The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
November 22, 2013
for
Open Thanksgiving Day 12-8pm
THANKSGIVING Turkey with all the Trimmings
$25*
Regular menu also available
Reservations from 2pm - 8 pm *Does not include dessert, beverage or gratuity
982-8608 | 548 Agua Fria (behind Sanbusco Center)
L AU R A S H E P P H E R D ATELIER
Holiday Gifts!
instant gift certificates available online
www.santacafe.com www.santacafe.com
new winter fleece caps are in! See on:
231 washington avenue santa fe, nm 505•984•1788
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PASATIEMPO I November 22 - 28, 2013
Huge variety of scarves starting at $25 Many other gifts and accessories for under $100 65 w. marcy street santa fe, nm 87501 505.986.1444 laurasheppherd.com •
photosantagto.com
lunch monday thru saturday, sunday brunch and dinner nightly
ORIGINS® IS A REGISTERED TRADEMARK USED UNDER LICENSE. ©2013 MARGOLIS, INC.
STOREWIDE GRATITUDE SALE 20%-70% Off *Zelda Jackets 20% off
~Wearable Art~ One-of-a-Kinds Fine Jewelry Warm Coats Leggings Ponchos Vegan Leathers Hats & Gloves
*Aldo Martin 40% off
Thank You for 37 Years
Origins rigins
®
505-988-2323
originssantafe.com
135 W San Francisco • Santa Fe • info@originssantafe.com
A Shop Like No Other
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CHAneL
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botwin eye group | eyes and optics santa Fe is proud to host CHAneL’s first ever eyewear trunk show! the entire CHAneL eyewear Collection will be on display in our showroom along with our CHAneL representative. we will have special lens pricing for this event. Come join us!
10:00 – 2:00
sAturdAy, deC 7tH THE TRADITION CONTINUES
Mon-Fri 8:00-6:00, Sat 8:30-12:00 444 St Michaels Drive
505.954.4442
101 W. SAN FRANCISCO ST. SANTA Fe
505-988-1866
OpeN 7 dAyS
BotwinEyeGroup.com
PASATIEMPOMAGAZINE.COM
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SFCA
The Santa Fe Concert Association presents
Leahy Family Christmas
A CELTIC HOLIDAY CONCERT A mix of Leahy's favorite Celtic Medleys and traditional Christmas Carols, with rousing original instrumentals, singing, and dance
DECEMBER 2, 2013, 7:30PM THE LENSIC PERFORMING ARTS CENTER
Tickets Santa Fe at the Lensic: 505-988-1234 Tickets $20-$55 Santa Fe Concert Association: 505-984-8759
www.santafeconcerts.org
The Santa Fe Concert Association 324 Paseo de Peralta, Santa Fe, New Mexico 87501
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PASATIEMPO I November 22 - 28, 2013
Big Sale!
Larger Sizes Too
223 Galisteo between Water & Alameda • 505.983.6331 • Mon-Sat 10-5, Closed Sunday
DO NOT MISS! JEWEL MARK’S 26TH ANNIVERSARY SALE! NOVEMBER 8 TO NOVEMBER 30
10-50%
OFF ENTIRE INVENTORY
GRADUATE GEMOLOGIST • MASTER JEWELER • FINE ART 233 CANYON ROAD, SUITE I • SANTA FE • NEW MEXICO 505.820.6304 • WWW.JEWELMARK.NET
PASATIEMPOMAGAZINE.COM
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THE SANTA FE NEW MEXICAN
November 22 - 28, 2013
www.pasatiempomagazine.com
On the cOver 28 celebrating silver For more than two decades, the AID & Comfort Gala has been a yearly highlight for local revelers, with themed evenings, costumed grandees, drag queens, and hot music. The flamboyant festivites have a serious purpose, though: they benefit Southwest CARE Center’s mission to treat and care for people living with HIV. The 25th annual gala takes place at the Eldorado Hotel on Saturday, Nov. 23. On the cover is a montage of invitations through the ages.
BOOKS 16 In Other Words Franco’s Crypt 18 conspiracy by the book Nov. 22, 1963 34 the good earth If There’s Squash Bugs in Heaven
MUSIc AnD PerFOrMAnce 20 22 24 27 32
Golden Delicious on the way to market, from the book If There’s Squash Bugs in Heaven, I Ain’t Staying; photo by Stacia Spragg-Braude, courtesy Museum of new Mexico Press
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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 13 Mixed Media 15 Star codes 46 restaurant review: Plaza café Southside
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, Adele Oliveira, Jonathan richards, heather roan-robbins, casey Sanchez, henry Shukman, roger Snodgrass, Steve terrell, Khristaan D. villela
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PrODUctIOn Dan Gomez Pre-Press Manager
The Santa Fe New Mexican
© 2013 The Santa Fe New Mexican
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Robin Martin Owner
www.pasatiempomagazine.com
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Pasa Pics Kill Your Darlings Sunlight Jr. Life in Stills
49 Pasa Week
PASAtIeMPO eDItOr — KrIStInA MeLcher 505-986-3044, kmelcher@sfnewmexican.com Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com
36 40 42 44
cALenDAr
Pasa tempos CD Reviews terrell’s tune-Up Dealey Plaza suite Pasa reviews The Mountaintop Onstage Teatro Paraguas Listen Up Britten 100 years on
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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MOvInG IMAGeS
Ginny Sohn Publisher
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ADvertISInG DIrectOr Tamara Hand 505-986-3007
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MArKetInG DIrectOr Monica Taylor 505-995-3824
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GrAPhIc DeSIGnerS Rick Artiaga, Jeana Francis, Elspeth Hilbert
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ADvertISInG SALeS Julee clear 505-995-3825 Matthew ellis 505-995-3844 Mike Flores 505-995-3840 Laura harding 505-995-3841 Wendy Ortega 505-995-3892 vince torres 505-995-3830 Art trujillo 505-995-3852
Ray Rivera editor
Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet
•10-Year Anniversary Gala—Friday Night Opening•
CONTEMPORARY CLAY FAIR Friday, Saturday & Sunday November, 22, 4—7pm, & 23, 24, 10am—5pm FRIDAY THE 22ND IS OUR 10-YEAR GALA ANNIVERSARY CELEBRATION with live music, refreshments, and door prizes. Including a piece by Frank Willett, recipient of the 2013 New Mexico Governor’s Award for Excellence in the Arts. At the Santa Fe Woman’s Club 1616 Old Pecos Trail • Between San Mateo & St. Michaels Providing food to the poor and homeless for 25 years Please help. Send your contribution to: Bienvenidos Outreach | PO BOX 5873 | Santa Fe, NM 87502
Door P rize
New works by:
Lee Akins* · Michelle Arterburn · Luisa Baldinger · Maggie Beyeler Elaine Biery · Elaine Bolz · Nancy Butterworth* · Barbara Campbell Cheryl Crownover · Adel deValcourt · Wendy Dority · Jackie Gerstein Phil Green · Karin Bergh Hall · Sandra Harrington · Cheryl Hoagland Kathleen Koltes · Marcos Lewis · Carolyn Lobeck · Bonnie Lynch Pat Marsello · Greta Ruiz · Anne Russell · John Sapienza Barry Slavin · Evan Speegle · Sally Stark · Mike Walsh Frank Willett · Mary Yee · Ginny Zipperer *New Artist
Free parking and admission • Cash, checks, Visa/Mastercard accepted www.contemporaryclayfair.com • ccfsantafe@yahoo.com
PASATIEMPOMAGAZINE.COM
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everything in our sale room books - cards - jewelry - kids things & more!
NOVEMBER 9, 16 & 23
Fri–Sun,
Nov. 22, 23, 24 133 Romero St •988-3709 in the Railyard behind REI Mon-Sat 10-6, Sun 11-5 • www.arkbooks.com
FENCING
N O V E M B E R 2 013 WE’LL BE GIVING AWAY THREE DODGE DURANGOS IN NOVEMBER Drawings on Saturdays, November 9, 16 & 23 at 6pm, 7pm, 8pm, 9pm and 10pm. See Lightning Rewards Club desk for complete contest rules and details.
EARN 10X ENTRIES ON MONDAYS
INTRO CLASSES MONTHLY ADULT AND YOUTH (AGES 5+) Discover fencing — fun, safe and exciting for all ages. Register by email: nmfencing@gmail.com 1306 Clark Road (across from Jackalope) 505-699-2034
JOIN US 12/7/2013 For Our First Annual Holiday Event SURPRISE PRICING On Services & Products
It’s Neck-vember!
At Lily Love, MD/Sterling Aesthetics. This year, leave the turkey-neck for the bird! Instead, give thanks for Ultherapy—the only FDA-cleared non-invasive neck lift! Schedule a consultation today to learn how to prep your neck for the holidays and beyond!
Don’t miss our “Neck-vember” Ultherapy deal! Call today! 505-428-0402 Sterling Aesthetics 1651 Galisteo St. Suite Santa Fe, NM 87505 www.sterlingaestheticssantafe.com
BUFFALOTHUNDERRESORT.com 877-THUNDER Player receives one entry for every 30 points earned on their Lightning Rewards card, November 1 through November 23, 2013. Drawings will be simulcast at Cities of Gold. Management reserves all rights.
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PASATIEMPO I November 22 - 28, 2013
Lily Love, MD - Facial Plastic and Reconstructive Surgery and Injectables. Marian Urban - Medical Aesthetics Specialist - Laser, Medical Grade Chemical Peels, and Ultherapy. Genie Valen, Aesthetician Ultherapy, Oxygen Treatments, Microdermabrasion and more.
EVENT LOCATION: SAGE INN
Corner of Don Diego and Cerrillos Road Call us for information
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How will you Last year, New Mexico Educators Federal Credit Union returned 4 million dollars to members in loan rebates and bonus dividends. Members earned not just for checking accounts and auto loans, but mortgages, credit cards, and equity loans too. Did you earn your return? How will you earn your return this year? Go to NMEFCU.org and calculate just how much you can earn. That’s New Mexico Educators.
