world toward something I cannot see. She stops her panting. I hold my breath. The mullein, too, are listening and the piñons stand silent and peaceful as monks at prayer. We breathe. Again, I hear the pant pant panting and the pounding of my own heart rhythmic as a mantra. We walk toward home, our warm breath rising like spirit while noonday sun spangles the snow with shooting stars.
Happy Holidays!
3RD place
15% Off
The Canyon Road Paint-Out Cynthia West At the bell-sound, on a cold, grey morning, fifty two artists have ninety minutes to create. With easels, tubes, canvases, we’re already running out of time. Feeling we’ve never painted the mountains, the birds, we smile for photographs. It is brave to try to lure the pearl rain onto a surface. How can we express the verdant feeling rising from the hills? Our brushes seek the true colors of the sky, the day, the valley. Traffic roars, trucks, buses, cars, people hanging out the windows with cameras. It seems the whole world wants what we promise on this small road of mud houses. The minutes dissolve, rushing with the sound of tires on pavement, hue by hue
through Dec. 31st
Historical Pueblo Pottery
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becoming tree trunks, door-ways, fences. Silver, the uncatchable clouds, wild horses too quick to be ridden. With eyes all over our bodies, mouths tasting each chartreuse leaf, we drink the unseen sap that flows the paint into meaning. As we stand chilled before our easels, our strokes generate the event that everyone came for, the view that has no price, that lives unnoticed in this dusty town. Passers-by, stopped in their tracks, savor something more than our shadings of light and dark, greener than the thunder sounding. The bell rings completion. Wondering what happened, we put down our brushes, paints. Our incomplete sketches carry the morning in their hands. People will bid on them, hang them on distant walls, ladders to what can’t be told.
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Honorable Mentions
Harry’s Table Jane Shoenfeld My white table, my white table, a drafting table, a drift of, draft of ten years ago, bluffing, bristling through life, Harry died. I missed the layout, laid out, I missed it. He told me he wanted his white table back, drying out, after so many years flat out drunk, Harry wanted a new chance with a table top that didn't slip, that opened itself to whatever was put on it. My white table, a ghost of Harry, he began to lose it, really lose it, in drink when his brother died. Harry had a long ponytail, a cabin in the Pecos, a cat that was hit by a car, a thermos full of vodka.
adults’ PoeMs
Harry made my painting racks, my rolling cart for colors. My father never built anything, couldn't construct in the world of things, but he too held a rainbow, an arc a child would love. My father died a shadow in a white room, he passed in the night.
Ranchito - New Mexico by Gene Kloss (1903-1996); courtesy The Owings Gallery
Truck Robyn Hunt In the back lot is a broad-shouldered truck father to a sleeker figure with fins You have graduated to walking (or sailing an electric model with no sound) but
Harry, full of romance and rue, a philosopher, artist, carpenter, a mess, as unreliable as wind, he lost his ability to fit things together, lost his home, lost locomotion, lost balance, lost me.
the workhorse of your boyhood is patient longing parade watchers recall the boulevard (though small) of the quarterback, the professor, and the lifeguard
I kept the white table. It will fold up with me. If I need to move again, it will come with me.
Your ears showed then and the cleft in your chin
Harry's heart gave out. I didn't know until I read the obit. At the memorial, I consoled his son, didn't mention the table. On it sits my father's photo in a glass frame. A white cloud with four legs, Harry's table drifts.
yet it’s the softness in your eyes, headlights, that have grown refined. You feed the birds on the lanai and read the signs from behind glasses propped on your nose no vehicles required to reach the spirit of the present in your dreams you may be waxing the baby blue buffing the hubcaps and grille, grateful for the heft of the keys in your jeans pocket but in daylight you squint and remember (I would imagine) the long road and the hauling, the music that still floats from the radio.
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PASATIEMPO I December 27, 2013- January 2, 2014
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Mon Dec 30
Tues Dec 31
Thurs Jan 2
11:00a - Blue Is the Warmest Color 12:00p - Casting By* 2:00p - Is...Man Tall Happy?* 2:30p - Great Expectations 4:15p - Following the Ninth* 5:00p - The Great Beauty 6:00p - Is...Man Tall Happy?* 7:45p - Great Expectations 8:15p - Is...Man Tall Happy?*
1:30p - Casting By* 2:00p - Great Expectations 3:30p - Following the Ninth* 4:30p - The Great Beauty 5:15p - Is...Man Tall Happy?* 7:15p - Great Expectations 7:45p - Is...Man Tall Happy?*
1:00p - Is...Man Tall Happy?* 1:30p - Great Expectations 3:00p - Following the Ninth* 4:00p - The Great Beauty
1:30p - Casting By* 2:00p - Great Expectations 3:45p - Following the Ninth* 4:30p - The Great Beauty 5:45p - Is...Man Tall Happy?* 7:15p - Great Expectations 7:45p - Is...Man Tall Happy?*
Wed Jan 1 4:30p - The Great Beauty 5:45p - Is...Man Tall Happy?* 7:15p - Great Expectations 7:45p - Is...Man Tall Happy?*
* indicates shows will be in The Studio, our new screening room for $8.00, or $6.00 CCA Members!
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Mr. Sandman Jonathan Richards I For The New Mexican Lawrence of Arabia, epic historical adventure, not rated, Lensic Performing Arts Center, 4 chiles It is safe to say that there has never been a more electrifying career launch in movie history than Peter O’Toole’s in Lawrence of Arabia (1962). He wasn’t the first choice for the role. Producer Sam Spiegel and director David Lean wanted Marlon Brando, which provides grist for imaginative what-ifs to rival the prospect of Ronald Reagan as Rick Blaine in Casablanca. But Brando turned the part down, as did Albert Finney. And so a star was born. Technically, Lawrence was not O’Toole’s motionpicture debut. A classically trained stage actor (in the same Royal Academy of Dramatic Arts class as Finney and Alan Bates), he’d been in front of the cameras in small roles a few times already, most notably in John Guillermin’s heist drama The Day They Robbed the Bank of England. That performance caught David Lean’s eye, and when the bigger names bowed out (Brando reportedly balked at spending “two years on a camel”), the 28-year-old O’Toole got the nod. Lawrence of Arabia was a star-making turn, and the young actor dominates the movie from beginning to end. He didn’t get the Oscar (the prize in 1963 went to Gregory Peck’s iconic Atticus Finch in To Kill a Mockingbird), and despite eight nominations, O’Toole remained on the short list of great actors who never took an Oscar home — until the Academy awarded him a Lifetime Achievement statuette in 2003. O’Toole is not a dead ringer for the historical figure he plays. Although there is a striking similarity in their faces, at 6-foot-2, the actor would have towered over the diminutive T.E. Lawrence (or perhaps filled out the dimensions of the British Army officer and archaeologist’s self-image). O’Toole’s angular body, lean chiseled jaw, and startling pale blue eyes projected a hero who filled the Super Panavision 48
PASATIEMPO I December 27, 2013- January 2, 2014
Midday at the oasis: Peter O’Toole; opposite page, below, Alec Guinness with Omar Sharif
lens and challenged the vastness of the desert. “If you’d been any prettier,” Noel Coward is said to have quipped to the star at the film’s premiere, “it would have been Florence of Arabia.” Those blue eyes are lost behind goggles in the film’s opening sequence, which captures the motorcycle accident that cost Lawrence his life at the age of 46. After some small talk at his memorial service about whether or not he deserved his reputation, the movie takes us to Cairo in 1916, where Lt. Lawrence is chafing at a desk job, copying maps. O’Toole makes a physical character of Lawrence’s discomfort with the restrictions of military life. He walks, or more accurately ambles, as if his uniform doesn’t quite fit — as in fact it didn’t, thanks to the inspiration of costume designer Phyllis Dalton (whose name was left off the Oscar submissions by a clerical error). In a regulation military setting, Lawrence is a bit of an odd duck and a misfit. It is only when he is sent to the desert on a fact-finding mission at the request of the British diplomat Mr. Dryden (Claude Rains) that he and the movie come into their own. In a film well stocked with stars, including Alec Guinness, Anthony Quayle, and Jack Hawkins, the other breakout performance was from another unknown, Omar Sharif. Sharif also backed into his part (as Sherif Ali), replacing a better-known actor, the French star Maurice Ronet (whose buyout amounted to four times what Sharif got paid for the film). Sharif’s entrance is one of the most memorable in film history. He rides across the desert through a
shimmering mirage toward Lawrence and his Arab guide, his form growing from a tiny speck on the horizon. It required a special 482mm lens, one that was designed specifically for this shot and has never been used since. Fifty years after its release, Lawrence of Arabia remains one of the most visually stunning films ever made. Its sweeping desert vistas capture an awesome sense of the majesty of nature, and the Oscar-winning cinematography by Freddie Young makes you understand what the wide screen is meant for. Every element of filmmaking, from editing (the hard cut from Lawrence’s blowing out of a match to a wide shot of dawn over the desert is justly canonized in movie lore) to the costumes to
the great score by Maurice Jarre, contributes to the majesty. The real Lawrence established his fame in a time before television exposure required heroes to have impressive physical stature. In the movie, his wartime legend spreads in two contrasting ways: by the word of mouth that crackles across the desert and brings together Arab tribes to follow this Englishman who promises to drive the Turks from their land, and by the media-savvy drumbeat of the Western press, spearheaded by the sensationalist writings of journalist/adventurer Jackson Bentley (Arthur Kennedy, playing a character based on correspondent Lowell Thomas). Later, Lawrence’s reputation would be augmented by Seven Pillars
of Wisdom, the autobiographical account of his war experiences on which screenwriters Robert Bolt and Michael Wilson (a blacklisted writer uncredited on the original release) based much of the screenplay. The book, which one critic has called “a novel traveling under the cover of autobiography” for the sometimes soaring flights of fancy in Lawrence’s recollection of events, had to be rewritten by Lawrence after he lost his only copy of the 250,000-word manuscript in a railroad café while changing trains. If the Lawrence on screen is something of a fantasy figure, it doesn’t much matter. Lawrence of Arabia is a movie, and it’s one of the most glorious epic adventures ever put on film. The character requires the kind of grandeur that the original Lawrence created for himself. An ordinary person would be barely a speck of sand on that vast desert landscape. “Do you think I’m just anybody?” Lawrence demands of Ali in the movie. “Do you?” As Lawrence’s fortunes ebb and flow, his spirits sometimes sink to where he counts himself just an ordinary man; but it never takes long for his ego to surge like a cork to the surface again and for him to reassert his belief in his own exceptionalism. In the first half of the movie, that confidence is leavened by an innocence and a soaring sense of wonder and discovery. In the second it darkens as he learns terrible things about himself, and about the cynical and duplicitous European world of which he is a part. The transition is emphasized by two scenes in which Lawrence examines his reflection in the blade of his knife: when he first dons his flowing white Arab robes, with a giddy sense of wonder, and later when those robes and that knife are dark with blood. On Dec. 14, Peter O’Toole died at the age of 81. It was front-page news around the world, the passing of this son of a Scottish nurse and an Irish bookie named “Spats” O’Toole. In his obituary, The New York Times quoted an entry O’Toole had made in his journal when he was 18: “I will not be a common man. I will stir the smooth sands of monotony.” The agonies and horrors of the Middle East today are in significant part the legacy of the sinister realpolitik that emerged from World War I in the self-interested calculations of European powers, particularly Britain and France, which are an important theme of this movie. America joined the fun a bit later, particularly with its nation-building adventure in Iran in 1953. A half century after it was made, and nearly a century after the events it describes, David Lean’s epic movie remains a powerful story about the sowing of seeds whose bitter harvest the world is still reaping. ◀
details ▼ Lawrence of Arabia, screens as part of the 35mm Archival Film Series ▼ 7 p.m. Friday, Dec. 27 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $7; 505-988-1234, www.ticketssantafe.org
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movIng Images film reviews
Stuck in the mud Jonathan Richards I The New Mexican Camille Claudel 1915, drama, in French with subtitles, not rated, The Screen, 1.5 chiles In the asylum run by the nuns at Montdevergues, near Avignon, life is intolerable if you’re an inmate who is reasonably sane. The same can be said about watching this movie. Still, the viewer has the advantage over poor Camille Claudel. She was shut away against her will for the last 30 years of her life. The movie, endless though it feels, is over in about an hour and a half. Claudel was a sculptor, perhaps of genius, who studied with, slept with, modeled for, and inspired Auguste Rodin in the waning years of the 19th century. After they parted, apparently because Rodin refused to leave his longtime mistress to marry her, she continued to work and exhibit for several years. But she went into mental decline after 1905, destroyed many of her works, became reclusive, and was consumed with the paranoid notion that Rodin was trying to kill her. With the death of her father in 1913, she lost her only champion in the family, and a week later she was committed to a psychiatric hospital by her brother, the poet and diplomat Paul Claudel. She died in 1943, still confined to the asylum, despite repeated assurances from the doctors to her family that she was fit to be released. In 1988 Isabelle Adjani played the unfortunate sculptor in a pretty good movie that earned a couple of Oscar nominations (including Best Actress for
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PASATIEMPO I December 27, 2013- January 2, 2014
Juliette Binoche
Adjani). That Camille Claudel was a telling of her whole story, full of life and passion. This one, directed by Bruno Dumont (Twentynine Palms), known for his slow pace and downbeat themes, is set completely during a short period at Montdevergues in 1915 as she endures the nightmare of her confinement and awaits a visit from her brother. Dumont’s Camille is played by Juliette Binoche, who earns the movie what claim it has to watchability. This is no small thing, because Binoche is on screen for most of the running time. Dumont often leaves his camera on her for extended periods, almost giving the impression that he has pushed the start button and gone off for a smoke. Sometimes she is listening, sometimes she is talking, sometimes she is reacting, and sometimes she just is. We first see her being stripped naked and bathed by the nuns, who chide her for being “always dirty.” This is a reference to the neglect of personal hygiene that in part got her committed to the asylum by her mother and siblings, and also to her passion for clay, which was her medium of self-expression as an artist. But within the walls of the asylum, creativity withers and dies, and when Camille scoops some clay from a mud hole and starts to massage it into a shape, she ends by bitterly flinging it away. Dumont likes to work with nonprofessionals, and here he employs real-life patients from the modern asylum to play Camille’s fellow inmates (and their real nurses as the nuns). The contrast with our heroine is obvious. The impaired inmates drool, lurch, pound spoons on tables, and cackle in wrenching sounds in which laughter and weeping cannot always be easily distinguished. Camille regards them sometimes with repulsion, sometimes with tolerance, even with bemused affection, but it is clear that she is not one of them. Her taut beauty is of another
world from the moon-faced, toothless creatures who share her home, and the director’s focus on them can sometimes feel prurient. The movie passes its first half in a grim observation, mostly wordless, of Camille’s life in the asylum, gradually leavened with her anticipation of a visit from Paul ( Jean-Luc Vincent). Camille is at a loss as to the reason for her incarceration. “I’m here, and I don’t know why,” she laments. “I’m no longer a human being!” She’s hoping Paul will get her out. But she doesn’t know her brother. Paul is a devout, not to mention obsessive, Catholic. He kneels alone in the woods and prays endlessly. He sit at his desk and writes endlessly in his journal about his faith. He walks with a priest and endlessly examines the depth of his faith. And when he is with Camille, he wraps his religion about him like a heavy cloak as a protection against her anguished cries for help. Not to put too fine a point on it, Paul is a smugly self-righteous pill who will have some heavy ’splainin’ to do if there is in fact a judgment to be faced at the gates of heaven. The year 2013 marks the 100th anniversary of Camille’s incarceration, and as Binoche was born 100 years after her subject, she’s at the appropriate age for this performance. She’s a riveting actress, and with outbursts of tears and rage, flights of radiant hope, and moments of terrible realization of her fate, she manages to infuse some interest into the otherwise excruciating telling of this terrible true story. Camille’s family, her mother in particular, disapproved of her bohemian life and especially of her passionate relationship with Rodin (and the pregnancy and abortion it produced). It’s hard to escape the suspicion that her forced life sentence in the asylum was as much a judgment and punishment as it was a response to her paranoia. ◀
moving images
“Beautiful...Dumont’s craft and Binoche’s face somehow achieve transcendence.” - Chris Chang,Film Comment
film reviews
You say Yamato Michael Abatemarco I The New Mexican Space Battleship Yamato, sci-fi action flick, not rated, in Japanese with subtitles, Jean Cocteau Cinema, 2 chiles In the year 2199, the Gamilas, an alien race bent on destroying, and then taking over the world, blast nuclear bombs embedded in meteorites onto the Earth’s surface, rendering much of the the planet uninhabitable. The surface radiation levels are so high that scientists predict all life on Earth will be wiped out in less than a year. In their ongoing war with the Gamilas, the humans resurrect a World War II-era gunship called the Yamato, retrofitted as a spacefaring Enterprise-like vessel with warp-speed functions and a nuclear ray — the only thing that works against the Gamilas’ tentacled death ships. The mission of the Yamato crew is one of hope. After a highly radioactive device falls from the sky and fails to have any adverse affects on the man who finds it, a message encoded in the device reveals the coordinates of the planet Iskandar in a distant galaxy. The message from Iskandar contains blueprints for building an engine that can traverse great distances at terrific speed. The captain of the Yamato plans to travel to Iskandar in the belief that the race living there has the answer to the restoration of Earth’s green grasses and inhabitants — but he may be leading his crew on a suicide mission. The Yamato comes under near-relentless attack from Gamilas, who seem to be just about everywhere in the vastness of space. Space Battleship Yamato is based on a 1970s Japanese anime series of the same name. The Yamato itself is based on an actual battleship sunk by Allied forces in 1945, facts never mentioned in the film. The tale is a rousing but cliché-ridden adventure with strong performances by Takuya Kimura as Susumu Kodai, the leader of a squadron called the Black Tigers, and Meisa Kuroki as Yuki, a rival who becomes Kodai’s love interest. Kodai, a young upstart whose brash actions get results but routinely jeopardize the entire crew, is on a mission to avenge the death of his family, whose lives he couldn’t save in a previous battle. It comes as no surprise that he takes command of the ship when Captain Okita, played with haunting stoicism by Tsutomu Yamazaki, falls ill. Okita tells Kodai "Do it your way," and that sums up the depth of the (translated) dialogue. There are nods to other films in the genre, particularly Star Wars (1977) and Alien (1979). But Space Battleship Yamato is not the equal of these films. It’s clear that the ship’s orange tabby is a reference to Jonesy, the cat in Alien, but after the cat’s third or fourth appearance, cradled in the arms of the querulous ship’s doctor, the joke gets thin. We also never really feel too menaced by the Gamilas, because they strike so fast that it’s difficult to get a sense of what they actually look like. It’s the same with their ships. The effects are hardly seamless and never feel real enough for a live-action feature. But amid the onslaught of sub-par digital effects and hokey dialogue, Space Battleship Yamato offers a few genuinely moving moments. The final shot is powerful, but we’ve seen this all before. ◀
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Mexican joint in Arizona to show how the mindsets of restaurateurs are the same regardless of circumstances. Well presented but ultimately repetitive, Spinning Plates is comfort food — it goes down easy and fills you up, while conforming to expectations rather than defying them. Not rated. 93 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) THREE STOOGES SHORTS PROGRAM The Jean Cocteau Cinema gives you a hefty dose of Shemp, a touch of Curly, and plenty of Moe and Larry as they present four publicdomain shorts that are all pretty funny: Disorder in the Court Brideless Groom (“Hold hands, you lovebirds”), Sing a Song of Six Pants, and Malice in the Palace (which features the politically incorrect image of the Stooges dressed up as Santa Claus in the Middle East). Expect eye pokes galore. 11 p.m. Friday and Saturday, Dec. 27 and 28, only. Rated G. 75 minutes total. Jean Cocteau Cinema, Santa Fe. (Robert Nott)
Idris Elba in Mandela: Long Walk to Freedom, at Regal DeVargas in Santa Fe
opening this week CAMILLE CLAUDEL 1915 In the asylum run by the nuns at Montdevergues, life is intolerable if you’re an inmate who is reasonably sane. The same can be said about watching this movie. Camille Claudel was a brilliant sculptor who was a student and mistress of Rodin. After they separated, she showed signs of paranoia and was committed by her family to the asylum, where she clearly did not belong. The title role is played by Juliette Binoche, who earns this excruciating movie what claim it has to watchability. Not rated. 95 minutes. In French with subtitles. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 50. GREAT EXPECTATIONS The classic Dickens novel about the adventures of the orphan Pip (Toby Irvine) gets yet another film rendition. This one is courtesy of director Mike Newell (Four Weddings and a Funeral). Ralph Fiennes and Helena Bonham Carter also star. Rated PG-13. 128 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) LAWRENCE OF ARABIA Fifty years after its release, David Lean’s masterpiece remains one of the most visually stunning films ever made. Its sweeping desert vistas 52
PASATIEMPO I December 27, 2013- January 2, 2014
capture an awesome sense of the majesty of nature. And it is safe to say that there has never been a more electrifying career launch in movie history than Peter O’Toole’s. This is epic adventure at its grandest, laced with dark intimations of the troubles to come in the Middle East from the duplicity and arrogance of the Western powers. 7 p.m. Friday, Dec. 27, only. Rated PG. 216 minutes. Lensic Performing Arts Center, Santa Fe. ( Jonathan Richards) See Screen Gems, Page 48. SPACE BATTLESHIP YAMATO On a mission to rid the Earth of dangerous levels of radiation after a nuclear attack launched by the Gamilas, enemies from space, the Space Battleship Yamato, a World War II-era gun ship retrofitted for space travel, represents humanity’s last hope for survival. Takashi Yamazaki’s space opera is a cliché-ridden adventure with a few moments of genuine suspense, some convincing acting by the leads, and a memorable ending. But nods to better sci-fi films, cartoonish special effects, and typical action-film dialogue can’t keep this battleship afloat. Not rated. 138 minutes. In Japanese with subtitles. Jean Cocteau Cinema, Santa Fe. (Michael Abatemarco) See review, Page 51. SPINNING PLATES It’s rare that foodie documentaries explore restaurants with fewer than four stars, but this film balances one such fancypants establishment in Chicago with a downhome eatery in Iowa and an upstart
WHITE CHRISTMAS Time hasn’t been entirely kind to this corny backstage musical about two former Army pals — played by Bing Crosby and Danny Kaye — who decide to help their former general save his beloved country inn by putting on a variety show with a couple of high-spirited sisters (Rosemary Clooney and VeraEllen). But Bing does sing “White Christmas,” and he and Kaye are pretty funny in the drag-driven “Sisters” bit. Inexplicably, it’s running two days after Christmas, but by that time most of us are dealing with credit-card bills, piles of wrapping, and bratty kids who don’t want to go back to school, so maybe it’s the perfect time to see it. 2 p.m. Friday, Dec. 27, only. Rated G. 120 minutes. Lensic Performing Arts Center, Santa Fe. (Robert Nott)
now in theaters ALL IS LOST A man (Robert Redford) is stranded on a crippled vessel somewhere in the Indian Ocean in this often-enthralling drama from writer and director J.C. Chandor (Margin Call). All Is Lost is basically Robert Redford against the sea, and it relies on good old-fashioned storytelling to keep you involved. It’s a gutsy project that trusts its audience to trust it back, but be warned: the final third of the film gets a bit repetitious — in a most soggy manner. Rated PG-13. 106 minutes. The Screen, Santa Fe. (Robert Nott) AMERICAN HUSTLE Irving Rosenfeld (Christian Bale) and Sydney Prosser (Amy Adams) bond over Duke Ellington