That’s the Power of WE. To learn more, go to nmefcu.org
Thanksgiving Dinner Thursday November 28th, 2013
Open 11:30 AM til 5:00 PM • 3 Courses, $29.95 for Adults, $14.95 for Children
Appetizers
• Chorizo-Stuffed Gulf Shrimp with Blue Crab Hushpuppies and Sweet Chili Glaze • Ancho Posole with Fall Root vegetables
1710 St. Michaels Drive 505.467.6000 800.347.2838 nmefcu.org Federally insured by NCUA
now through January 26, 2o14
MOdErN NATurE
GeorGia o’Keeffe and LaKe GeorGe Georgia O’Keeffe, Lake George Barns, 1926. Oil on canvas, 21 3/16 x 32 1/16 inches, Collection Walker Art Center, Minneapolis. Gift of the T. B. Walker Foundation, 1954
Between 1918 and 1934, Georgia O’Keeffe created an extraordinary body of work inspired by annual visits to Lake George, New York. Here, O’Keeffe discovered and refined her ground-breaking approach to nature and abstraction. This exhibition showcases artwork produced during these transformative and prolific years.
Modern Nature: Georgia O’Keeffe and Lake George was organized by The Hyde Collection in association with the Georgia O’Keeffe Museum. The national presentation of the exhibition and catalogue have been made possible in part with support from The Henry Luce Foundation and the National Endowment for the Arts. Additional support and related programming were made possible in part by a generous grant from The Burnett Foundation, and partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax and Century Bank. Additional support for the catalogue has been provided by Furthermore: a program of the J. M Kaplan Fund.
5o5.946.1ooo
=
= 217 Johnson st., santa Fe, nM 875o1 okeeFFeMuseuM.org
• Bibb Lettuce Salad with a Red Pear andVermontWhite Cheddar Crostini, CandiedWalnuts, Dried Cranberries and a Cranberry Champagne Vinaigrette
Entrees
• Roasted Double Breasted NaturalTurkey with Cranberry Relish, Pinon Green Beans, Sausage and Sage Stuffing, Mashed Sweet Potatoes and Giblet Gravy • Blue Corn Crusted Halibut withTucumcariWhiskey Cheese Polenta, Spaghetti Squash, Asparagus andWild Mushroom Ragu • VeggieTurkey Day:TucumcariWhiskey Cheese Polenta, Spaghetti Squash, Asparagus, Pinon Green Beans, Mashed Sweet Potatoes, Cranberry Relish andWild Mushroom Ragu
Desserts
• Chocolate Chunk Pumpkin Pie with Spiced Chantilly Cream • Deep Dish Pecan Pie with Hard Sauce and Jack Daniels Chocolate Chip Ice Cream
Heated Balcony Seating Available • For Reservations: 505-490-6550 ThunderbirdSantaFe.com • 50 Lincoln Ave, Santa Fe NM PASATIEMPOMAGAZINE.COM
9
ASK ABOUT $100 OFF* MANNERS INSTITUTE
32nd Annual
PLACITAS HOLIDAY
*10- or 15-day sessions
for stays between 12.1-15
Fine Arts & Crafts Sale November 23 & 24
Sat 10–5 pm & Sun 10–4:30 pm 80 Artists Anasazi Fields Winery at 3 Sites The Big Tent (east of Presbyterian Church) Placitas Elementary School
Special Guest Artist: Roger Evans
Refreshments at each location • Art Raffle display at the School
preview all 80 artists at www.PlacitasHolidaySale.com The Placitas Holiday Fine Arts and Crafts Sale is sponsored by the Placitas MountainCraft and Soiree Society, a 501-c3 nonprofit organization.
DREAM OF THE PERFECT PET?
Our Manners Institute can help you turn that dream into reality. From basic commands to overcoming problem behaviors, our professional staff of trainers can help teach your dog a few new tricks. The Manners Institute offers intensive 5 to 15-day training programs customized for you and your dog to help you get the dog of your dreams.
om etResort.c P t n e m t n Encha 100 505.891.4
25th annual
Winter Spanish Market 400 Years of HISPANIC CULTURE can fit into a single weekend.
N OW IN ALBUQUERQUE
Santa Fe Prep’s Performing Arts Department PRESENTS
DEARLY DEPARTED A Comedy by David Bottrell and Jessie Jones
at
on FRIDAY, November 29, 2 - 9pm
and SATURDAY, November 30, 9am - 5pm
P RE SE NTE D B Y
Flight Into Egypt, retablo by Peter E. Lopez, 1991 ~ From the collection of the Museum of Spanish Colonial Art
www.spanishcolonialblog.org ~ 750 Camino Lejo ~ Santa Fe, NM 87501 ~ 10
PASATIEMPO I November 22 - 28, 2013
Friday, November 22, 7:30pm Saturday, November 23, 7:30pm Sunday, November 24, 2:00pm 1101 Camino de la Cruz Blanca ● Santa Fe, NM 87505 ● 505.982.1829 ● www.sfprep.org
Now...More Than Ever Now...More Than Ever More Choice. More Choice. More Choice.
Thanksgiving at Eldorado Hotel & Spa Bursting with intense flavors and alluring aromas, our spectacular Thanksgiving Brunch and our ensuing Thanksgiving Four-Course Dinner will make you lick your plate clean!
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CB FOX /Furniture 1735 Central • Los Alamos • 662-2864 • facebook.com/CBFoxLA
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More Choice. More Choice. More Choice.
Simply Amish™
CLEAR STANDARD OF EXCELLENCE
Simply Amish® Rich, solid hardwoods. Hand-finished excellence, inside and out. It’s the skill of genuine Amish craftsmen, passed down from one generation to the next. Made in America’s heartland by the Amish
ampagne Brunch: 10:00am until 2:30pm. Adults $50, Seniors $39, Young A Champagne Adults/ Children ((Ages 6-14)) $25, Kids ((5 & under), ) free. Reservations: 505.995.4508 Dinner at the Old House: 3:00pm until 9:00pm. Four-courses for $70 per person, $90 with wine pairings. Reservations: 505.995.4530 Prices do not include service charge and applicable sales tax.
Reservations Required
309 W. San Francisco Street ǀ EldoradoHotel.com
Lensic Presents
“A worthy successor to Spalding Gray . . . ” —CHARLES ISHERWOOD, THE NEW YORK TIMES
M I K E DA I S E Y: TH E S E C R E T WA R
NOVEMBER 21 & 23, 7 PM $10–$20, discounts for Lensic members
Writer/actor Daisey is back, with a new monologue about the power of personal and political secrecy.
www.simplyamish.com
CB FOX/FURNITURE
1735 Central • Los Alamos • 662-2864 • WWW.CBFOX.COM
Tickets: 505-988-1234 www.TicketsSantaFe.org S ERV I C E C H A RGE S A P P LY AT A LL P O I N TS O F P U RCH AS E
th e lensic is a non profit, member-supported organ ization
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Thanksgiving! Roasted Butternut Squash Bisque or Fall Organic Greens with Caramelized Apple,Toasted Pecans and Feta
Totally Thanksgiving Plate
Herb Roasted Turkey Breast, Mushroom and Sage Cornbread Stuffing Green Bean and Caramelized Pearl Onion Casserole Creamy Mashed Potatoes, Green Scallion Cream Gravy, Cranberry Sauce
Fit in 3 Free Months. Fit in 20 Reps. Fit in 10 Laps. Get Fit. Stay Fit.
Chipotle and Canela Pork Tenderloin Fall Harvest Apple Chutney, Caramelized Onion Potato Gratin Roasted Brussel Sprouts with Shallots and Garlic
Roasted Acorn Squash Bowl
Filled with a Quinoa Salad with Mushrooms, Pine Nuts, Shaved Parmesan and Parsley, sprinkled with Pomegranate Seeds
Quail Run Club offers membership options that fit your needs and your schedule. Conveniently located, Quail Run features a fully equipped fitness center, ozone purified indoor lap pool, a complete schedule of classes, and special spa services. Call today for a tour.
Pumpkin, Pumpkin-Pecan or Pecan Pie, Caramel Pumpkin Cheesecake Salted Caramel Frozen Custard with Red Chile Espresso Syrup and Whipped Cream $34.95 per person (Children’s Turkey Plate 13.95) Gluten Free options. See Full Menu at www.ziadiner.com
Make your reservation today! Open 12-7
Join Quail Run Club by December 23 & receive FREE dues until March 2014! 3101 Old Pecos Trail 505.986.2200 quailrunsantafe.com
326 S. Guadalupe •
ChristoPher DurAng’s
Baby With the Bathwater
ple o e p e thes uts!!!! are n
A hysterical look at the disturbing truth of parenting! Friday, Nov. 22nd, 7:00pm Atrium Theater Desert Academy 7300 Old Santa Fe Trail Adults $8, Students $5
Play may contain mature themes which parents may consider inappropriate for young children.
Lensic Presents
John F. Kennedy: White House Press Office/Public Domain/Wikimedia Commons; Taksim Square, June 2013: Mstysalv Chernov/Wikimedia Commons.
Desert Academy Performing Arts Presents
988-7008 • www.ziadiner.com
From Zapruder to Taksim Square:
MEDIA & CULTURE
IN THE
21 ST CENTURY
NOVEMBER 22, 7 PM Join us for a free event on the 50th anniversary of the death of President John F. Kennedy featuring • Journalists Richard Stolley and Hal Wingo, who covered the tragedy from Dallas and Washington, D.C. • A screening of Zapruder + Stolley: Witness to an Assassination (documentary, 2011)
• A panel discussion with Stolley, Wingo, writer/actor Mike Daisey, KSFR’s Mary-Charlotte Domandi, and journalist Zelie Pollon • A book signing by Richard Stolley, contributing editor of The Day Kennedy Died: Fifty Years Later, Life Remembers the Man and the Moment
Tickets: 505-988-1234 www.TicketsSantaFe.org S ERVI CE CH A RG ES A P P LY AT A LL P O I NTS O F P U R CH AS E
th e lensic is a non profit, member-supported organ ization
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PASATIEMPO I November 22 - 28, 2013
MIXED MEDIA
Become a Master Gardener 16-week intensive training
MASTER GARDENERS: » Learn current best practices from top gardening experts in our region » Connect with other avid gardeners » Share their knowledge with the community
Evening classes start Monday, Feb. 3 Morning classes start Tuesday, Feb. 4
Apply today at sfmga.org Class size is limited. Registration closes Dec. 31. Information at 471-4711.