at a party. This is appropriate, because David O. Russell has orchestrated his wild and wonderful riff on the 1978 Abscam sting operation like an Ellington suite. The film is an extended cinematic jazz composition, weaving themes and rhythms, tight ensemble work and electrifying solos, and building to a footstomping climax. Irving and Sydney are con artists who get ensnared into working with an unscrupulous FBI agent (Bradley Cooper). The performances are terrific, including Jennifer Lawrence as Irving’s sexy, cagey, dumb-smart wife. Rated R. 138 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) ANCHORMAN 2: THE LEGEND CONTINUES This sequel to the muchloved 2004 comedy finds the Channel 4 news team (Will Ferrell, Paul Rudd, Steve Carell, David Koechner, and Christina Applegate) headed to cable news and the 1980s. It avoids the trap that sinks many comedy sequels by not getting too plot-heavy and not simply repeating the best bits of the first film. Some commentary about modern news networks slows the pace, but the crew’s Monty Python-esque approach to delivering humor in offbeat, unexpected ways carries the day, and a shark named Doby nearly steals the show. Don’t act like you’re not impressed. Rated PG-13. 119 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) BIG SUR Jack Kerouac’s semi-autobiographical 1962 novel is brought to life in this indie drama starring Jean-Marc Barr as Kerouac and Kate Bosworth as his love interest, Billie. The two head off the road to Big Sur in the wake of Kerouac’s newfound fame, when all drinking and no work makes Jack an unstable boy. Rated R. 81 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) BLUE IS THE WARMEST COLOR Abdellatif Kechiche’s emotionally rich drama tells the story of Adèle (Adèle Exarchopoulos), a high school student whose burgeoning sexuality leads her on a journey of self-discovery after she meets Emma (Léa Seydoux), a lesbian whose openness brings Adèle out of her shell. Raw passion ignites the screen, and despite its graphic sex scenes, Blue Is the Warmest Color never strays into gimmicks or sentimentality. It’s as honest a film as you are likely to see this year. Rated NC-17. 179 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) THE BOOK THIEF In the last 10 years, few novels were as beloved or heralded as Markus Zusak’s 2005 young-adult book about a young girl in Nazi Germany who helps her foster parents hide a young Jewish man. The film version stars Sophie Nélisse as
the girl and Geoffrey Rush and Emily Watson as the parents. Rated PG-13. 131 minutes. Regal DeVargas, Santa Fe. (Not reviewed) CASTING BY Marion Dougherty, who died in 2011, virtually created the realm of the casting director as an important part of the filmmaking process. This engrossing documentary by Tom Donahue celebrates the work of Dougherty and her colleagues. It collects accolades, reminiscences, and a treasure trove of film and TV clips of the early work of actors and directors including Robert Redford, Al Pacino, Robert De Niro, Glenn Close, and Woody Allen. It’s a movie that will surprise, delight, and inform even the most dedicated movie maven. Not rated. 89 minutes. Center for Contemporary Art, Santa Fe. ( Jonathan Richards) ENOUGH SAID Fans of Woody Allen’s rom-coms for adult audiences should embrace this charmer about two divorced empty-nesters ( Julia Louis-Dreyfus and, in his final performance, James Gandolfini) who fall for each other and then find that middle-age relationships come fraught with baggage and defense mechanisms. Louis-Dreyfus shows more depth and Gandolfini more softness than either one’s iconic TV roles would suggest; the two head a terrific cast. Nicole Holofcener directs them all with a generous spirit. Rated PG-13. 93 minutes. Regal DeVargas, Santa Fe. (Robert Ker) FOLLOWING THE NINTH: IN THE FOOTSTEPS OF BEETHOVEN’S FINAL SYMPHONY Karry Candaele’s film takes viewers around the world in pursuit of finding out what makes Beethoven’s Ninth Symphony so universally loved. Not rated. 90 minutes. Center for Contemporary Art, Santa Fe. (Not reviewed) 47 RONIN In this Eastern-styled action movie, Keanu Reeves plays a half-Japanese man who was once booted from his samurai clan because of his heritage. But when the clan is broken up by deadly warlords, shapeshifters, and general villainy, it comes crawling back to Keanu. Rated PG-13. 127 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) FROZEN Disney’s latest animated fable is a strange one: it is a tale of misunderstanding with a complicated setup but no real villain or central conflict. Two princess sisters in a fantasy kingdom are split apart when one is revealed to have magical powers to summon cold, snow, and ice. With the help of a big lug ( Jonathan Groff), the younger woman (Kristen Bell) must pull her older sis out of her wintery withdrawal from society. The
film is a breeze, despite the awkward first act and uneven songs. Rated PG. 108 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) THE GIRLS IN THE BAND Director Judy Chaikin gives an overdue ovation to female jazz instrumentalists past and present in this touching music doc, which offers the perfect blend of sometimes grainy, sometimes vivid archival footage and thoughtful interviews. From the vaudeville performers of the 1920s and ’30s and pioneering all-female big bands like The International Sweethearts of Rhythm all the way up to the most sensational players of today, the film makes the case that these women may be female jazz musicians, but they are first and foremost jazz musicians. Not rated. 87 minutes. The Screen, Santa Fe. (Loren Bienvenu) THE GREAT BEAUTY Paolo Sorrentino’s (Il Divo) breathtaking excursion through Roman high life is a sad, funny, sexy, heartbreaking, and exquisite look at a society dancing as fast as it can to keep up with a past that can’t be caught or even quite remembered. Our guide through this funhouse labyrinth of beauty, debauchery, pretension, and yearning is Jep Gambardella (Toni Servillo), an aging writer and bon vivant who made a literary splash with a slim novel 40 years ago and hasn’t been able to think of anything worth writing about since. La Grande Bellezza is a conscious and masterful updating of Fellini. Not rated. 142 minutes. In Italian with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) GRUDGE MATCH Sylvester Stallone and Robert De Niro rose to fame playing iconic boxers. That was more than 30 years ago. Now the two men play ex-boxers who hate each other’s guts but agree to get back in the ring for a payday and — for one of them — payback. Alan Arkin and Kevin Hart costar in this comedy. Rated PG-13. 114 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE HOBBIT: DESOLATION OF SMAUG As if in reaction to criticism that The Hobbit: An Unexpected Journey was too slow, director Peter Jackson keeps the action pumping at a brisk pace in this sequel. Given that the film is nearly three hours long, it can get exhausting. It also feels shorter than many 90-minute films, thanks to the exquisite attention of detail that is standard with the Lord of the Rings series. The story almost entirely abandons the source material and is the usual “quest continued on Page 54
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to vanquish evil and preserve peace” plot. The results boast swashbuckling action, operatic drama, psychedelic sequences, and a jim-dandy of a dragon (voiced by Benedict Cumberbatch). Rated PG-13. 160 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) THE HUNGER GAMES: CATCHING FIRE This is a rare case of a movie that’s just as good as the book on which it’s based. Defiant Katniss (Jennifer Lawrence) has unwittingly inspired unrest in Panem, a dystopian nation where a totalitarian government punishes its citizens for their rebellion by forcing children to compete in an annual televised battle to the death. To dampen Katniss’ fire, sinister President Snow (Donald Sutherland) and a new Head Gamemaker (Philip Seymour Hoffman) force her back into the arena. Thankfully, the phony-looking costumes and clumsy camerawork of the first film are long gone. Rated PG-13. 146 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Laurel Gladden) IS THE MAN WHO IS TALL HAPPY? What a cool way to frame intellectualist conversations with linguist and philosopher Noam Chomsky: in an astounding sequence of colorful, hand-drawn animations that vibrate with energy. Director Michel Gondry (Eternal Sunshine of the Spotless Mind) endeavors to illustrate and elucidate Chomsky’s talks about generative grammar, the challenge of science, women’s knowledge of farming, and the repression of the Kurds in western Asia with squiggly animated drawings. Brilliant effort! Not rated. 88 minutes. Center for Contemporary Arts, Santa Fe. (Paul Weideman) JUSTIN BIEBER’S BELIEVE Every so often, the Bieb puts out a film of performance and/or interviews to raid allowances across our fair land in the name of getting young girls closer to knowing what goes on beneath that poofy pompadour. This year, he’s coming after their Christmas money, too. Rated PG. 91 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) MANDELA: LONG WALK TO FREEDOM The timing of this film’s release may seem like a cheap cash-in on the death of one of the world’s greatest
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PASATIEMPO I December 27, 2013- January 2, 2014
men (Nelson Mandela, played here by Idris Elba), but rest assured it was already in the pipeline. It should help educate the young’uns who didn’t know who he was until the obits ran. Rated PG-13. 139 minutes. Regal DeVargas, Santa Fe. (Not reviewed) NEBRASKA Woody Grant (Bruce Dern) has won a million dollars, or so his letter from Publishers Clearing House says, and he’s determined to go to Lincoln, Nebraska, to claim his prize. His son David (Will Forte) agrees to drive him. This is the slender setup for Alexander Payne’s sweet, biting, funny, comedy-drama of a receding American Midwest. As important as any of the characters is the gorgeous black-and-white photography, which renders the landscape in muted, evocative charcoal washes and brings out the lonely feeling of an era and a generation disappearing into the past. Rated R. 115 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) PHILOMENA Steve Coogan plays a down-on-his-luck journalist who takes on a human-interest story by bringing an Irish woman (Judi Dench) to America to find her longestranged son. The film is marketed as a lighthearted, odd-couple comedy — and there are laughs — but the material runs much deeper and darker than that. Before director Stephen Frears (The Queen) is done taking us on all of his unpredictable and oftenrewarding turns, we’ve pondered aging, forgiveness, the existence of God, and how different perspectives paint a distorted picture of one’s life. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE PUNK SINGER This documentary about Kathleen Hanna, lead singer of Bikini Kill and a founder of the 1990s Riot Grrrl movement, features interviews with Joan Jett, Carrie Brownstein, and Kim Gordon interspersed with news clips and concert footage. It’s a primer for the inner lives of a generation or more of women who call themselves third-wave feminists and a fantastic tour through a music scene that was largely written off by mainstream media. Not rated. 80 minutes. The Screen, Santa Fe. ( Jennifer Levin) SAVING MR. BANKS Fans of Mary Poppins (the film and the book series) will probably find this biopic depicting the often contentious struggle between Walt Disney and author P.L. Travers fascinating, if disturbing. But as the film moves back and forth between the harsh reality of Travers’ childhood in the Australian outback and the fairy-tale environment of Disney’s studio, the screenplay’s arc just isn’t strong enough to carry the two tales. Still, Emma Thompson gives a beautiful turn as the strongwilled Travers, while Tom Hanks is all easygoing charm as Disney. Rated PG-13. 125 minutes. Regal Stadium 14, Santa Fe. (Robert Nott)
THE SECRET LIFE OF WALTER MITTY James Thurber’s 1939 short story about an unimportant man who daydreams big was once a staple of middle-school English class. Now, Walter’s dreams are even bigger in this CGI-crazy blockbuster starring Ben Stiller in the title role (and in the director’s chair). Kristen Wiig, Shirley MacLaine, and Sean Penn co-star. Rated PG. 114 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) 12 YEARS A SLAVE Director Steve McQueen takes us into America’s slave trade with the same clinical observation and exquisite composition that he used in his previous features, Hunger and Shame. Alas, he tarnishes his adaptation of Solomon Northup’s 1853 autobiography — about the free-born man’s stint as a slave after being captured and shipped south — with too many movie moments, blunting the impact and putting his intentions into question. There’s fine acting all around. Rated R. 133 minutes. Regal DeVargas, Santa Fe. (Robert Ker) TYLER PERRY’S A MADEA CHRISTMAS What would Christmas be without a new Tyler Perry’s Madea movie? Fortunately, we’ll never have to find out, because there is seemingly a new one every year. Here, Madea (Tyler Perry) takes guff from nobody once more — this time, at Christmas. Rated PG-13. 105 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) WALKING WITH DINOSAURS This film, based on the BBC documentary series of the same name, attempts to use animation to present dinosaur life to us in the way that a Disneynature documentary might educate us on chimpanzees — by following a young creature through life and telling its story, although the dinos here are voiced by actors (including John Leguizamo and Justin Long). Rated PG. 87 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) THE WOLF OF WALL STREET Director Martin Scorsese and Leonardo DiCaprio team up for a tale about a stockbroker (DiCaprio) who learns from a sleazy mentor (Matthew McConaughey) that greed is good and founds a brokerage firm to bilk clients. Jonah Hill plays a geek who signs on for a piece of the pie. Based on Jordan Belfort’s memoir. Rated R. 179 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)
other screenings Jean Cocteau Cinema 2 p.m. Sunday, Dec. 29: The Making of Kundun. ◀
What’s shoWing
Knowings with Chris Griscom
Call theaters or check websites to confirm screening times. CCA CinemAtheque And SCreening room
1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Blue Is The Warmest Color (NC-17) Fri. to Sun. 11 a.m. Casting By (NR) Fri. to Sun. 12 p.m. Mon. 1:30 p.m. Thurs. 1:30 p.m. Following the Ninth: In The Footsteps of Beethoven’s Final Symphony (NR) Fri. to Sun.
4:15 p.m. Mon. 3:30 p.m. Tue. 3 p.m. Thurs. 3:45 p.m. The Great Beauty (NR) Fri. to Sun. 5 p.m. Mon. 4:30 p.m. Tue. 4 p.m. Wed. and Thurs. 4:30 p.m. Great Expectations (PG-13) Fri. to Sun. 2:30 p.m., 7:45 p.m. Mon. 2 p.m., 7:15 p.m. Tue. 1:30 p.m. Wed. 7:15 p.m. Thurs. 2 p.m., 7:15 p.m. Is the Man Who Is Tall Happy?:An Animated Conversation with Noam Chomsky (NR)
Fri. to Sun. 2 p.m., 6 p.m., 8:15 p.m. Mon. 5:15 p.m., 7:45 p.m. Tue. 1 p.m. Wed. and Thurs. 5:45 p.m., 7:45 p.m. JeAn CoCteAu CinemA
418 Montezuma, 505-466-5528, www.jeancocteaucinema.com Big Sur (R) Fri. to Sun. 4:15 p.m. Wed. and Thurs. 4:15 p.m. The Making of “Kundun” (NR) Sun. 2 p.m. Space Battleship Yamato (NR) Fri. to Sun. 8:30 p.m. Wed. and Thurs. 8:30 p.m. Spinning Plates (NR) Fri. and Sat. 2 p.m., 6:20 p.m. Sun. 6:20 p.m. Tue. 6 p.m. Wed. and Thurs. 2 p.m., 6:20 p.m. The Three Stooges (NR) Fri. and Sat. 11 p.m. regAl deVArgAS
562 N. Guadalupe St., 505-988-2775, www.fandango.com Call theater or see website for times not shown. 12 Years a Slave (R) Fri. and Sat. 12:50 p.m., 3:50 p.m., 7 p.m., 9:55 p.m. Sun. to Tue. 12:50 p.m., 3:50 p.m., 7 p.m. The BookThief (PG-13) Fri. and Sat. 12:40 p.m., 3:35 p.m., 6:30 p.m., 9:25 p.m. Sun. to Tue. 12:40 p.m., 3:35 p.m., 6:30 p.m. Enough Said (PG-13) Fri. and Sat. 12:35 p.m., 3 p.m., 5:15 p.m., 7:30 p.m., 9:45 p.m. Sun. to Tue. 12:35 p.m., 3 p.m., 5:15 p.m., 7:30 p.m. Mandela: Long Walk to Freedom (PG-13) Fri. and Sat. 12:30 p.m., 3:40 p.m., 6:50 p.m., 10 p.m. Sun. to Tue. 12:30 p.m., 3:40 p.m., 6:50 p.m. Nebraska (R) Fri. and Sat. 1:10 p.m., 4 p.m., 7:15 p.m., 10:10 p.m. Sun. to Tue. 1:10 p.m., 4 p.m., 7:15 p.m. Philomena (PG-13) Fri. and Sat. 1 p.m., 3:15 p.m., 5:30 p.m., 7:45 p.m., 10:05 p.m. Sun. to Tue. 1 p.m., 3:15 p.m., 5:30 p.m., 7:45 p.m. regAl StAdium 14
3474 Zafarano Drive, 505-424-6296, www.fandango.com 47 Ronin (PG-13) Fri. to Thurs. 1:10 p.m. 47 Ronin 3D (PG-13) Fri. to Thurs. 10 a.m., 4:10 p.m., 7:15 p.m., 10:15 p.m. American Hustle (R) Fri. to Sun. 10:20 a.m., 1:25 p.m., 4:30 p.m., 7:35 p.m., 10:40 p.m. Mon. to Thurs. 10:20 a.m., 1:25 p.m., 4:30 p.m., 7:35 p.m., 10:40 p.m. Anchorman 2:The Legend Continues (PG-13) Fri. to Sun. 11:20 a.m., 2:10 p.m., 3:15 p.m., 4:50 p.m., 7:40 p.m., 10:20 p.m., 10:30 p.m. Mon. to Thurs. 11:20 a.m., 2:10 p.m., 3:15 p.m., 4:50 p.m., 7:40 p.m., 10:20 p.m., 10:30 p.m. Frozen (PG) Fri. to Thurs. 11:45 a.m., 2:40 p.m., 5:15 p.m., 7:50 p.m., 10:30 p.m. Grudge Match (PG-13) Fri. to Thurs. 11 a.m., 2 p.m., 5 p.m., 7:50 p.m., 10:35 p.m.
the SCreen
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com All Is Lost (PG-13) Fri. to Thurs. 1:45 p.m. Camille Claudel 1915 (NR) Fri. to Thurs. 6 p.m. The Girls in the Band (NR) Fri. to Thurs. 11:45 a.m., 4 p.m. The Punk Singer (NR) Fri. to Thurs. 8 p.m. mitChell dreAmCAtCher CinemA (eSpAñolA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com 47 Ronin (PG-13) Fri. 4:25 p.m., 7 p.m., 9:45 p.m. Sat. 1:50 p.m., 4:25 p.m., 7 p.m., 9:45 p.m. Sun. 1:50 p.m., 4:25 p.m., 7 p.m. Mon. to Thurs. 4:25 p.m., 7 p.m. American Hustle (R) Fri. 4:40 p.m., 7:35 p.m., 9:40 p.m. Sat. 1:50 p.m., 4:40 p.m., 7:35 p.m., 9:40 p.m. Sun. 1:50 p.m., 4:40 p.m., 7:35 p.m. Mon. to Thurs. 4:40 p.m., 7:35 p.m. Anchorman 2:The Legend Continues (PG-13) Fri. 4:45 p.m., 7:20 p.m., 9:55 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:20 p.m., 9:55 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. Frozen (PG) Fri. 4:35 p.m., 7:05 p.m. Sat. and Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. Grudge Match (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:50 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:25 p.m., 9:50 p.m. Sun. 2:25 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. The Hobbit:The Desolation of Smaug (PG-13) Fri. 4:15 p.m., 7:30 p.m. Sat. and Sun. 2:20 p.m., 6:55 p.m. Mon. to Thurs. 4:15 p.m., 7:30 p.m. The Hunger Games: Catching Fire (PG-13) Fri. 4:20 p.m., 7:35 p.m. Sat. 2:30 p.m., 6:50 p.m., 9:50 p.m. Sun. 2:30 p.m., 6:50 p.m. Mon. to Thurs. 4:20 p.m., 7:35 p.m. The Secret Life of Walter Mitty (PG) Fri. 4:25 p.m., 7:15 p.m., 9:45 p.m. Sat. 1:55 p.m., 4:25 p.m., 7:15 p.m., 9:45 p.m. Sun. 1:55 p.m., 4:25 p.m., 7:15 p.m. Mon. to Thurs. 4:25 p.m., 7:15 p.m. Tyler Perry’s A Madea Christmas (PG-13) Fri. 4:50 p.m., 7:10 p.m., 10 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:10 p.m., 10 p.m. Sun. to Thurs. 2:15 p.m., 4:50 p.m., 7:10 p.m. Walking With Dinosaurs (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m.
Sundays at 4:30 P.M. following 4:00 P.M. open meditation offered by The Sanctuary of Light in Galisteo, NM For more information, fees and directions, please contact The Light Institute
505-466-1975
The Hobbit:The Desolation of Smaug in HFR 3D
(PG-13) Fri. to Thurs. 11:05 a.m., 3 p.m., 7 p.m., 10:45 p.m. The Hobbit:The Desolation of Smaug (PG-13) Fri. to Thurs. 12:05 p.m., 4:15 p.m., 8 p.m. The Hunger Games: Catching Fire (PG-13) Fri. to Thurs. 4:05 p.m., 7:25 p.m., 10:45 p.m. Justin Bieber’s Believe (PG) Fri. to Thurs. 11:15 a.m., 1:40 p.m., 4:35 p.m., 7:10 p.m., 9:30 p.m. Saving Mr. Banks (PG-13) Fri. to Thurs. 10:55 a.m., 1:55 p.m., 4:45 p.m., 7:45 p.m., 10:40 p.m. The Secret Life of Walter Mitty (PG) Fri. to Thurs. 10:15 a.m., 1 p.m., 4 p.m., 7 p.m., 10 p.m. Tyler Perry’s A Madea Christmas (PG-13) Fri. to Thurs. 12:50 p.m. Walking With Dinosaurs (PG) Fri. to Sun. 12:30 p.m., 2:50 p.m., 7:30 p.m., 9:50 p.m. Mon. to Thurs. 12:30 p.m., 2:50 p.m., 7:30 p.m., 9:50 p.m. Walking With Dinosaurs 3D (PG) Fri. to Thurs. 10:10 a.m., 5:10 p.m. The Wolf of Wall Street (R) Fri. to Thurs. 11 a.m., 12 p.m., 4:10 p.m., 6:30 p.m., 8:10 p.m.
An informal evening of questions and answers with internationally acclaimed Spiritual Leader and Author, Chris Griscom
thelight@lightinstitute.com www.lightinstitute.com Upcoming Light Institute events: Galisteo Intensive – January 31-February 3 Baja, Mexico Whale Intensive – February 14-19
Dr. Glenda King
*Board Certified
Foot and Ankle Care & Surgery Call now for an appointment! Office Hours: Monday–Friday 9–5 *Certified by the American Board of Podiatric Surgery
2019 Galisteo Street, Unit A4 • 505.988.3338
Leapin’ Lizards! It’s your last chance!
Best Seating: December 27 - 28 at 7 p.m December 29th at 2:00 p.m. (With signing for the hearing impaired) Advance: $15 Door: $20 Students: $10 Musical Theater Works Greer Garson Theater SFUAD 1600 St Michaels Dr. Santa Fe (505) 946-0488 Showtimes and Sales at: www.MusicalTheaterWorks.net PASATIEMPOMAGAZINE.COM
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RESTAURANT REVIEW Bill Kohlhaase I The New Mexican
Top flight
Izanami
3451 Hyde Park Road (at Ten Thousand Waves), 505-428-6390 Lunch & dinner 11 a.m. -10 p.m. daily Vegetarian options Takeout available Noise level: quiet to moderate when busy Beer, wine & sake Credit cards, no checks
•
The Short Order Izanami is a wonderful new restaurant in the Japanese tavern style, serving small plates reminiscent of Spanish tapas. Its polished, timber-framed space is complemented by some of the most skilled and innovative cooking to be found in our culinarily astute town. Chef Kim Müller’s menu is divided into cold, hot, grilled, fried, and sweet categories, and almost everything is perfect. Salads employ Asian greens like mizuna and tatsoi, or spinach sprinkled with crispy shallots and roasted shimeji mushrooms. Soups are equally eclectic; a smoky chicken broth with bits of yam was offered as a special one day. Wagyu beef, chicken wings and livers, and pork belly come crispy from the grill. The desserts are exceptional. Service is perfect in the evening but relaxed and occasionally absent-minded at lunch. Recommended: golden beet salad, nasu dengaku (roasted eggplant), wagyu beef burger, grilled pork belly (butakushi), and sake-braised shimeji mushrooms.
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.