A Community Service of
sfmga.org
Implant Dentistry of the Southwest If you are missing one
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Kennedy motorcade in Dallas, Nov. 22, 1963
Opposing theories
Motion-picture sound engineer David Brownlow will tell you he’s not so much interested in the Kennedy assassination conspiracy theories as he is a student of history. “There’s just an amazing cast of characters that have a role in this story,” he said. One of them is Jack Ruby, the man who killed Lee Harvey Oswald. Brownlow worked on the sound for the 1992 movie Ruby (starring Danny Aiello as the nightclub owner who assassinated Oswald). His interest in those world-changing days in November 1963 has led him to investigate the personalities and beliefs that have fascinated Americans in the last 50 years. Brownlow joins radio personality Dwight Loop and writer-filmmaker Dean Balsamo at the Jean Cocteau Cinema (418 Montezuma St.) at 6 p.m. on Friday, Nov. 22 — the anniversary of the Kennedy assassination — to discuss the historical importance of the event and the various theories and myths that it has spawned. There will be film clips, personal anecdotes, and possibly a few surprises. The event is provocatively titled JFK Assassination: 50 Years Under the Coup. Brownlow, who — like Secretary of State John Kerry and most Americans — believes Oswald did not act alone, fears that after this year’s anniversary, interest in the event and its many implications will disappear. “That’s the purpose of the evening, to bring people together for possibly the last time to discuss the Kennedy assassination. After this, I’m afraid that as the players die off, as the baby boomers age, it will just fade away.” Tickets are $8. Call 505-466-5528. — Bill Kohlhaase
Dr.Burt BurtMelton Melton Dr.
2 Locations Albuquerque 7520 Montgomery Blvd. Suite D-3 Mon - Thurs 505-883-7744
Santa Fe 141 Paseo de Peralta, Suite C Mon Wed -- Fri Fri 505-983-2909
a Juried Art Show
Christmas at Clear Light November 23 & 24
Placitas, New Mexico
10:00 a.m. til 5:00 p.m.
505.867.2381
www.clcedar.com PASATIEMPOMAGAZINE.COM
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Proudly serving Northern New Mexico & Santa Fe for over 22 years.
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Tesuque Glassworks invites you to our...
Annual Holiday Season Open House!
Sunday, December 1, 2013
1-5 PM Once again we’ve cleaned out our back room and there are lots of great deals to be found. We look forward to seeing you for food, friends, and lots of glass!
Five miles North of Santa Fe on Bishop’s Lodge Road
CUSTOM
Tuesday thru Saturday 11:00 – 5:30 Closed Sunday & Monday For Information Call:
505.884.5605
www.pianowerkes.com
4640 Menaul Blvd. NE ABQ
CLOTHIER
POP-UP-SHOP
Casweck Galleries 203 W. Water Street 505-988-2966 Launches November 29 • Closes December 7 • 11 am - 4 pm • by appointment
505-986-9710 atelierd@cybermesa.com
1510 Bishop’s Lodge Road
Tesuque, NM 87574 505.988.2165 tesuqueglassworks@gmail.com 14
PASATIEMPO I November 22 - 28, 2013
Bring your favorite fashionistas, friends, daughters, & family to meet the designer, Danielle and shop for timeless original designs, handcrafted by local skilled artisans paid a living wage.
STAR CODES
Heather Roan Robbins
The sun enters generous, funny, radically honest Sagittarius and inspires Thanksgiving and all upcoming holiday parties this month. But we’re not quite ready to party. We have work to do first. This is a week to mean what we say and say what we mean as mental Mercury, now in introspective Scorpio, conjuncts serious, industrious Saturn for the third time in two months. This completes a cycle that began early in October and can bring a decision that cuts out one option as it opens others. Some depression or concern weighing on us for the last few months may begin to lift toward the end of the week. Friday begins fairly introverted and overextended under a domestic Cancer moon. The vibe lightens as the mood-setting moon enters extroverted Leo this afternoon. It’s a good weekend for a wedding announcement, creative fundraiser, or any clear decision that marks a life-affirming step forward. However, if we have nothing exciting to focus on, this Leo moon can cause trouble. We’re stubborn and may feel the need for attention but can forget to give it to others. It will be a good investment of our energies to shine on all and sundry. Let’s share the love. Emotional arbiters Venus and Mars are now in the grounded embodied earth signs of Capricorn and Virgo, keeping us more stabilized and working hard. If we’re lonely, it helps to find an organization that needs pragmatic, hands-on help, and get busy. A practical way out of any conflict is to work together. As the week begins, look for competence as the sun squares intuitive, foggy Neptune under an industrious Virgo moon. Tie up loose ends, watch a tendency to obsess over details, and forget about having a perfect holiday. On Wednesday the moon and mood shift into friendly Libra. Let go of grudges and expectations and create new patterns with one another during the holiday ahead.
Seeing new patients in our Santa Fe office! Appointments scheduled through Los Alamos office: 662-4351 Most insurance accepted! (not contracted with Tricare)
TH E W O O D CA R E S P E C I A L I S T Antique Restoration Ref inishing Repair & Touch-up
Friday, Nov. 22: This morning, the mood is energized yet sensitive and self-protective with a tendency to get bossy when anxious. Tonight, put people at the center as the moon enters sociable Leo. Take what they have to offer but know there is more to the story. Saturday, Nov. 23: We need room to be ourselves as the moon trines Uranus this morning. Our hearts may long for more connection than others can give; we can either get difficult or love them exactly as they are as Venus sextiles Saturn. Look to old friends and crafts that take discipline. Sunday, Nov. 24: Dream, drift, appreciate romance, and catch up as the sun squares intuitive Neptune in Pisces. Because of an uncertain fuzziness, we may run late for meetings, get lost, or deal with sloppy water conditions. Tears flow easily.
GIVE BARRY METZGER A JINGLE
505-670-9019
www.thewoodcarespecialist.com
1273-B Calle De Comercio, Santa Fe, NM 87507
Monday, Nov. 25: Juggle tasks and finalize plans as Mercury conjuncts Saturn under an industrious Virgo moon. Don’t take out stress on others. Pacing and timing matter.
“The Mortgage Experts”
Tuesday, Nov. 26: If we feel stretched, let go of the idea of perfection. Instead, find out what’s working and make the best of things. Wednesday, Nov. 27: Make lists to stay on track, but don’t get pushy this morning. As the moon enters sociable Libra midday, make things right with one another. Conversation flows as Mercury sextiles Venus. Thursday, Nov. 28: Nod to bittersweet memories early as the moon squares brooding Pluto. Then throw out the schedule and prioritize matters of the heart. The mood is sunny, funny, and irreverent. Company is important under a sociable Venus opposition to Jupiter. ◀ www.roanrobbins.com
Personalized Face-to-Face Service Professional Mortgage Planning Conventional, Jumbo, FHA, VA Call for a free 30-minute Mortgage Consultation
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In Other wOrds book reviews Franco’s Crypt: Spanish Culture and Memory Since 1936 by Jeremy Treglown, Farrar, Straus and Giroux, 320 pages In Franco’s Crypt, Jeremy Treglown, a British critic and biographer, offers a revisionist view of the traumatized cultural history of Spain in the wake of the Spanish Civil War (1936 to 1939). The book examines the legacy of Francisco Franco, the military dictator whose influence on his country extended well beyond his death in 1975, which came 30 years after the deaths of Hitler and Mussolini. Among the three dictators only Franco survived World War II, and he went on to command a regime that executed “as many as 200,000 men and women” after the civil war, according to Michael Richards’ history, A Time of Silence. Of course, that number and the numbers killed in battle on both sides vary greatly depending on the source, as do many matters of fact about the Franco years. Treglown doesn’t exactly apologize for Francoism, but he gives a far more empathetic view of the man and his place in history than most people in the English-speaking world, indoctrinated by Hemingway’s For Whom the Bell Tolls and Orwell's Homage to Catalonia, might expect. He describes the setting for Franco’s military coup that started the war, when the government of the Second Republic could not protect sections of its population, especially in the Church, which lost thousands of clergy. Franco had broad support from the Catholic hierarchy, the army, the upper and middle classes as well as peasant populations in certain areas, and he received military aid from Germany and Italy. Stalin’s Soviet Union sided with the Republicans — sometimes called the Loyalists, because they supported the established democratic government of the Second Republic. “How is [the war] remembered and what are its aftereffects?” Treglown asks. In recent years, excavations and exhumations of mass graves by descendants of victims have brought forensic archaeologists and DNA tests into the discussion. The author tends to side with those who think too much remembering is not necessarily a good thing, because memories can be distorted and destabilizing. Seemingly left unsaid is that the
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PASATIEMPO I November 22-28, 2013
more that is forgotten, the better Franco looks. At the same time, Treglown tries to preempt an obvious criticism. “Told that the topic of this book was to be Franco’s influence on Spanish culture, more than one inquirer joked that a postcard might cover it.” The remark can’t just be thrown away; Spanish cultural production after Franco is a rich subject, but Franco himself provides very little explanation for it. Franco’s presence lives on, typified by the grandiose crypt called the Valle de los Caídos (Valley of the Fallen) where he is buried with many of those who fought on his side in the civil war. That’s probably Franco’s crowning cultural achievement. There was relatively little common ground between El Caudillo (The Leader), as he called himself, and the artists and writers who lived under him, much less those his regime killed, tortured, or chased into exile. In La palabra en silencio (The Silent Word), Michelle Vergniolle Delalle asks a pertinent question (reproduced in Franco’s Crypt): “By the time the dictator died, Spain was one of the European countries with the largest numbers of artists who were internationally recognized and involved in the main contemporary artistic movements. Did this unexpected development exist because of or despite the regime?” Treglown resolves the contradiction by noting that Franco’s legacy “illustrates the limitations of the dictatorship … and confirms the ability of art … to outwit political or moral interpretation.” Treglown identifies “a whole library of books and films written and made under Franco that provide intimate, often subversive revelations about the war and what came after,” but laments that much of it has been underappreciated because of political fastidiousness. In place of political correctness, he offers, as an alternative moral lesson, that “we learn more from trying sympathetically to understand the past, however bad it was, than from simply putting what we think we know of it under our own moral template.” Treglown is at his best when he communicates the way that “most people have mixed motives, inconsistent beliefs; that they carry around their burdensome pasts at the same time they are trying to simplify their futures.” Many facets of cinema are touched upon here, though the films of Luis Buñuel (The Exterminating Angel, Viridiana, The Discreet Charm of the Bourgeoisie) are too briefly mentioned. His work was blacklisted by Franco’s regime, and he spent many years working abroad. Buñuel is a good example of an artist who might not have taken his cosmic absurdity to such heights without a Franco to inspire the surreal. — Roger Snodgrass
SubtextS A gaggle of poets There’s more to being the poet laureate than writing poems. City of Santa Fe poet laureate Jon Davis has scheduled six readings by six poets, including himself, around the city. Each event features a different group of poets reading with Davis. The second of these gatherings, Santa Fe Poets 2, takes place on Sunday, Nov. 24, at 3 p.m. at the Institute of American Indian Arts (83 Avan Nu Po Road, 505-424-2300); there is no charge. The other poets taking part on Sunday are Lauren Camp, host of KSFR’s poetry and music program Audio Saucepan; New Mexico School for the Arts instructor Jamie Figueroa, dg nanouk okpik, the native Alaskan author of the recent University of Arizona Press collection Corpse Whale; Arthur Sze, Santa Fe’s first poet laureate, whose collection Compass Rose will be published by Copper Canyon Press next year; and Joanne Dominique Dwyer, who declares in her poem “Ars Poetica, or Keeperof-the-Water” from her collection Belle Laide (Sarabande Books) that she feels like gutter poet Charles Bukowski: Though I doubt I’ll ever be able to bare my soul as fearlessly as he. Blame it on lights-out love songs, paralytic poisons, and the distraction of hundreds of birds outside my window – and my full time obsession as keeper of their water.