56
If you’re lucky, you’ll get a parking spot at the top of the hill, just a few level steps from the entrance to Izanami, the new Japanese-inspired restaurant on the grounds of the Ten Thousand Waves spa. But forgo the easy choice and park in the lower lot near the highway. Climb the 91 steps — elevation gain 60 feet — up the hill to the restaurant. The wide stairway, lit by lanterns and offering a bench here and there, is like a mountain trail to a favorite camping spot. The sign announcing those 91 steps also claims that ascending them will burn 46 calories. You’ll need to climb that curving trail at least five times to burn off the calories you’ll ingest from a serving of Izanami’s grilled pork belly (butakushi). But that succulent, intensely flavored chunk of pork makes the climb — and the calories — worth it. Izanami is modeled on Japanese izakaya taverns. It serves small, shareable plates of grilled and fried meats, roasted vegetables, salads, and sweets, similar to Spanish tapas — otherwise known as appetizers here in the U.S. They’re teamed with serious sakes, Japanese micro-brews in both cans and bottles, Sapporo on tap, and wine. Exotic loose-leaf teas, caffeinated and not, are there for a pick-me-up. But it’s the food that’s the draw. Chef Kim Müller, formerly of The Compound and Fast Food Nation, divides her menu into cold, hot, grilled, fried, and sweet categories. With one quibbling exception, everything we tried was exceptional. Many of the dishes are served with well-matched sauces, such as the glaze on that pork belly or the miso sauce brushed on the roasted, almost creamy eggplant (nasu dengaku). Ingredients are all top-shelf. The menu claims that 95 percent of the produce used is organic, and a server told us the wagyu beef — grass fed and grain finished — was raised in New Mexico. That pork belly is even better than you could wish — the crisp meat giving way in shards, the slab wrapped in a thick ribbon of rich, glistening fat. An extra swirl of the sweet, ginger-sharp sauce, shaped like a comma, gives a decorative touch. It’s probably the most decadent dish you’ll eat all year. Contrasts of familiar and not-sofamiliar tastes are the rule here. A smoked chicken broth with soft chunks of garnet yam put familiar flavors in an unexpected context. Linguine-sized, slightly sticky soba noodles with cabbage, tofu, and mushrooms came in a fragrant fish broth. Gyoza dumplings, their edges seared to crispness, held a savory stuffing of pork, cabbage, scallion, and ginger. Brussels sprout leaves were pan-seared with puffed rice and came faintly scented with lemon and mint. Small-buttoned, long-stemmed shimeji mushrooms, presented on a bed of barely wilted spinach, were done in a sumptuous mix of butter, sake, and soy sauce. A special of delicately crisp chicken thighs, lightly coated in seasoned cornstarch, was brightened by an aioli-like sauce. Another special, St. Louis pork ribs, was neither too crisp nor too fatty. Slices of wagyu tenderloin — each a circle of seared beef around a pink oval of rareness — came with ultra-hot, fresh-mashed wasabi. The shooter-sized wagyu burger was ordered and served enticingly rare. Only one dish disappointed. Yaki onigiri,
PASATIEMPO I December 27, 2013-January 2, 2014
triangular cakes of grilled rice, were tough-skinned, with the bits of pork belly stuffing, flavorful as they were, lost in the rice’s blandness. Otherwise, even desserts were an experience. The daily ice cream during our dinner visit was a smooth blend of cranberry and cream cheese. Izanami is worth visiting just to enjoy its ambience. A waterfall, dramatically frozen this time of year, greets you at the door, while a projected light show of — is it rain? — races down the front of the building. The timber framing of the barn-sized structure is intriguing, with natural twists in the support timbers overhead. A narrow counter gives a view to the kitchen, spacious wooden booths line either wall, and there’s a long community table in the center of the room. In a step-up, shoes-off carpeted tatami room, diners sit on the floor in what resemble legless chairs. A dinner here was the perfect experience: the food wonderful, the flight of three “clean, refined” sakes bracing, our on-the-spot server knowingly addressing every question we threw his way. Lunchtime service is more relaxed. Our tea was forgotten on two different visits, and once we waited long and longer for our check. Still, what stays in mind is the marvelous cooking. Just be careful when headed back down those stairs. ◀
Check, please Dinner for four at Izanami:
Special hot soba soup...................................... $ 10.00 Special tofu, scallion, and miso soup.............. $ 5.00 Golden beet salad ........................................... $ 8.00 Gyoza dumplings (6)...................................... $ 6.00 Special grilled pork ribs.................................. $ 16.00 Ground chicken skewers................................ $ 8.00 Crispy Brussels sprouts .................................. $ 7.00 Wagyu beef tenderloin.................................... $ 32.00 Hitachino ginger beer..................................... $ 8.00 “Clean and refined” sake flight ...................... $ 10.50 Green tea ice cream........................................ $ 4.00 Cream cheese-cranberry ice cream................. $ 4.00 Cheesecake..................................................... $ 6.00 TOTAL............................................................ $124.50 (before tax and tip)
Lunch for two, another visit:
Smoked chicken broth and yam soup ............ $ 7.00 Roasted eggplant.............................................$ 6.00 Grilled pork belly with ginger barbecue glaze $ 9.00 Sake-braised shimeji mushrooms................... $ 7.00 Sapporo beer on tap........................................ $ 3.50 TOTAL............................................................ $ 32.50 (before tax and tip)
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pasa week Friday, Dec. 27
Gebert Contemporary 558 Canyon Rd., 505-992-1100. Works by gallery artists, reception 2-4 p.m.
GALLERY/MUSEUM OPENINGS
A Sea Gallery 407 S. Guadalupe St., 505-988-9140. Holiday show featuring Renate Lewis and gallery artists, reception 5-7 p.m., through Jan. 15. Bill Hester Fine Art 631 Canyon Rd., 505-660-5966. Western Moments, works by Sharon Hodges, reception 5-7 p.m. Eldorado Hotel & Spa 309 W. San Francisco St., 505-988-4455. Twelve Artists of Santa Fe, group show, reception 5-7 p.m., through Monday, Dec. 30. Hillside Market 86 Old Las Vegas Highway, 505-982-9944. Works by Richard Comstock and Rick Shore, reception 5-7 p.m. LewAllen Galleries at the Railyard 1613 Paseo de Peralta, 505-988-3250. Now and Then, group exhibition of contemporary and historical artists, through Jan. 26. Sage Creek Gallery 421 Canyon Rd., 505-988-3444. Winter Magic, group show, reception 5 p.m., through Jan. 10. Sugarman-Peterson Gallery 130 W. Palace Ave, 505-982-0340. New multimedia work by Michael Protiva, reception 5-7:30 p.m., through January. Waxlander Gallery 622 Canyon Rd., 505-984-2202. Holiday group show, reception 5-7 p.m., through Jan. 1.
CLASSICAL MUSIC
Music on Barcelona Music of Dvoˇrák and Jolivet, 5:30 p.m., Unitarian Univeralist Congregation of Santa Fe, 107 W. Barcelona Rd., call Robert Jones for more information, 505-424-0994. TGIF recital Music of Pachelbel, Karg-Elert, and Handel, plus carols, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations suggested, 505-982-8544, Ext. 16.
THEATER/DANCE
Annie Presented by Musical Theatre Works Santa Fe, 7 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $15 in advance at musicaltheatreworks.net, student discounts available, $20 at the door, 505-946-0488, final weekend.
EVENTS
35mm Archival Film Series The Lensic and the Academy Film Archive present the 1954 musical White Christmas
Pasa’s Little Black Book......... 59 Elsewhere............................ 60 People Who Need People..... 60 Pasa Kids............................ 60 In the Wings....................... 61
58
compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
IN CONCERT
Santa Fe Pro Musica Orchestra Bach’s Brandenburg Concertos, 6 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$65, 505-988-1234, ticketssantafe.org, or SFPM box office, 505-988-4640, Sunday encore. Voasis The contemporary a cappella ensemble presents In the Midnight Hour, produced by Deke Sharon of NBC’s The Sing-Off, 4 and 8 p.m., Warehouse 21, 1614 Paseo de Peralta, $15-$100 in advance at desertchorale.org, 505-988-2282. (See story, Page 16)
THEATER/DANCE
Annie Presented by Musical Theatre Works Santa Fe, 7 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $15 in advance at musicaltheatreworks.net, student discounts available, $20 at the door, 505-946-0488, final weekend. Faraway Nearest One: A Reading of the Letters of O’Keeffe and Stieglitz Staged performance by Debriana Mansini and Liam Lockhart, 6 p.m., Georgia O’Keeffe Museum, 217 Johnson St., $25 in advance, 505-946-1039, okeeffemuseum.org.
BOOKS/TALKS LewAllen Galleries at the Railyard, 1613 Paseo de Peralta, shows work by Jeanette Pasin Sloan.
at 2 p.m. and the 1962 film Lawrence of Arabia at 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $7, 505-988-1234, ticketssantafe.org. (See story, Page 48) Glow Special outdoor lighting event running ThursdaySaturday through Jan. 4; includes an exhibit by ceramic sculptor Christy Hengst, 5-8 p.m., Santa Fe Botanical Garden, 725 Camino Lejo, $8 in advance and at the door, children 12 and under no charge, santafebotanicalgarden.org, 505-471-9103.
NIGHTLIFE
(See Page 59 for addresses) Café Café Los Primos Trio, traditional Latin rhythms, 6 p.m., no cover. ¡Chispa! at El Mesón Three Faces of Jazz, 7:30 p.m., no cover. Cowgirl BBQ Country songwriter Bill Hearne and his band, 5-7:30 p.m.; local zydeco/Tejano/juke-swing band Felix y Los Gatos, 8 p.m., no cover. Hotel Santa Fe Guitarist/flutist Ronald Roybal, 7-9 p.m., no cover.
At the Galleries.................... 62 Libraries............................. 62 Museums & Art Spaces........ 62 Exhibitionism...................... 63
PASATIEMPO I December 27, 2013-January 2, 2014
La Fiesta Lounge at La Fonda Blues band Night Train, 8-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Nacha Mendez Trio, pan-Latin rhythms, 6:30-9:30 p.m., no cover. The Matador Post-holiday DJ get-down, 9 p.m., call for cover. Mine Shaft Tavern DJ Sass-a-Frass, 5 p.m.; open mic with Jason, 7-11 p.m., no cover. Pranzo Italian Grill Geist Cabaret with pianist David Geist, 6-9 p.m., call for cover. Second Street Brewery Busy & The Crazy 88s, hipster pop, 6 p.m., no cover. Vanessie Pianist/vocalist Doug Montgomery, pianist John Randal, 6-11 p.m., call for cover.
28 Saturday GALLERY/MUSEUM OPENINGS
Chiaroscuro Contemporary Art 702½ Canyon Rd., 505-992-0711. Holiday group show, works by gallery artists, reception 3-5 p.m., through Jan. 4.
Sarah McCarty and Eric Thomson The authors discuss their book Melinda Miles: Passages, 3 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.
EVENTS
Glow Special outdoor lighting event running Thursday-Saturday through Jan. 4; includes an exhibit by ceramic sculptor Christy Hengst, 5-8 p.m., Santa Fe Botanical Garden, 725 Camino Lejo, $8 in advance and at the door, children 12 and under no charge, santafebotanicalgarden.org, 505-471-9103.
NIGHTLIFE
(See Page 59 for addresses) Café Café Guitarist Michael Tait Tafoya, 6 p.m., no cover. ¡Chispa! at El Mesón Bert Dalton Trio, jazz, 7:30 p.m., no cover. Cowgirl BBQ Santa Fe Chiles Dixie Jazz Band, 2-5 p.m.; Sean Healen Band, rock ‘n’ roll, 8:30 p.m., no cover. Hotel Santa Fe Guitarist/flutist Ronald Roybal, 7-9 p.m., no cover. La Posada de Santa Fe Resort and Spa Pat Malone Trio, 6-9 p.m., no cover. Mine Shaft Tavern Mike and Bobby of the classic rock band The Jakes, 2-6 p.m.; bluesman C.W. Ayon, 7 p.m., no cover.
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. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter.
Pranzo Italian Grill Pianist David Geist and vocalist Julie Trujillo, 6-9 p.m., call for cover. Rouge Cat DJ Brett Johnson, 9 p.m., $15, holdmyticket.com. Second Street Brewery Broomdust Caravan, juke joint honky-tonk and biker-bar rock, 6 p.m., no cover. Second Street Brewery at the Railyard Andy Primm, pop/folk/rock, 7 p.m., no cover. Sweetwater Harvest Kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover. The Palace Restaurant & Saloon Vanilla Pop, ’40s standards to ’80s disco, 10 p.m., call for cover. Upper Crust Pizza Singer/songwriter Dana Smith, country-tinged folk, 6 p.m., no cover. Vanessie Pianist/vocalist Doug Montgomery, pianist John Randal, 6-11 p.m., call for cover.
29 Sunday GALLERY/MUSEUM OPENINGS
Marji Gallery 453 Cerrillos Rd., 505-983-1012. The Meditative Art of Tibetan Sand Painting, work by Lama Losang Samten, reception 6-7:30 p.m.
IN CONCERT
Santa Fe Pro Musica Orchestra Bach’s Brandenburg Concertos, 3 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$65, 505-988-1234, ticketssantafe.org, or SFPM box office, 505-988-4640. Voasis The contemporary a cappella ensemble presents In the Midnight Hour, produced by Deke Sharon of NBC’s The Sing-Off, 4 and 8 p.m., Warehouse 21,
317 Aztec 20-0150 317 Aztec St., 505-8 the Inn Agoyo Lounge at E. Alameda St., 3 30 a ed am on the Al 505-984-2121 nt & Bar Anasazi Restaura Anasazi, the of Inn d oo Rosew e., 505-988-3030 113 Washington Av Betterday Coffee 5-555-1234 50 905 W. Alameda St., nch Resort Ra e dg Bishop’s Lo Lodge Rd., ps & Spa 1297 Bisho 77 -63 505-983 Café Café 5-466-1391 500 Sandoval St., 50 Casa Chimayó 5-428-0391 409 W. Water St., 50 ón es M El ¡Chispa! at e., 505-983-6756 Av ton ing ash W 3 21 Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. fé Den at Coyote Ca 5-983-1615 132 W. Water St., 50 Duel Brewing 5-474-5301 1228 Parkway Dr., 50 lton Hi e th El Cañon at 5-988-2811 50 , St. al ov nd Sa 0 10
1614 Paseo de Peralta, $15-$100 in advance at desertchorale.org, 505-988-2282. (See story, Page 16)
THEATER/DANCE
Annie Presented by Musical Theatre Works Santa Fe, 2 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $15 in advance at musicaltheatreworks.net, student discounts available, $20 at the door, 505-946-0488. A Holiday Circus Cabaret Local circus arts and puppetry troupe Wise Fool New Mexico, 2 and 4 p.m., Wise Fool Studio, 2778-D Aqua Fría St., $10-$20 sliding scale in advance and at the door, ages 12 and under $7, brownpapertickets.com, 505-992-2588.
BOOKS/TALKS
Creating a Moral Budget in the Poorest State With the Greatest Income Disparity A talk by the Reverend Holly Beaumont of Interfaith Worker Justice of New Mexico and Pamelya Herndon of the Southwest Women’s Law Center, 11 a.m., Collected Works Bookstore, 202 Galisteo St., no charge, journeysantafe.com. Lama Losang Samten The Buddhist teacher discusses his contribution to the film Kundun, 2 p.m., Jean Cocteau Cinema, 418 Montezuma Ave., $10 at the door.
EVENTS
Israeli folk dancing Weekly on Sundays, 8 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5 donation at the door, 505-466-2920. Railyard Artisan Market 10 a.m.-4 p.m., music by Lucy Barna of Hot Honey and James Westbay
Pasa’s little black book Spa Eldorado Hotel & St., 505-988-4455 o isc nc Fra n 309 W. Sa El Farol 5-983-9912 808 Canyon Rd., 50 ill Gr & r El Paseo Ba 5-992-2848 50 , St. teo lis Ga 8 20 Evangelo’s o St., 505-982-9014 200 W. San Francisc erging Arts High Mayhem Em -2047 38 5-4 50 ., Ln 2811 Siler Hotel Santa Fe ta, 505-982-1200 1501 Paseo de Peral asters Iconik Coffee Ro -0996 28 1600 Lena St., 505-4 La Boca 5-982-3433 72 W. Marcy St., 50 ina La Casa Sena Cant 5-988-9232 50 e., Av e lac 125 E. Pa at La Fonda La Fiesta Lounge , 505-982-5511 St. o isc nc 100 E. San Fra a Fe Resort nt Sa de La Posada Ave., 505-986-0000 e lac Pa and Spa 330 E. g Arts Center Lensic Performin St., 505-988-1234 o 211 W. San Francisc e Lodge Th Lodge Lounge at Francis Dr., St. N. 0 75 Fe a at Sant 505-992-5800
and Lisette del la Paz, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, no charge. Trader Walt’s Southwestern & International Marketplace More than 100 vendor booths with antiques, folk and fine art, books, jewelry, and snacks, 9 a.m.-4 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, no charge.
NIGHTLIFE
(See addresses below) Cowgirl BBQ Zenobia and her trio, soulful gospel and R & B, noon-3 p.m.; jazz trumpeter Tom Rheam’s trio, with Dick Hogle on drums and Dave Moir on bass, 8 p.m., no cover. El Farol Pan-Latin chanteuse Nacha Mendez, 7-10 p.m., no cover. Evangelo’s Blues/rock/R & B jam band Tone & Company, 8:30 p.m., call for cover. La Casa Sena Cantina Jazz Sunday with the Arlen Asher Trio, 11:30 a.m.-1:30 p.m., no cover. La Fiesta Lounge at La Fonda Weekly classic movie night, 6-10 p.m., no cover. La Posada de Santa Fe Resort and Spa Cowboy singer and guitarist Wiley Jim, 7 p.m., no cover. Mine Shaft Tavern The Barbwires, soulful blues, 3-7 p.m., no cover. Vanessie Pianist/vocalist Doug Montgomery, 6:30-10:30 p.m., call for cover.
30 Monday IN CONCERT
Voasis The contemporary a cappella ensemble presents In the Midnight Hour, produced by Deke Sharon of NBC’s The Sing-Off, 8 p.m., Warehouse 21, 1614 Paseo de Peralta, $15-$100 in advance at desertchorale.org, 505-988-2282. (See story, Page 16)
THEATER/DANCE
Julesworks Follies Monthly variety show with area musicians, storytellers, dancers, and comics, 6 p.m., Jean Cocteau Cinema, 418 Montezuma Ave., $7, tickets available at jeancocteaucinema.com.
EVENTS
Weekly all-ages informal swing dancing Lessons 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance only $3, lesson and dance $8, 505-473-0955.
NIGHTLIFE
(See addresses below) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, weekly, 8 p.m., no cover. Duel Brewing James T. Baker, Delta blues, 6-8 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 Syd Masters & the Swing Riders, Western swing, 7:30 p.m., no cover. Vanessie Pianist/vocalist Doug Montgomery, pianist John Randal, 6-11 p.m., call for cover. ▶▶▶▶▶▶▶▶
Low ’n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe 125 Washington Ave., 505-988-4900 The Matador 116 W. San Francisco St. Mine Shaft Tavern 2846 NM 14, Madrid, 505-473-0743 Molly’s Kitchen & Lounge 1611 Calle Lorca, 505-983-7577 Museum Hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Trail, 505-982-1851 Palace Restaurant & Saloon 142 W. Palace Ave., 505-428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 505-986-0022 Pranzo Italian Grill 540 Montezuma Ave., 505-984-2645 Rouge Cat 101 W. Marcy St., 505-983-6603 San Francisco Street Bar & Grill 50 E. San Francisco St., 505-982-2044 Santa Fe Community Convention Center 201 W. Marcy St., 505-955-6705
Second Street Brewer y 1814 Second St., 505-982-3030 Second Street Brewery at the Railyard 1607 Paseo de Peralta, 505-989-3278 Steaksmith at El Gancho 104-B Old Las Vegas Highway, 505-988-3333 Sweetwater Harvest Kitchen 1512-B Pacheco St., 505-795-7383 Taberna La Boca 125 Lincoln Ave., 505-988-7102 Thunderbird Bar & Grill 50 Lincoln Ave., 490-6550 Tiny’s 1005 St. Francis Dr., 505-983-9817 The Underground at Evangelo’s 200 W. San Francisco St., 505-819-1597 Upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000 Vanessie 427 W. Water St., 505-982-9966 Warehouse 21 1614 Paseo de Peralta, 505-989-4423 Zia Diner 326 S. Guadalupe St., 505-988-7008
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31 New Year’s Eve
all through Jan. 26 • The Taos Municipal Schools Historic Art Collection, through Feb. 2. Open 10 a.m.-5 p.m. Tuesday-Saturday, noon-5 p.m. Sunday, $10; seniors and students $8; ages 12 and under no charge; no charge Sunday for Taos County residents with ID. Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. The Animal World of Eugenie Glaman, etchings and paintings, through March 2. Open 10 a.m.4 p.m. Tuesday through Sunday, no charge.
CLASSICAL MUSIC
Santa Fe Concert Association New Year’s Orchestra Family Concert/dress rehearsal Music of Poulenc and Brahms; plus selections from Camelot and Guys and Dolls, 2 p.m., the Lensic, $10, 505-984-8759 or 505988-1234, ticketssantafe.org. New Year’s Eve with the Santa Fe Concert Association Orchestra Claire Huangci, piano soloist; music of Poulenc and Brahms; 5 p.m., the Lensic, $25-$95, 505984-8759 or 505-988-1234, ticketssantafe.org.
Events/Performances
Songs and Stories II Performances by Michael Hearne, Max Gomez, and Shawn Mullins, 7 p.m. Saturday, Dec. 28, Taos Center for the Arts, 133 Paseo del Pueblo Norte, $25, 575-758-2052, taoslifestyleproductions.com.
IN CONCERT
Voasis The contemporary a cappella ensemble presents In the Midnight Hour, produced by Deke Sharon of NBC’s The Sing-Off, 8 p.m., Warehouse 21, 1614 Paseo de Peralta, $15-$100 in advance at desertchorale.org, 505-988-2282. (See story, Page 16)
▶ People who need people Artists/Photographers
EVENTS
New Year’s Eve at the Mine Shaft Tavern Dance to the funk/rock/soul band Aladocious; special dinner menu and champagne, 5-10 p.m., 2846 NM 14, Madrid, $10 cover, 505-473-0743. New Year’s Eve Gala Four-course dinner, champagne toast, and entertainment by Doug Montgomery, David Geist, Julie Trujillo, and John Randal, 6 p.m., Vanessie, 427 W. Water St., $135 per person, 505-982-9966. Santa Fe Concert Association New Year’s Eve Gala Dinner and Dance Black-tie affair; music by Soulstice, the Lensic, $375, 505-984-8759 or 505-988-1234, ticketssantafe.org. Vanilla Pop’s New Year’s Eve Local ’80s-infused disco duo, 9 p.m., La Posada de Santa Fe Resort & Spa, $20, 505-986-0000.
NIGHTLIFE
(See Page 59 for addresses) Bishop’s Lodge Jazz guitarist Pat Malone with bassist Asher Barreras, 7-10 p.m., call for cover. Café Café Los Primos Trio, traditional Latin rhythms, 6 p.m., no cover. El Farol Jam band Tone and Company, 9 p.m., no cover. La Fiesta Lounge at La Fonda Syd Masters & the Swing Riders, Western swing, 7:30 p.m., no cover. Molly’s Kitchen & Lounge Psychic Jungle, music collective Meow Wolf’s New Year’s Eve DJ showcase, 8 p.m.-2 a.m., early-bird pre-sale tickets $10, $15 online at thevibehut.blogspot.com, $20 at the door. Second Street Brewery at the Railyard Prog-rock band As In We, 10:30 p.m. Thunderbird Bar & Grill C.S. Rockshow featuring Don Curry, Pete Springer, and Ron Crowder, 8 p.m., no cover.
1 Wednesday EVENTS
Crystal singing bowls 2-4 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $20 in advance, $25 at the door, 316-648-2368.
NIGHTLIFE
(See Page 59 for addresses) Cowgirl BBQ Folk rockers The Bus Tapes, with Heather Tanner on guitar and vocals, Case Tanner on bass guitar, David Gold on lead guitar, and Milton Villarubia on drums, 8 p.m., no cover. 60
Musical Theatre Works’ production of Annie wraps up Friday-Sunday, Dec. 27-29.
El Farol Nacha Mendez with Santastico, 8 p.m., no cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Omar Villanueva, Latin fusion, 7 p.m., no cover. Duel Brewery Funk-rock trio Mushi, 4-7 p.m., no cover. Tiny’s 505 Electric Jam with Nick Wimett and M.C. Clymer, 8 p.m., no cover. Upper Crust Pizza Singer/songwriter Dana Smith, country-tinged folk tunes, 6-p.m. Vanessie Pianist/vocalist Doug Montgomery, 6:30 p.m., no cover.