Davis is set to read from a forthcoming book, Reply All, also from Copper Canyon. His previous work, Preliminary Report, contains a view of the world that is both intensely real and strangely surreal (“rivers of metal, rivers of sheen, eyes of a woman/gone muddy like a southern river”), and is often written in prose poems and lines so long they contain periods: Greening now everywhere in the effervescent light. A shaking, a shimmering. O my lost world. Light carving a home in the grasses. — from“The Literal”
Possibly the best prediction of what will happen at the event is found in Davis’ poem “An Introduction to Tonight’s Performance”: A chattering in the eaves. A forceful muttering. Words carefully chosen, then smeared with beargrease. Not the language of flurry and ease.
— Bill Kohlhaase
The Temple of Flora: The Complete Plates by Robert John Thornton, Taschen, 104 pages In 1799, English readers saw the first installment of The Temple of Flora, a daunting, idiosyncratic work of botanical illustration that would continue to circulate among academics and botanists long afterward. Serially released over nearly a decade, these 28 large-format prints of aloes, arums, carnations, and bog plants, among other plant types, celebrated the new science of taxonomy through lavish and largely accurate depictions of the plants of Europe, Africa, and the New World. Publisher Robert John Thornton’s admiration of Carl Linnaeus knew no bounds. The Temple of Flora is the third and final part of a series titled The New Illustration of the Sexual System of Linnaeus. Thornton often proclaimed that “God created, Linnaeus organized.” Thornton, a physician and wealthy heir to a family fortune, sought to dazzle well-heeled royal subscribers with depictions and stories of the tropical plants arriving by ship in Britain from overseas colonies. He spared no expense, recruiting the top illustrators of his day and paying handsomely to have the most talented engravers hand-transfer their works onto plates in a time-intensive process. But his timing was unfortunate, as the Napoleonic Wars crippled maritime trade in exotic plants, drying up his potential audience and bankrupting Thornton in the process. It was money well wasted. The illustrations are nothing short of glorious, faithfully portraying the complex plant structure of the then-unusual specimens while capturing the awe they must have inspired in the European naturalists and explorers who were just grasping how vast and unknown the kingdom of plants really was. Thornton’s love of plant science, however, was so steeped in the romance and adventure of British imperialism that the plant portraits sometimes border on the surreal. For instance, just because the sun never set on the British Empire — at least, at the dawn of the 19th century — did not mean that the Caribbean night-blooming cereus plant unfurled its bloom in an English church courtyard under a full moon as a turret clock struck midnight, as it does in Thornton’s book. Yet what saves the painting of Selenicereus grandiflorus from being kitsch is its meticulous detail. The subtropical plant’s ridged stalk and its white lilylike flower are all faithfully rendered, displaying the plant’s extravagant beauty against an improbable English country landscape. Likewise, in a plate illustrating the blue Egyptian water lily, the triumphant bloom is seen rising over a meandering Nile River, with a mosque and palm trees in the background. Thornton’s accompanying text is no less exaggerated, moving swiftly from the flower’s attributes to an account of the British navy’s triumphs in Egypt over rival French forces — even going as far as to list the Gallic ships sunk off the coast of Middle Eastern lands. In this modern repackaging of the work, art publisher Taschen thought better of Thornton’s fanciful explanations. The original narrative is only selectively quoted by contemporary writer and pharmaceutical historian Werner Dressendörfer, who ably addresses the artistic liberties taken with the subject in the illustrated plates. This is a shame, as Thornton’s text offers a window into a lost British nationalism. It conveys what these strange-seeming plants meant to Britons as their empire expanded and how otherworldly those blooms must have once appeared. As a botanical and cultural portrait of tropical plants in the colonial era, this book provides visual charm and juxtapositions of history and horticulture in pleasing quantities. — Casey Sanchez
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You can put together clues, develop a thesis, or several, about why characters reacted to the ... possibility the way they did, why the assassins came on ... You could waste your life that way and never touch the truth. — Randolph Driblette in Thomas Pynchon’s The Crying of Lot 49 onspiracy thinking is as American as assassination. It comes of both doubt and belief and can be an exercise in imagination or a way of getting at the truth. It is at once obsession, paranoia, and entertainment. As Lance deHavenSmith points out in Conspiracy Theory in America, the country was founded on conspiracy thinking. Wasn’t King George plotting, as the Declaration of Independence claims, to establish “an absolute tyranny over these states”? Accusations of conspiracy such as this one can be used as a tool to manipulate thinking and behavior; in other words, a conspiracy formed to spread conspiracies. In the years before the Kennedy assassination, some of Dallas’ leading citizens were doing just that. They not only saw a conspiracy by the president to destroy the country, they also conspired to spread their concerns to the public. If there is truly a “paranoid style in American politics,” as historian Richard Hofstadter set out in a much-quoted lecture given the same month as the assassination of John F. Kennedy, then Dallas after 1960 provides the proof. Journalist Bill Minutaglio and archivist and historian Steven L. Davis’ new book Dallas 1963 portrays the right-wing extremism that gripped the Texas city ahead of that defining moment in meticulous detail. Factions in Dallas, encouraged by some of its most prominent citizens, had decided that the president was treasonous, a tool of the Communists, and anti-Christian. He was seen as abetting a conspiracy between the Soviets and supporters of the integration movement to overthrow the government. (Minutaglio and Davis also point out that “huge and adoring” crowds turned out to see Kennedy on a campaign swing in 1960 as well as on that fateful day in 1963.) On the day of his death, handbills designed like “wanted” posters appeared all over the city, accusing Kennedy of betraying the Constitution and turning the sovereignty of the country over to the “communist-controlled United Nations.” A full-page ad in the city’s morning paper “welcoming” Kennedy to 18
PASATIEMPO I November 22-28, 2013
Bill Kohlhaase I The New Mexican
CONSPIRACY BY THE BOOK plotting in secret before and after
THE KENNEDY ASSASSINATION
Dallas demanded answers to, among other leading questions, why he had “scrapped the Monroe Doctrine in favor of the ‘Spirit of Moscow.’ ” Dallas at that time was ground zero for the sort of conspiracy thinking that had permeated American history since Scottish scientist John Robison’s 1797 book Proofs of a Conspiracy Against All the Religions and Governments of Europe, carried on in the Secret Meetings of Free Masons, Illuminati, and Reading Societies began circulating in the recently founded country. But what happened in Dallas would change the traditional notions of secret-society conspiracy. Old-school American obsessions with conspiracy theories would collide that day with the fact of the president’s assassination and suspicions about how it was accomplished. Did one man, acting alone, kill Kennedy? Because of the dubious official explanation, the event marked a nexus of thinking about conspiracy theories, one that would include both the sort of paranoia that Hofstadter had discussed and the truth of terrible possibilities. Minutaglio and Davis avoid drawing any conclusions about the political atmosphere in Dallas before the assassination. “We definitely didn’t want a conspiracy book,” Davis said in an interview with Pasatiempo, “and there’s a simple reason. There must be thousands of books on Kennedy’s death, and most of them are conspiracy books. We felt we had an original idea to understanding what happened to Kennedy without the speculation. And we had real people who existed at that time in Dallas — the city leaders — who turned Dallas toward hating Kennedy.” Those people included H. L. Hunt, one of the country’s richest men and a devout conservative who believed that not everyone, especially blacks, was entitled to a vote. One of Hunt’s allies was the Rev. W. A. Criswell of the Dallas First Baptist Church, who was against integration and suspicious of Roman Catholics such as Kennedy. Another was Major Gen. Edwin A. Walker of the 24th Infantry Division of the Seventh Army, a champion of the right-wing John Birch Society who believed that Kennedy’s election put the future of all Christianity at stake. Then there was Dallas Morning News publisher Ted Dealey, who had led the paper he inherited in a fight against the NAACP, the United Nations, labor, and — following its integration ruling in Brown vs. Board of Education — the Supreme Court. At a White House luncheon for Texas journalists, Dealey accused President Kennedy of encouraging
Communists and “riding Caroline’s tricycle” when the nation needed a “man on horseback.” Such a measure of disrespect to an American president went unmatched until South Carolina congressman Joe Wilson yelled “You lie!” during President Obama’s speech to a joint session of Congress in 2009. A convergence of historical factors, Davis said, worked against Kennedy. “There were two disruptive forces in American life at the time that are key to understanding why he was so hated. One was the great issue of civil rights and integration. Then there was Communism and the encroaching victories of the Communists in the space race, in developing nuclear arms, and their influence in Latin America. How could they be winning? That created a very paranoid mindset. There were many on the right who actively used the Communist association to undermine integration. And the Birchers believed that the Communists had to be working from within the government. That’s how people came to believe that Eisenhower was a Communist agent. This paranoia eventually led them to target Kennedy as an enemy of the state. And this is what’s reflected in the book.”