2 Thursday EVENTS
Glow Special outdoor lighting event running Thursday-Saturday through Jan. 4; includes an exhibit by ceramic sculptor Christy Hengst, 5-8 p.m., Santa Fe Botanical Garden, 725 Camino Lejo, $8 in advance and at the door, children 12 and under no charge, santafebotanicalgarden.org, 505-471-9103.
NIGHTLIFE
(See Page 59 for addresses) Cowgirl BBQ Todd Tijerina, blues/funk/rock ’n’ roll, 8 p.m., no cover. El Farol Guitarras con Sabor, 8 p.m., no cover. La Boca Pan-Latin chanteuse Nacha Mendez, 7 p.m., no cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country tunes, 7:30-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Pat Malone Trio, 6-9 p.m., no cover.
PASATIEMPO I December 27, 2013-January 2, 2014
The Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m., no cover. Vanessie Pianist/vocalist Bob Finnie, 6:30-10:30 p.m., no cover.
▶ Elsewhere AlbuquErquE
Polyphony: Voices of New Mexico Celebrate the Feast of St. John with Baroque Splendor; works include part 1 of Handel’s Messiah, part 1 of Bach’s Christmas Oratorio, and Buxtehude’s eight-part setting of The Magnificat, 4 p.m. Friday, Dec. 27, Cathedral of St. John, 318 Silver Ave. S.W., $10-$35, polyphonynm.com. Chatter Sunday The ensemble performs Richard Strauss’ Sextet From Capriccio and Mozart’s Viola Quintet in E Flat; a reading by poet Lauren Camp follows, 10:30 a.m.-11:30 a.m. Sunday, Dec. 29, The Kosmos, 1715 Fifth St. N.W., $15; discounts available, chatterabq.org.
MAdrid
Madrid Christmas & holiday festivities Weekends through December; Christmas parade, Town of Lights display, mule/stagecoach rides, 2846 NM 14, no charge, visitmadrid.com.
TAos Museums/Art Spaces
Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 10 a.m.-5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Open 10 a.m.- 5 p.m. Tuesday-Sunday through March, NM residents $5; nonresidents $10; seniors $8; students $6; ages 6-16 $2; Taos aCounty residents no charge. Harwood Museum of Art 238 Ledoux St., 575-758-9826. Ninetiethanniversary exhibits: The Paintings of Burt Harwood • Single Lens Reflex: The Photographs of Burt Harwood • Peter Parks: New Works,
The Project Launch and Review Santa Fe The local nonprofit organization Center is accepting submissions for its annual grant and juried portfolio review competition; guidelines available online at visitcenter.org; deadline Jan. 22.
Donations/Volunteers
Santa Fe Humane Society and Animal Shelter Dogs need individuals to take them on daily walks; all shifts available, call Katherine at 505-983-4309, Ext. 128. Santa Fe Stories Project The Santa Fe V.I.P. seeks material on the post-World War II era in Santa Fe; to submit stories or images, visit santafestories.com; April deadline.
Filmmakers/Performers/Writers
Call for writers Poems, aphorisms, stories, and essays about bread sought for The Royal Breadshow; March 31 deadline; works received by Tuesday, Dec. 31, considered for the SITE Santa Fe exhibit Feast: Radical Hospitality; visit the royalbreadshow.com for guidelines; submit writings to info@axleart.com. Reel New Mexico Independent Film Series New Mexico filmmakers may submit shorts, narrative and documentary features, student films, and works-in-progress through 2013; for more information or to submit a film, contact reelnewmexico@gmail.com. Teatro Paraguas auditions 6:30 p.m. Monday, Jan. 20; seeking men and women ranging in ages from 25 to 55 for a production of Quiara Alegria Hudes’ play Water by the Spoonful; 505-424-1601, 3205 Calle Marie.
▶ Pasa Kids Bee Hive Story Time Musical story time with movement and songs for ages 2 to 5, 11 a.m. Friday, Dec. 27, Bee Hive Kids Books, 328 Montezuma Ave. 505-780-8051. Holidays Around the World Family drop-in craft event; create paper lanterns, paper poinsettias, holiday dream catchers, and New Year’s treasures, 6 p.m. Friday, Dec. 27, Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., no charge. Interactive Train Exhibit Children can operate an antique O-gauge model train set and make their own scenery for the tracks, noon-5 p.m. daily to Jan. 5. Santa Fe Children’s Museum, 1050 Old Pecos Trail, by museum admission, santafechildrensmuseum.org, 505-989-8359. ◀
In the wings MUSIC
Serenata of Santa Fe Harpsichord Fandango featuring Kathleen McIntosh, with mezzo-soprano Consuelo Sañudo, 3 p.m. Sunday, Jan. 5, El Museo Cultural de Santa Fe, 555 Camino de la Familia, $25, ticketssantafe.org, 505-988-1234, discounts for seniors and students available at the door. The Barber of Seville The Santa Fe Concert Association presents Rossini’s opera, dress rehearsal 6:30 p.m. Wednesday, Jan. 8; performances 7 p.m. Friday, Jan. 10, and 2 p.m. Saturday and Sunday, Jan. 11-12, Scottish Rite Center, 463 Paseo de Peralta, no charge, santafeconcerts.org. The Sing-Along of the Nibelung Santa Fe Concert Association conductor Joseph Illick leads a sing-along through Wagner’s Ring Cycle; experienced Wagnerians and beginners are all welcome; 7:30 p.m. Thursday, Jan. 16, United Church of Santa Fe, 1804 Arroyo Chamiso, $20, 505-988-1234, ticketssantafe.org. Mardi Gras/Carnival Concert Enchantment Chamber Music presents a program of traditional New Mexican, Latin American, and European music; featuring violinist Ellen Chávez de Leitner, and guitarists Lynn McGrath and Genevieve Leitner; 4 p.m. Saturday, Jan. 18, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $25; seniors $20; students $15; chavezdeleitner.com. Pink Martini Latin, jazz, and classic pop orchestra, 7:30 p.m. Monday, Jan. 20, Lensic Performing Arts Center, 211 W. San Francisco St., $54-$84, 505-988-1234, ticketssantafe.org. Joshua Roman The cellist performs with pianist Andrius Zlabys; presented by the Los Alamos Concert Association, 4 p.m. Friday, Jan. 24, Los Alamos High School Campus, 1300 Diamond Dr., $30, ticketssantafe.org, 505-988-1234. Santa Fe Pro Musica Classical weekend with music of Vaughan Williams, Barber, and Beethoven, featuring violinist Cármelo de los Santos, 6 p.m. Saturday, Jan. 25, 3 p.m. Sunday, Jan. 26, the Lensic, $20-$65, 505-988-1234, ticketssantafe.org. Music on the Hill Elevated St. John’s College hosts its annual jazz series beginning Jan. 25 and running monthly through March 29; performers include Kathy Kosins, Alan Pasqua, and Chase Baird, concerts begin at 7:30 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, $25, 505-984-6000. Ray Wylie Hubbard Country, folk, and blues artist, 7:30 p.m. Sunday, Jan. 26, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $25 in advance, brownpapertickets.com, $29 at the door. Santa Fe Concert Association Family Concert Series Mozart and Mendelssohn violin concertos with soloists Ezra Shcolnik and Phoenix Avalon, 4 p.m. Sunday, Jan. 26, United Church of Santa Fe, 1804 Arroyo Chamiso, $10, 505-984-8759 or 505-988-1234, ticketssantafe.org. Ralph Stanley and the Clinch Mountain Boys The bluegrass legend’s farewell tour, 7:30 p.m. Thursday, Jan. 30, Lensic Performing Arts Center, 211 W. San Francisco St., $29-$79, 505-988-1234, ticketssantafe.org.
Upcoming events preconcert lecture at 3 p.m., the Lensic, 211 W. San Francisco St., $20-$70, 505-988-1234, ticketssantafe.org. Sharon Jones and the Dap-Kings Soul and funk; Valerie June opens, 7:30 p.m. Tuesday, March 18, Lensic Performing Arts Center, 211 W. San Francisco St., $34-$54, 505-988-1234, ticketssantafe.org.
THEATER/DANCE Canticum Novum winter concerts The chorus and orchestra perform works by Mozart, Schubert, Cimarosa, Hovhaness, and Holst; preconcert lecture by Oliver Prezant one hour ahead of show, 7 p.m. Saturday, Feb. 1, 3 p.m. Sunday, Feb. 2, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $25 and $35, ticketssantafe.org, 505-988-1234, discounts available. George Winston R & B piano recital, 7:30 p.m. Saturday, Feb. 1, Lensic Performing Arts Center, 211 W. San Francisco St., $28-$52, 505-988-1234, ticketssantafe.org. The Met Live in HD Dvoˇrák’s Rusalka, 11 a.m. and 6 p.m. Saturday, Feb. 8, Lensic Performing Arts Center, 211 W. San Francisco St., $22-$28, 505-988-1234, ticketssantafe.org. Serenata of Santa Fe Twists and Turns, music of Brahms, Herrmann, and Tower, 3 p.m. Sunday, Feb. 9, Scottish Rite Center, 463 Paseo de Peralta, $25, 505-988-1234, ticketssantafe.org. Santa Fe Symphony: In Honor of Lincoln Presentation of Copland’s Lincoln Portrait with narration by N. Scott Momaday, and Fanfare for the Common Man, 4 p.m. Sunday, Feb. 16,
I Can Hear You ... But I’m Not Listening Jennifer Jasper presents her unscripted one-woman show, 8 p.m. Thursday and Friday, Jan. 9-10, Teatro Paraguas Studio, 3205 Calle Marie, $18, $15 seniors and students, 505-424-1601. What Happened Was Staged reading of Tom Noonan’s humorous play, 7 p.m. Tuesday, Jan. 14, Jean Cocteau Cinema, 418 Montezuma Ave., $10 suggested donation, 505-466-5528. King Laz Susana Guillaume’s one-woman show about negotiating the rocky terrain of old age, sickness, and death, 7:30 p.m. Friday and Saturday, 4 p.m. Sunday, Jan. 17-19, Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262, santafeplayhouse.org. Salt and Pepper Los Alamos playwright Robert Benjamin’s comedy about maturing, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, Jan. 17-19, Teatro Paraguas Studio, 3205 Calle Marie, $18, seniors and students $15, 505-424-1601, teatroparaguas.org. Anna in the Tropics New Mexico School for the Arts Theater presents Nilo Cruz’s Pulitzer Prize-winning play set in a 1929 Florida Cuban-American cigar factory, 7 p.m. ThursdaySaturday, Jan. 23-25, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, discounts available, nmschoolforthearts.org.
Jazz vocalist Kathy Kosins opens st. John’s college’s music on the Hill elevated series Jan. 25.
National Theatre Live in HD Coriolanus, Donmar Warehouse’s adaptation of Shakespeare’s tragedy, 7 p.m. Friday, Jan. 31, Lensic Performing Arts Center, 211 W. San Francisco St., $22, 505-988-1234, ticketssantafe.org. Benchwarmers 13 Eight 15-minute playlets by local playwrights, Feb. 6-March 2, Santa Fe Playhouse, 142 E. De Vargas St., santafeplayhouse.org. Colin Quinn The stand-up comedian shares his political views in Unconstitutional, 7 p.m. Friday, Feb. 7, the Lensic, $15-$35, 505-988-1234, ticketssantafe.org. Les Liaisons Dangereuses Playwright Christopher Hampton’s adaptation of the novel about seduction and revenge, 7 p.m. Friday and Saturday and 2 p.m. Sunday, March 7-16, Greer Garson Theatre, 1600 St. Michael’s Dr., $12-$15, discounts available, ticketsantafe.org, 505-988-1234.