a negative term to divert criticism from the Warren Commission, which investigated the assassination. “The conspiracy-theory concept ended up locking everything together in broad terms. It became so illdefined that a lot of things got put into the category. Then everything, regardless of how credible, was equated with everything else. So you had the Kennedy shooting conspiracies becoming the same thing as aliens and UFO sightings.” DeHaven-Smith’s book goes on to discuss the various uses of conspiracy theories — to cast doubt on a particular incident or as a way to discover the truth — by examining the contrasting thinking of scholars Charles Beard, Karl Popper, and Leo Strauss. He sees conspiracy theory employed in the obscuring of what he calls State Crimes Against Democracy or SCADs. “It was Strauss who taught people in higher circles that they needed to make up events and stories, different historical interpretations, that would discourage us from speaking badly of our leaders. That’s become a factor that’s begun to whittle away at [Americans’] historical tradition of suspicion and fear — what the founders called faction, what we call conspiracies.”
If there is truly a “paranoid style in American politics,” as Richard Hofstadter set out in a much-quoted lecture given the same month as the assassination of John F. Kennedy, then Dallas after 1960 provides the proof. How successful the attempt to slur the very idea of conspiracy theory has been is open to question, especially in an era in which the internet allows every theory its day. A Gallup poll conducted and released this month found that 61 percent of Americans believe Oswald did not act alone in the killing of Kennedy. This is the lowest percentage in decades but still a majority. Even Secretary of State John Kerry recently declared that the government investigation didn’t get to the bottom of the assassination. Doubts have also been raised about the authenticity of the moon landings and suspicions aired that the U.S. government was complicit in the Sept. 11 attacks. Allegations about Barack Obama’s socialism, the true place of his birth, his desire to confiscate guns, and his plan to install Sharia law all echo the charges aired against Kennedy in the early 1960s. In that sense, public discourse hasn’t changed much. “When Obama went to Dallas,” Davis said, “he was greeted by the same kind of signs that greeted Kennedy regarding treason and so forth. There’s a level of hatred we haven’t seen since Kennedy. It’s very unfortunate in a democracy that, when having political arguments with an opponent, you end up defending yourself [against charges of being] an enemy of the state. That’s basically using the same tools as used by totalitarianism.” Hofstadter, in his 1963 essay, suggested that conspiracy thinking and the paranoid style of American politics is permanent: “While it comes in waves of different intensity, it appears to be all but ineradicable.” As any conspiracy buff will tell you, the truth is out there. ◀
Steven L. Davis, left, and Bill Minutaglio
“Conspiracy Theory in America” by Lance deHavenSmith is published by University of Texas Press. “Dallas 1963” by Bill Minutaglio and Steven L. Davis is published by Twelve/Hatchette Book Group. PASATIEMPOMAGAZINE.COM
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Dennis Darling
Santa Fe-based journalist and science author George Johnson, whose 1983 book Architects of Fear: Conspiracy Theories and Paranoia in American Politics traces conspiracy thinking back to plots attached to Gnostic heretics and Rosicrucians, explains that conspiracy thinking comes as a result of believers’ desire to see the interrelation of cause and effect — even when, as in the case of a Soviet-inspired civilrights movement, there’s little proof to connect them. “People like to believe things happen for a reason. They don’t like to believe in accident. Everything is done deliberately. One of the hallmarks of the real conspiracy theorists is that they believe in all-encompassing, worldwide conspiracies that go back through history.” Johnson will tell you that conspiracies, of course, do exist. Think of the Iran-Contra scandal, Watergate, Enron, and John Wilkes Booth’s assassination of Abraham Lincoln. Each of these instances involved men plotting in secret to achieve specific goals. “The difference is, if you see someone proposing something happened because of secret dealings that are limited and finite, they might be onto something. Something like that with specific causes, even when it reverberates publicly, doesn’t connect to a dozen other conspiracies that all track back to the Masons, the Jews, or the Catholic Church.” DeHaven-Smith’s book suggests that Kennedy’s assassination gave birth to a concerted effort to turn the term “conspiracy theory” into a pejorative. “After World War II,” the author told Pasa, “it became problematic for the government to explain its activities, because so many of them were secretive. So people became suspicious.” DeHaven-Smith, who sides with those who think the roles of Lyndon Baines Johnson, the CIA, and the American military should be investigated in the killing of Kennedy, cites a 1967 effort by the CIA to turn the conspiracy-theory label into
PASA TEMPOS
album reviews
DEATH GRIPS GRAILS Black Government Plates (selfTar Prophecies Vol’s 4, 5 released) When Kanye West & 6 (Temporary Residence) The released Yeezus at the start of summer, opening bars of “I Want a New Drug” Death Grips was one of the few groups out ensure that the first thing you hear on the there for critics to seize upon as an influlatest album by Portland, Oregon, instruence for that vaunted album’s haunted, mental rock band Grails is a sample of the icy, minimalist sound. But Death Grips spiritual “Nobody Knows the Trouble I’ve is up to something far more experimenSeen.” The voices are processed to give the tal, and often more off-putting, than anything in the West old standard a wobbly, hallucinatory feel, like a Disney World songbook. Taking their aesthetic cues from punk and their ride gone wrong. Black Tar Prophecies is a series that collects sonic samples from Hi-NRG, death metal, and leftfield house Grails’ stray recordings but often flows like an album, thanks to the music, the trio of Zach Hill, MC Ride, and Andy Morin make band’s ability to maintain a steady tone while tinkering with different aggressive, paranoid hip-hop. Sometimes the results are like “Birds” — instrumentation. “Self-Hypnosis,” the album’s second song, leads us up a gorgeous slab of Dadaist rap with bass-heavy industrial soundscapes from the depths of “I Want a New Drug” with notes that shoot skyward straight out of early Nitzer Ebb or Nine Inch Nails. Sometimes the outand a healthy instrumental-rock strut. “Up All Night” is an extended piece comes are so horrifying you are tempted to reach for the skip button, that is primarily composed for piano, with a tick-tock drum, a triangle, and as in “Feels Like a Wheel.” Sometimes Death Grips are just too much strings supplying an ominous backdrop. “Chariots” makes better use of rhythm for their handlers to deal with. In 2012, Epic Records dropped with a steady, affecting beat that might recall drone metal if there weren’t the band after they intentionally leaked their album No Love such a heavy spaghetti-Western vibe mixed in. The Grails may end Deep Webb online and published the label’s business-related up in movies — they seem primed for a break along the lines of emails on Facebook. It was a jerk move by the band, the one Explosions in the Sky got with their soundtrack for but they live and act just like the music they make — the Friday Night Lights film and TV show. For now, you'll madening, beautiful, ugly, and utterly committed have to settle for the dark, beautiful movies that play in Heinrich Schütz composed to chaos as an aesthetic strategy. — Casey Sanchez your head when you listen to Grails’ music. — Robert Ker
sumptuous works for lavish
HEINRICH SCHÜTZ Kleine geistliche Konzerte I THE SILK ROAD ENSEMBLE WITH YO-YO MA (Carus) From 1618 through 1648, the Thirty Years’ A Playlist Without Borders (Sony Masterworks) What presentations, but these grew War brought incessant hardship to the populace of began as a cross-cultural collision of instrumentation central Europe. Heinrich Schütz, the greatest German and musical traditions — a sort of worldly novelty — is impractical as the deprivations composer of the 17th century, was 33 years old when now something of an international composers’ showcase. the fighting began. Having benefited from three years’ Silk Road Ensemble’s A Playlist Without Borders is global of war overtook the land. study with Giovanni Gabrieli in Venice, he was by then chamber music with influences that are both hybridized directing the largest musical establishment in Protestant and homogenized. While the ensemble’s instrumentation Germany, that of the Electorate of Saxony in Dresden. There is still eclectic, the music derives from various directions he composed sumptuous works for lavish presentations, but and geographies that includes new-music minimalism as well these grew impractical as the deprivations of war overtook the as non-western classical forms and nearly archaeological disland. By 1630, Schütz lamented that “singers ... are most scarce,” coveries (Wu Man’s “Night Thoughts,” taken from a ninth-century and six years later he reported, “All order has been rent apart ... schools Buddhist melody). The recording’s centerpiece, the eight-part “Playlist for have been devastated, churches have been destroyed.” That same year, an Extreme Occasion,” a commission written by jazz pianist Vijay Iyer, 1636, he published his first book of Kleine geistliche Konzerte (Little is representative of the disc’s mixed-bag character; some sections are Sacred Concertos), a set of 24 works for modest forces of one to five harsh and halting, others warm and flowing. But there are very good singers with just a basso continuo accompaniment. The Carus label is things here as well: Shane Shanahan’s percussion-only “Saidi Swing,” currently releasing Schütz’s complete works. In this seventh volume with its infectious rhythmic intertwining; John Zorn’s “Briel,” a of the project, Ludger Rémy leads stylish, technically polished, dizzy dance that spins on its unlikely instrumentation, including historically informed interpretations that the abrasive clang of sheng, a Moroccan underscore the spiritual intensity and finger cymbal; Ma’s solo performance of a deep-seated melancholy of these messages piece from Turkish composer Ahmed Adnan from troubled times. Most extraordinary Saygun; David Bruce’s “Cut the Rug,” with its is the final entry in the set, “Ich hab mein Gypsy underpinnings; and Colin Jacobsen’s Sach Gott heimgestellt” (“I have left my pulsing “Atashgah” for the Iranian fiddle destiny to God”), a large-scale tapestry kamancheh and western strings. Put your of Schütz’s magisterial art spun through music player’s program function to work and 18 constantly evolving verses. leave the less pleasing pieces silent. — James M. Keller — Bill Kohlhaase
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PASATIEMPO I November 22-28, 2013
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TERRELL’S TUNE-UP Steve Terrell
Dealey Plaza suite
Tragic Songs From the Grassy Knoll is a rather cheeky name for a collection of songs about the assassination of President John F. Kennedy — which is exactly the kind of irreverence that fans of fun-loving Norton Records have come to expect from the Brooklyn label. The title is one of the few irreverent things about the album. All but arguably one of the 16 songs here are dripping with sincerity and profound grief over the murder of the president. The performers here are mostly obscure country singers who recorded their heartfelt odes to JFK on a galaxy of tiny, obscure regional labels like Avenue, Prism, and Cowboy Junction. In fact, I’d only heard of two of the performers on this collection: the late Hasil Adkins (who has two songs here, both titled “Memories of Kennedy,” which are uncharacteristically somber for the normally hyperexuberant West Virginia wild man) and Homer Henderson, a one-man band from Dallas. The original recording of Henderson’s most famous song, “Lee Harvey Was a Friend of Mine,” is here. This song has become something of an underground classic, recorded by artists including The Asylum Street Spankers, T. Tex Edwards, Laura Cantrell, and New Mexico’s own Boris & The Saltlicks. It’s the story of a youngster who was Oswald’s neighbor: (“He used to throw the ball to me when I was just a kid/They say he shot the president, but I don't think he did.”). Originally released in 1985, “Lee Harvey Was a Friend of Mine” is the most recent recording on Grassy Knoll. It’s also the only one that even mentions the possibility of a conspiracy. Immediately following the assassination, the country’s reaction was grief and a sense of patriotic shock. Most of the singers here were concerned about mythic notions of the brave commander in chief struck down while trying to spread freedom and liberty and with sentimental images of Jackie placing the wedding ring on her husband’s finger — not with niggling cynicism dealing in magic bullets and grassy knolls. “The Tragedy of John F. Kennedy” by The Justice Brothers uses the melody of the old murder ballad “Knoxville Girl” as performed by The Louvin Brothers. In “JFK and That Terrible Day,” Bill Kushner recites the lyrics over the melody of “The Battle Hymn of the Republic” played on organ and piano. One of the later songs included here, released sometime after the 1968 killing of Sen. Robert F. Kennedy, is called “Two Brothers” by a singer named Bobby Jenzen. He refers to the Kennedy brothers as “two of America’s greatest men.” Speaking rather than singing the verses of the song, Jenzen says, “It's ironic that the wrongs they tried to right would be the wrongs that 22
PASATIEMPO I November 22-28, 2013
struck them down. ... As Americans we should all feel ashamed that this kind of evil lives among us.” The idea of innate “evil” being responsible for Kennedy’s killing pops up in “A Sunny Day in Dallas, Part 1” by the Honorable Bob Peters (apparently he became honorable by serving as a state senator from Tennessee), who says JFK was “the victim of the hatred and prejudice of man.” As reporter Scott K. Parks wrote in a recent piece in The Dallas Morning News, “The image of Dallas as a bulwark of right-wing extremism lodged in the American mind during the early 1960s. … Dallas became known to the world as the city of hate, the city that killed Kennedy.” But Texans being Texans, there has to be at least one song that’s extremely defensive about the Lone Star State and its part in the assassination. In “Don’t Blame the State of Texas,” singer Lowell Yoder basically washes the state’s hands of any responsibility. It contains a curious chorus, in which Yoder offers what almost sounds like a veiled threat: “Don’t blame the state of Texas and Texas won’t blame you.” While listening to this album, I was struck by the fact that there were so few songs at the time by mainstream artists dealing with the assassination. Three years after the events at Dealey Plaza, The Byrds did a sad and beautiful song called “He Was a Friend of Mine” (rewritten from an old folk song that had nothing to do with Camelot). A few years later, following the killings of Robert Kennedy and Martin Luther King, Dion had a radio hit with “Abraham, Martin, and John.” It wasn’t until years later that I heard Jerry Lee Lewis’ 1966 assassination song, “Lincoln Limousine.” I guess at the time, the radio, major record companies, and Dick Clark weren’t interested in downer material about assassinations. So these songs from little-known singers on little-known record labels actually represent folk music in its purest sense — honest musical reactions by real people to a major historical event. Corny as some of the tunes are, the compilation is a valuable historical document. Check out www.nortonrecords.com. Also recommended: ▼ Conspiracy a-Go Go. This is a free MP3 compilation of JFK assassination songs by (mostly unknown) garage/psychedelic, punk, and noise bands put together this year by Todd Gardner of the Turn Me on, Dead Man internet radio show. Unlike the singers on Tragic Songs From the Grassy Knoll, the bands on this collection go full-throttle down the conspiracy rabbit hole. You can tell by the titles of some of the songs: “Back and to the Left” (a reference to the Zapruder film) by JFn’K; “Kennedy’s Head” by Buckwheat Catapillar (“We all want to know about Kennedy’s brain. .../The government lost it, that’s insane,” goes one verse); and even by some band names, such as Single Bullet Theory (who do a crazed Butthole Surfers-like tune called “Exploding Castro Cigars”). Among the highlights here are “Bullet” by Hounds, Hounds Hounds; the hard crunching “Mark My Words” by Black Rabbit; “Get Outta Dallas” by Mal Thursday and his band The Cheetahs; and “O.H. Lee,” which is a rocked-out mutation of “Lee Harvey Was a Friend of Mine,” by the Arkansas punk band The Rockin’ Guys. Download songs from this compilation for free at www.turnmeondeadman.bandcamp.com/album/conspiracy-a-go-go. Check out the massive list of JFK assassination songs at www.turnmeondeadman.com/jfk-assassination-songs. ▼ Radio plug: I’ll be doing a lengthy assassination set including many of the songs mentioned here on Terrell’s Sound World on Sunday, Nov. 24 (the 50th anniversary of Lee Harvey Oswald’s death) at 10 p.m. on KSFR-FM 101.1 and streaming at www.ksfr.org. ◀
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PASATIEMPO I November 22-28, 2013
King for a day lbuquerque’s Fusion Theatre Company has had its ups and downs in several recent run-outs to the Lensic Performing Arts Center in Santa Fe, but it was in fine form when it presented The Mountaintop, a two-person drama by Katori Hall. Unveiled in 2009 and programmed frequently since then, the work has met with both acclaim and consternation. The consternation comes partly from the treatment of the subject. The work’s single extended act imagines Martin Luther King Jr. unwinding in his room at the Lorraine Hotel in Memphis on the evening before his assassination, just after delivering his “I’ve Been to the Mountaintop” speech. One might call it a sacred moment in American history, yet Hall presents King not as an unblemished icon but rather as an all-too-human character — an inspirational and politically savvy figure, but also a man with smelly feet who swigs booze, drags on Pall Malls, and flirts with the motel’s maid while he speaks affectionately by phone with his wife. “I’m just a man,” he laments at one point, echoing the flood of protesters carrying “I Am a Man” signs at the sanitation workers’ strike that had brought him to Memphis. “I ain’t no ordinary maid,” the housekeeper advises. She is, in fact, an angel whom God (Ms. God, by the way) has chosen to accompany King to heaven. It’s her first assignment, and she blunders by spilling the beans to her charge. This leads to King’s arguing over his fate with God, reached in heaven (where, in 1968, they already have cellphones); and this is where the play spins off track, crossing into cutesiness and then concluding with a way-too-long recitation of bullet points from the future decades of civil rights. Notwithstanding these errors of tone, there is much to admire in the play. At its best, it toys with the idea of confronting King with his own honesty, with whether he really meant it when he declared to the crowd that it didn’t matter to him any more if he lived, because God had allowed him to go to the mountaintop and look out over the promised land. Director Laurie Thomas delivered a forthright, uncluttered production that unrolled over an hour and 40 minutes in a single set, the minimally furnished motel room. Warm applause was earned by the two actors, both of whom are new to Fusion’s roster. Jacob Browne wisely eschewed trying to imitate King’s appearance or diction, instead forging a compelling independent interpretation that reached to heights of rhetoric and earnestness as well as to borderline smarminess without ever losing an authentic center. A tall actor, he filled the space monumentally. This conveniently reinforced the stature of his personality while freeing him to explore more minute details of characterization, and it added physical drama at several moments when jittery King hit the floor in response to ominous claps of thunder. Tai Verley, as the maid/angel Camae, was at once charming and tough. She parried with Browne in a way that might by turns suggest an enticing girlfriend or a reassuring mother while allowing her character’s self-doubt to help seduce the audience. Both actors showed admirable breadth in their characterizations, and one hopes that they will return for future Fusion productions. — James M. Keller
Santa Fe Community Orchestra
Oliver Prezant, Music Director
2013-2014 Concert Season
Winter Concert
Sunday, November 24, 2:30pm St. Francis Auditorium
New Mexico Museum of Art, 107 W. Palace Ave.
Works by Beethoven & Prezant SFCO Side-by-Side with students from Gonzales Community School
Bowen: World Premiere, Winner of the 2013 SFCO Composition Competition Works by Popper & Piazzolla Dana Winograd, cello
Tchaikovsky: Symphony No. 2 Free admission - Donations appreciated Anatomy of a Symphony Concert Preview
Featured work: Tchaikovsky’s Symphony No. 2 Get inside the music! Commentary by Oliver Prezant, musical illustrations by the SFCO. Friday, November 22
6 pm
St. Francis Auditorium
This concert is sponsored in part by:
Thornburg Investment Management For more information visit our website: sfco.org or call 466-4879
SFCO projects are made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, The National Endowment for the Arts, the Santa Fe Arts Commission, and the 1% Lodger’s Tax.