HAPPENINGS
IAIA Writers Festival Graduate students and instructors, including Santa Fe Poet Laureate Jon Davis, author Sherman Alexie, screenwriter and poet Ken White, author Sherwin Bitsui, and novelist Ramona Ausubel, read from and sign copies of their works, 6 p.m. daily, Jan. 4-10, Institute of American Indian Arts, 83 Avan Nu Po Rd., no charge. Game of Thrones screenings Jean Cocteau Cinema offers free screenings of the HBO series Mondays at 7 p.m. from Jan. 6 through March 24, 418 Montezuma Ave., 505-466-5528, jeancocteaucinema.com. Lannan Foundation In Pursuit of Cultural Freedom series Bryan Stevenson of the Equal Justice Initiative in conversation with Liliana Segura, editor at The Nation magazine, 7 p.m. Wednesday, Jan. 15, the Lensic, $6; seniors and students $3, ticketssantafe.org, 505-988-1234. Armistead Maupin The author reads from his new book The Days of Anna Madrigal, 7 p.m. Friday, Jan. 24, Lensic Performing Arts Center, 211 W. San Francisco St., $10-$15, 505-988-1234, ticketssantafe.org. Winterbrew Annual festival of craft beers and food presented by New Mexico breweries and local chefs, 4-9 p.m. Friday, Jan. 24, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, $20 includes $5 in tokens and a commemorative pint glass, 505-660-2951. Souper Bowl XX Annual Food Depot fundraiser; local-chefprepared soups and recipes, noon-2 p.m. Saturday, Feb. 1, Santa Fe Community Convention Center, 201 W. Marcy St., $30 in advance, $35 at the door; children ages 6-12 $10, 505-471-1633. Lannan Literary Series Author George Saunders in conversation with New York Times Magazine deputy editor Joel Lovell, 7 p.m. Wednesday, Feb. 12, the Lensic, $6; seniors and students $3, ticketssantafe.org, 505-988-1234. Edible Art Tour (EAT) Members of the Santa Fe Gallery Association team with local restaurants; stroll from doorway to doorway or take shuttle buses between downtown and Canyon Road; 5-8 p.m. Friday, Feb. 21, EAT $35; EAT and Fashion Feast dance party $70, artfeast.com, 505-603-4643.
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AT THE GALLERIES Andrew Smith Gallery 122 Grant Ave., 505-984-1234. Mannequin, Lee Friedlander’s photographic series, through Jan. 5. David Richard Gallery 544 S. Guadalupe St., 505-983-9555. Unity, paintings by Leon Berkowitz, through Jan. 25. Eight Modern 231 Delgado St., 505-995-0231. Part and Parcel, paintings by Rebecca Shore, through Jan. 11. Ellsworth Gallery 215 E. Palace Ave., 505-989-7900. Kathryn Stedham: Alluvium, gestural abstract paintings, through Jan. 4. Gebert Contemporary 558 Canyon Rd., 505-992-1100. Colin Cochran: Matter and Spirit, through Jan. 4. Legends Santa Fe 125 Lincoln Ave., 505-983-5639. Language of Light, paintings by Bette Ridgeway, through Thursday, Jan. 2. Matthews Gallery 669 Canyon Rd., 505-992-2882. Deck the Walls, rare and notable works on paper, through Tuesday, Dec. 31. Monroe Gallery of Photography 112 Don Gaspar Ave., 505-992-0800. The Life Photographers, through Jan. 26. Peyton Wright Gallery 237 E. Palace Ave., 505-989-9888. Art of Devotion, historic art of the Americas, through March 9. Phil Space 1410 Second St., 505-983-7945. A Roswell Sojourn/A Prairie Return, paintings by Jerry West, through Tuesday, Dec. 31. Scheinbaum & Russek 812 Camino Acoma, 505-988-5116. Santa Fe Legacy, prints and photographs by Gustave Baumann, Gerald Cassidy, Louie Ewing, Laura Gilpin, Kate Krasin, Eliot Porter, and Todd Webb, through January. Tansey Contemporary 652 Canyon Rd., 505-995-8513. Devocionales: Neo-Colonial Retablos From an Archetypal Perspective, paintings by Patrick McGrath Muñiz, through January. Verve Gallery of Photography 219 E. Marcy St., 505-982-5009. La Réve, works by Susan kae Grant, Kamil Vojnar, and Krzysztof Wladyka, through Jan. 11. Vivo Contemporary 725 Canyon Rd., 505-982-1320. As Though Ice Burned, group show of works by gallery artists, through Jan. 28. Ward Russell Photography 102 W. San Francisco St., second floor, 505-231-1035. Down Mexico Way, through Jan. 4. William R. Talbot Fine Art, Antique Maps & Prints 129 W. San Francisco St., second floor, 505-982-1559. Under a Western Sky, photographs by Craig Varjabedian, through Jan. 10. Zane Bennett Contemporary Art 435 S. Guadalupe St., 505-982-8111. Privacy and Secrets, through Jan. 10.
LIbRARIES Beaumont and Nancy Newhall Library Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 505-474-5052. Open by appointment. Catherine McElvain Library School for Advanced Research, 660 Garcia St., 505-954-7205. Open Monday-Friday, call for hours.
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William R. Talbot Fine Art, Antique Maps & prints shows work by photographer craig Varjabedian, 129 W. San Francisco St.
Chase Art History Library Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 505-473-6569. Open Monday-Friday, call for hours. Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 505-984-6041. Visit stjohnscollege.edu for hours of operation, $40 fee to nonstudents and nonfaculty. Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 505-476-5090. Open 1-5 p.m. Tuesday-Friday. Laboratory of Anthropology Library Museum of Indian Arts & Culture, 505-476-1264. Open 1-5 p.m. Monday-Friday, by museum admission. New Mexico State Library 1209 Camino Carlos Rey, 505-476-9700. 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. MondayFriday. Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 505-467-6825. Rare books and collections of metaphysical materials. Open Monday-Friday, call for hours. Santa Fe Community College Library 6401 Richards Ave., 505-428-1352. Open Monday-Friday, call for hours. Santa Fe Institute 1399 Hyde Park Rd., 505-984-8800. Open 1-5 p.m. MondayFriday to current students (call for details). Visit santafe.edu/library for online catalog. Santa Fe Public Library, Main Branch 145 Washington Ave., 505-955-6780. 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., 505-955-4860. 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., 505-955-2810. 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., 505-827-4850. Online catalog available at supremecourtlawlibrary.org. Open 8 a.m.-5 p.m. Monday-Friday.
PASATIEMPO I December 27, 2013-January 2, 2014
MuSEuMS & ARTSpAcES MUSEUMS & ART SPACES
Center for Contemporary Arts 1050 Old Pecos Trail, 505-982-1338. Atomic Surplus, multidisciplinary group exhibit surveying the global nuclear legacy • Tony Price and the Black Hole, exhibit of ephemera from the Los Alamos Black Hole salvage yard and works from the estate of Tony Price, through Jan. 5. Call for hours or see ccasantafe.org. Georgia O’Keeffe Museum 217 Johnson St., 505-946-1039. Modern Nature: Georgia O’Keeffe and Lake George, through Jan. 26. Open 10 a.m.5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Friday; $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; no charge for NM residents first Friday of each month. Museum of Contemporary Native Arts 108 Cathedral Place, 505-983-1666. Changing Hands: Art Without Reservations 3/ Contemporary Native North American Art From the Northeast and Southwest, group show • Steven J. Yazzie: The Mountain • Jacob Meders: Divided Lines; Cannupa Hanska Luger: Stereotype: Misconceptions of the Native American; exhibits continue through Sunday, Dec. 29. Open 10 a.m.-5 p.m.; noon-5 p.m. Sunday; closed Tuesday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 505-476-1200. Let’s Talk About This: Folk Artists Respond to HIV/AIDS, collaborative community exhibit, through Jan. 5 • Tako Kichi: Kite Crazy in Japan, exhibition of Japanese kites, through March • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art • Brasil and Arte Popular, pieces from the museum’s Brazilian collection, through Aug. 10. Open 10 a.m.-5 p.m. TuesdaySunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; no charge for NM residents over 60 on Wednesdays; no charge for NM residents on Sundays; school groups no charge.
Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 505-982-2226. Filigree & Finery: The Art of Adornment in New Mexico, through spring 2014 • BeltránKropp Peruvian Art Collection, exhibit of gift items, including a permanent gift of 60 art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso, through May 27 • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19thcentury Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation. Open 10 a.m.-5 p.m. TuesdaySunday. $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., 505-476-5200. Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9 • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge on Wednesdays for NM residents over 60; NM residents no charge on Sundays; Fridays free admission 5-8 p.m. New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. Renaissance to Goya: Prints and Drawings from Spain • Collecting Is Curiosity/Inquiry • A Life in Pictures: Four Photography Collections, through Jan. 19 • 50 Works for 50 States: New Mexico, through April 13 • Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, through Jan. 12 • It’s About Time: 14,000 Years of Art in New Mexico, through January. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; Free to NM residents on Sundays. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Place, 505-988-8900. Gathering of Dolls: A History of Native Dolls, through April 27. Open 10 a.m.5 p.m. Tuesday-Sunday. $10 admission. Poeh Museum 78 Cities of Gold Rd., 505-455-3334. Doing Being Sharing Laughing, group show, through January. Open 8 a.m.-5 p.m. MondayFriday; 9 a.m.-4 p.m. Saturday; donations accepted. SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. Alan Shields’ installation Maze, accompanied by the film Into the Maze, through Jan. 12. Open Thursday and Saturday 10 a.m.-5 p.m., Friday 10 a.m.-7 p.m., and Sunday noon-5 p.m. $10; seniors and students $5; no charge 10 a.m.-noon Saturday; no charge Friday. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13. Open 10 a.m.5 p.m. daily, donations accepted.
exHiBitionisM
A peek at what’s showing around town
Matthew Higginbotham: Season’s Passage, 2013, oil on canvas. Waxlander Gallery and Sculpture Garden’s annual Holiday Group Show continues through Jan. 1, 2014, with work by more than 30 gallery artists including painters Lori Faye Bock, Matthew Higginbotham, and April Deming, and sculptors Chrill Deverill, Ana Lazovsky, and Chris Turri. There is a reception on Friday, Dec. 27, at 5 p.m. The gallery is at 622 Canyon Road. Call 505-984-2202.
ed Aldrich: Hiding in Plain Sight, 2013, oil on canvas. Sage Creek Gallery presents Winter Magic, a group exhibition with work by Bryce Cameron Liston, Edward Aldrich, Tim Perkins, Marilyn Yates, Craig Tennant, and others. The show includes Western scenes, portraits, still lifes, wildlife paintings, and landscapes. Winter Magic opens Friday, Dec. 27, with a reception at 5 p.m. The gallery is at 421 Canyon Road. Call 505-988-3444.
Chris Richter: Pajarito After Las Conchas, 2013, oil on canvas. Chiaroscuro Contemporary Art (702½ Canyon Road) continues its Holiday Group Show with work from a selection of gallery artists including Renate Aller, John Garrett, Rose B. Simpson, and Gunnar Plake. The show features examples of new bodies of work by several of the artists. There is a reception on Saturday, Dec. 28, at 3 p.m. Call 505-992-0711.
tom Palmore: Great Horned Owl, 1995, oil and acrylic on canvas. LewAllen Galleries at the Railyard (1613 Paseo de Peralta) presents Now and Then: A Group Exhibition of Contemporary and Historical Artists. The exhibit includes work by modernists such as Alexander Calder and Karl Nolde, contemporary artists whose work is influenced by modernism including Woody Gwyn, Tom Palmore, and John Fincher, and emerging artists Connie Connally, Tyson Skross, and others. The show opens Friday, Dec. 27 (there is no reception). Call 505-988-3250.
Cody Brothers: Shiprock, 2013, chromogenic print. Beals and Co. continues 12 Artists of Santa Fe, a 12-day show of solo exhibitions by 12 local artists that concludes on Monday, Dec. 30. The shows are in the gallery of the Eldorado Hotel and Spa (309 W. San Francisco St., 505-988-4455). The final roster includes Tim Kenney (artist chat and demonstration on Saturday, Dec. 28, at 5 p.m.), Amy Ringholz (new works showcase, Sunday, Dec. 29, at 5 p.m.), Vanessa Wilde (artist chat and demonstration on Monday, Dec. 30, at 3 p.m.), and Wayne Nez Gaussoin (artist chat and demonstration on Dec. 30 at 5 p.m.). A group showing of the artists’ work is on Friday, Dec. 27, at 5 p.m. The talks and demonstrations are free. Call Beals and Co. at 505-577-5911.
PASATIEMPO
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