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Our Lady Of 121st street By Stephen Adly Guirgis Directed By Victor Talmadge
Nov. 22–23—7pm; Nov. 24—2pm
$15/$12 Reserved Seating; $5 Students & Seniors Intended for adult audiences due to strong Language NOTE: Fri. & Sat. performances TIME: 7pm | Sun. Matinees: 2pm FOR TICKETS call the Tickets Santa Fe Box Office: 505-988-1234 or www.ticketssantafe.org Performing Arts DePArtment sAntA fe University of Art AnD Design 1600 st. michAel’s Drive sAntA fe, new mexico
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26
PASATIEMPO I November 22 - 28, 2013
ON STAGE Windsongs: Serenata of Santa Fe
Serenata of Santa Fe continues its season of chamber-music concerts with a program of works that spotlight groups of woodwind instruments, in every case along with piano. From Beethoven comes an early work from 1796: his Quintet for Piano and Winds (op. 16), which turned to Mozart’s similarly scored quintet of a dozen years earlier as a prototype. Two sextets for a standard wind quintet plus piano round out the program. Ludwig Thuille wrote his Sextet in the late 1880s, drawing heavily on his admiration of Brahms (with a touch of the neo-Baroque); and Francis Poulenc (pictured) turned to the genre in the 1930s, when he was still exhibiting the high-kicking style that had gained him attention as a member of Les Six in the preceding decade. A Parisian critic describing the latter piece when it was new got it right: “With Poulenc, all of France comes out of the windows he opens.” The concert takes place at 3 p.m. on Sunday, Nov. 24, at the Scottish Rite Center (463 Paseo de Peralta). Tickets ($25, discounts available) may be purchased from Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org). — J.M.K.
THIS WEEK
A style of her own: Catherine Donavon
Jazz singer Catherine Donavon plays the Museum Hill Café (710 Camino Lejo) on Friday, Nov. 22. Known for her portrayals of Rosemary Clooney, Patti Page, Dinah Shore, and Anita O’Day, she hits the stage with pianist Brian Bennett, bassist Andy Zadrozny, and drummer John Trentacosta starting at 7 p.m. Tickets are $25 with a $10 minimum toward drinks and dinner. Call 505-983-6820 for reservations. Donavon also appears at 6 p.m. on Dec. 1 and 2 at La Casa Sena Cantina (125 E. Palace Ave.) in a Gene Krupa tribute. Tickets are $25; call 505-988-9232 for reservations. — P.W.
Talk back: Teatro Paraguas
Over the years, Teatro Paraguas has prided itself on offering bilingual performance works that speak to the Northern New Mexico community. At 7 p.m. on Friday, Nov. 22, the company wants the community to speak back in its Share Your Recuerdos open-mike event. People can bring stories, poems, songs, or dances that say something about who they are. Participants get about five minutes onstage. Later, the evening sees a performance of selected scenes from When the Stars Trembled in Río Puerco, based on the work of New Mexico folklorist and historian Nasario García, who will be present for a Q & A. The company is looking for community funding for this project to be fully realized in the spring of 2014. The evening’s events, which are free, are at the company’s studio (3205 Calle Marie). Teatro Paraguas offers a full program of related storytelling events through the weekend in its Under One Umbrella Festival. Visit www.teatroparaguas.org or call 505-424-1601. — R.N.
Messiah returns: Santa Fe Symphony Orchestra and Chorus
Handel composed his oratorio Messiah for the Easter season of 1742, but nowadays we almost always encounter it around Christmas instead. That’s fair: its first part focuses on the birth of Jesus before moving on to the Passion and Resurrection in its second and third sections. The Santa Fe Symphony Orchestra and Chorus performs it annually at this time of year, and in recent seasons the guest conductor has been Tom Hall, director of the Baltimore Choral Arts Society for more than three decades. He returns to lead the piece, featuring four vocal soloists, at 4 p.m. on Sunday, Nov. 24, at the Lensic Performing Arts Center (211 W. San Francisco St.). The symphony is currently conducting a search for a new principal conductor, and since Hall’s hat is in the ring, this engagement may invite an added degree of interest. Tickets ($20 to $70, discounts available) can be acquired by calling 505-988-1234 and visiting www.ticketssantafe.org. There is a 3 p.m. talk that is free to ticket holders. — J.M.K.
PASATIEMPOMAGAZINE.COM
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Michael Wade Simpson I For The New Mexican
IN
Julie Graber
A long, long, way together AID & Comfort Gala turns 25
1986, Dr. Trevor Hawkins met his first AIDS patient. “He was a wonderful guy, a superintendent of schools from New York. He said, ‘I have AIDS and I came here to die.’ He taught me a lot,” Hawkins said. “He inspired me to get involved.” Hawkins eventually sold his private practice and joined forces with Visiting Nurse Services to provide medical assistance to those affected by the disease. In 1996, he founded Southwest CARE Center. Chad Upshaw worked for Hawkins as a case manager from 1992 to 1994. “I’ll never forget. People came here from all over the country, because they heard there was no wait for services,” he said. “A client once arrived in a taxi directly from the airport, and the employees had to help him into the clinic and then probably get him to the hospital. When I took a month off and went to Mexico, I said goodbye to one client who I knew was probably going to die. When I came back, 11 were gone. There was Trevor and a staff of eight or nine doctors. They were constantly seeing people, managing everything that happened. There was a phenomenal hope people on the staff had. It sustained everyone.” Juanita Thorne-Connerty worked with Hawkins as a clinical nurse. She lost a brother and a sister to AIDS back home in New York. “In the very beginning there was very little that could be done. People were dying on a weekly basis. We were constantly holding people’s hands in the hospital and then going to their funerals.” In 1987, Bill Thornton moved to Santa Fe from Los Angeles, where he had watched most of his friends die. “My partner and I applied to get a mortgage insurance policy on our house. They sent someone out and took blood. They turned us down. That’s when I found out I was HIV-positive. I’m lucky to be here, but the side effects of the early medications were horrible. AZT gave me neuropathy in my feet that I still suffer from.” Thom Patterson moved to San Francisco when he was 19 years old. After 15 years there, he came to Santa Fe, bringing with him a diagnosis of AIDS. “San Francisco was too sad. The hospital was gloomy. The doctors told you that you had six months to live. There was no positive outlook. I found the opposite here. I should have died. Trevor Hawkins says I’m one of his wonder children.”
O
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PASATIEMPO I November 22-28, 2013
Julie Graber
Photos this page, clockwise from top left: Sen. Tom Udall, Craig Smith, and Dr. Trevor Hawkins of Southwest CARE Center at the AID & Comfort Gala, 2002; party-goers peruse the buffet at 2002’s “Soirée Paris” event; dancers at the 1998 “Starry Night”-themed gala; New York drag diva superstar Lady Bunny, 2002; opposite page, top to bottom, Brian Dailey and Florian “Artie” Garcia examine wreaths in a silent auction, 1998; revelers at “Soirée Paris,” 2002; images courtesy Southwest CARE Center
ne of the biggest annual parties in Santa Fe has the grimmest of origins. AID & Comfort, a fundraising gala now marking its 25th anniversary, was founded during the height of the AIDS epidemic. The benefit takes place on Saturday, Nov. 23, at the Eldorado Hotel & Spa. “AID & Comfort gave people a sense of hope,” said Thorne-Connerty, who not only worked with AIDS patients as a nurse but also served on the board of the nonprofit for many years. “It was something we could do; it gave a voice to our community. It was an opportunity to recognize those we lost and support those still with us. Everyone looked forward to it and supported it. It was a huge party.” Funds raised through the AID & Comfort event were entirely directed to help pay for the medications and medical expenses for people living with the disease. They still are. “This is not the time to relax,” ThorneConnerty said. “We’ve come a long way, but people are still struggling. I don’t see a difference between then and now. I do this work to keep the memory of my sister and brother alive.” “AID & Comfort funds pick up expenses that no one else will pick up,” Hawkins said. “It always has. These days there are newer patients all over the state with few resources. It’s a myth that HIV is a disease of wealthy white men. There are a lot of people with no insurance. Medication can cost $1,500 to $2,500 per month. Many are covered by federal programs and the state of New Mexico’s insurance pool, but they can’t afford the 20-percent copay.” continued on Page 30
PASATIEMPOMAGAZINE.COM
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Prince Poppycock, headliner of this year’s AID & Comfort Gala; right, couple at an AID & Comfort silent auction, 1998
AID & Comfort, continued from Page 29 “We’re still 10 years away from a vaccine. Of course, we’ve been saying that for many years. We can cure hepatitis C, but we can’t cure HIV. The rates of new infection have gone up, but there is a sense of diminished urgency in the public. There used to be a visceral feel to the movement that doesn’t exist anymore. Becoming HIV-positive is still devastating.” “A lot of us with HIV feel pushed aside,” Patterson said. “We’re still here.” Over the years, many of the medications he was given had side effects such as nausea, depression, diarrhea, and liver and nerve damage. After a certain amount of time, the medications would stop being effective, and he would be put on a different set of pills with a different set of complications. There was always the fear that the each round of medication would be the last. “People don’t understand the mental aspect of survival,” he said. “You have to decide you’re going to take meds that make you ill. That you’re going to stick around. You have to have the will to say, I’m going to do this. If I didn’t have the respect and support from the people at Southwest CARE, I wouldn’t have stayed.” “I’m one of the few from my circle still here,” Thornton said. “It’s like World War I — a whole generation is gone. You think about what your friends would look like now. I would have so many more friends.” Hawkins and his colleagues became involved early on in research. By taking part in clinical trials, his clients were allowed access to new and experimental therapies that sometimes saved their lives. “Trevor has his finger on the pulse,” Thorne-Connerty said. “He was always looking outside the box, saying, ‘There’s more we can do.’ He offered alternative therapies. Clients wanted options, and he gave them a voice in their healthcare.” Santa Fe had a number of AIDS-related service organizations that were dissolved or consolidated as medical advances turned the disease from a crisis into a chronic condition. In 2001, AID & Comfort of New Mexico merged with Southwest CARE Center. As Jeff Thomas, CEO of Southwest CARE Center, reported, there are still a great deal of unmet needs. “The fastest growing population group of new HIV cases is among young Hispanic gay men,” he said. Outreach to these groups, an emphasis on prevention, education, and simply getting people tested are new focuses for his organization. The AID and Comfort funds offer those with demonstrated need assistance in paying healthcare premiums, transportation to medical visits, copays for meds, and lab work and imaging, he said. Southwest CARE recently opened a family practice in Santa Fe. “There are a lot of places to get primary healthcare in Santa Fe, but we wanted to offer
30
PASATIEMPO I November 22-28, 2013
a family-friendly, LGBT-accessible facility offering the same high standards of care as we offer those with HIV/AIDS.” Women’s Health Services, a clinic which has operated in Santa Fe since 1973, recently merged with Southwest CARE as well. While 25 years of parties have been, as Thorne-Connerty put it, “a rollercoaster ride,” with some years better than others, AID & Comfort has always offered an opportunity to dress up and have a great time. “You see people you don’t see for the rest of the year.”
“J
uanita [Thorne-Connerty] always rents a room at the hotel and changes her outfit several times during the evening,” Patterson said. “That’s why I love her.” “It’s a rocking good party,” Thornton said. “Once the fire department showed up because we had over 2,000 people at the Eldorado.” Drag queens in outrageous get-ups have been popular features of the party over the years. This year, Prince Poppycock, a gender-bending, opera-singing finalist on America’s Got Talent, is the headliner of the event. A silent auction, pictures with Santa, and dancing to music by DJ Oona and 13 Pieces will be available to ticket holders starting at 8 p.m., with finger foods and cocktails available. For the 25th, or silver, anniversary of AID & Comfort, organizers suggest participants incorporate silver into their attire. “It’s a chance to celebrate our successes,” Thorne-Connerty said. “But take a closer look. I still have older couples who come up to me and say, ‘Thank you for taking such good care of our son until he died.’ They come every year. You’ll see them there, with the brothers and cousins.” “HIV knows no socioeconomic, racial, or ethnic boundaries,” Thomas said. “It is non-gender-specific or lifestyle-specific. The community has been responsive in a way that affects our relationships to each other. It’s the best party of the year because it’s about a community as a whole. It’s a cause that merits continued support.” ◀
details ▼ 25th annual AID & Comfort Gala, presented by Southwest CARE Center ▼ 8 p.m. Saturday, Nov. 23 ▼ Eldorado Hotel, 309 W. San Francisco St., 505-988-4455 ▼ $50; call 505-989-9255 or see www.southwestcare.org
2013 Writing Contest for All Seasons Tell Us a Story in Poetry or Prose Storytelling is an honored New Mexico pastime. Here is your chance to be part of that tradition. Write about a memory, a special place, or a person who has had an impact on your life. Fiction, nonfiction, parody, or fantasy; in the style of Thurber or Ferber, Sedaris or Seuss, Hillerman or Cather — it’s up to you. Prose: 1,000 word limit for adults (ages 19 and over) and for teens (13-18) 500 word limit for children (5-12) Poetry: Up to two pages Prizes to the winners
Rules: Entries must be received by 4 p.m. Monday, Dec. 2. No exceptions. We reserve the right to edit work for publication. Submissions must include name, address, telephone number, email address, and age; entries from schools should also include grade and teacher’s name. No previously published material. One submission only per entrant. Submissions cannot be returned.
Winning entries will be published in Pasatiempo on Friday, Dec. 27
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Email entries to: writingcontest@sfnewmexican.com Email submissions are highly recommended.
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Mail entries to: 2013 Writing Contest c/o The Santa Fe New Mexican, 202 E. Marcy St., Santa Fe, N.M. 87501
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LISTEN UP
James M. Keller
Benjamin Britten
The habit of music: Benjamin Britten 100 years on
Remarkable poetry resides in the fact that Benjamin Britten was born on Nov. 22, since in the Christian liturgical calendar that date marks the Feast of St. Cecilia, the patron saint of music. Even after he became a famous composer Britten didn’t make a big deal about it, although he did compose a choral Hymn to St. Cecilia in 1941-1942. The particular feast day on which he was born was in 1913, which means that Friday, Nov. 22, marks the centennial of that event. Of course, nobody could have foreseen at the moment of his birth, in the resort town of Lowestoft on the Suffolk coast, that he would develop into a composer. The St. Cecilia coincidence probably would have escaped the notice of his father, a dentist with no musical proclivities, but it may well have crossed the mind of his mother, Edith, who loved music and would prove assiduous in steering her son, formally christened Edward Benjamin Britten, toward a musical path. In his new biography Benjamin Britten: A Life for Music, Neil Powell writes of the birthday fluke: “As if that were not omen enough, he was given the first name not only of his father’s young brother but, as Edith at least would have been very well aware, of England’s most eminent living composer, Edward Elgar, who 32
PASATIEMPO I November 22-28, 2013
in the preceding five years had produced a flurry of major works.” By the time he died, 63 years later, Britten would be customarily hailed as not just the preeminent British composer of his time but even as the greatest British composer since Henry Purcell in the late 17th century. Rankings of that sort are unnecessary, to be sure, and some of our English brethren were not willing to go quite that far, being reluctant to put aside their immutable nationalistic veneration of Elgar. Even Powell, setting out what he calls the “assumptions” on which he bases his book, begins: “The first is that Benjamin Britten was the greatest of English composers — rivaled only by Henry Purcell and Edward Elgar — and one of the most extraordinarily gifted musicians ever to have been born in this country.” That must be painful to the ghosts of Taverner, Tallis, and Byrd. Centennials tend to invite a flurry of interest in a subject, and there is no reason Britten’s should depart from the norm in this regard. To be sure, Britten has not previously been underserved by biographers and musicologists, at least so far as English-language publications are concerned. Given the composer’s status in the cavalcade of British music, the bookshelf already groaned with studies of the man and his music. Powell’s biography is one of two that has gained widespread
attention this year, and of the pair it is the more genial, accessible, and protective of its subject. Powell is an unabashed Britten fan, and his highly readable account of the composer’s life conveys historical facts without delving into the music in an analytical way. ny account of Britten’s life necessarily touches on subjects that were controversial when he lived and in some cases still are. He was openly homosexual at a time when being so was illegal in Great Britain, and this did not make the going any easier for him when it came to the general public. On the other hand, it placed him in a circle of similarly gay characters — W.H. Auden (his occasional collaborator), Christopher Isherwood, and many, many others — who held prominent places in British artistic life during the midcentury decades. Britten, in fact, was unusual among them for being part of a well-established couple once he partnered up with the tenor Peter Pears in 1939. Since Britten was preternaturally reticent in private matters, he certainly had no desire to serve as a pioneer for what would emerge as the gay-liberation movement, but the matter-of-factness of his enduring relationship was doubtless inspirational to many other gay people at the time and in retrospect. Many people in Great Britain and elsewhere must have been astonished and heartened by the graciousness of
Queen Elizabeth II, who elevated him to a life peerage (as Baron Britten of Aldeburgh) in the last year of his life and who, immediately following the composer’s death, sent a letter of condolence to Pears, much as she would have to the spouse of any other departed worthy of the realm.
Benjamin Britten was openly homosexual at a time when being so was illegal in Great Britain.
he other major Britten biography to emerge this year is Paul Kildea’s Benjamin Britten: A Life in the Twentieth Century, which bespeaks a deeper degree of scholarship and insight. Kildea’s credentials are impressive. His previous books include Selling Britten (2002), which provides brave confirmation of suspicions that Britten’s status was not achieved independent of exceptional marketing efforts, and the very useful Britten on Music (2003), which assembles substantially all of the composer’s writings on his own music as well as on compositions by others. Kildea served for several years as the head of music at the Aldeburgh Festival, which Britten co-founded in 1948, and as artistic director of Wigmore Hall in London — so he speaks from a position of authority on matters concerning the composer and British musical life in general. He goes into considerable detail in his discussion of Britten’s scores (which Powell
He consigns the opposing belief of Dr. Michael Petch, Britten’s principal cardiologist, to a single parenthetical sentence: “(Petch was never told of the syphilis and today is sceptical of the diagnosis, believing that the tests for endocarditis Britten underwent in 1968 should have revealed any infection.)” On the whole, though, Kildea’s new book is an impressive achievement, and it now sits alongside Humphrey Carpenter’s 1992 volume Benjamin Britten: A Biography as the turn-to account of the composer’s life. That’s not to say that it answers all the questions. Moving back to that Hymn to St. Cecilia mentioned at the beginning of this column, we should note that Britten sketched it during the ocean crossing he and Pears took when returning to England following a period of residing and working in the United States. They lived hand to mouth during their American years, and here’s a morsel Kildea drops into his account of that period (mention of which also appears in Powell’s book, by the way): “Amid this financial hardship, Britten was approached over the directorship of the music department at the University of New Mexico, Albuquerque, which came with an astonishing salary of $32,000 (£8,000). ‘Later on I may find it necessary to hold such a position,’ he told
Britten, left, with Peter Pears, 1975
veil of hagiography. The portion of the book that has received the most attention is devoted to the original idea that Britten suffered from tertiary syphilis — and, indeed, died from its repercussions. A heart ailment has always been identified as the culprit, and so it is here. But Kildea is convinced that Britten’s terribly enlarged aorta resulted from untreated syphilis he had contracted decades earlier. The degree of this disfiguration was revealed only in the course of heart-valve surgery in 1973, which was conducted by Dr. Donald Ross, a pioneering South African physician who only a few years earlier had conducted the first heart transplant in the United Kingdom. With no evidence whatsoever, Kildea states that Pears “was likely the cause of infection,” although Pears remained completely asymptomatic. It is the weakest expanse of Kildea’s book, and his devotion to this theory leads him to discount other possibilities.
composer and academic Douglas Moore in declining, ‘but for the time being I think I’ll risk being a freelance composer, doing hack-work maybe, but in the composing line.’” That letter was dated June 24, 1941. Later that summer, Britten spent time on the West Coast. “It was in California,” he wrote, “in the unhappy summer of 1941, that, coming across a copy of the Poetical Works of George Crabbe in a Los Angeles bookshop, I first read his poem, Peter Grimes.” That immediately set him on the path of composing his first operatic masterwork, one of the towering operas of the 20th century, and New Mexico’s loss became the world’s gain. ◀ “Benjamin Britten: A Life for Music” by Neil Powell is published by Henry Holt. Paul Kildea’s “Benjamin Britten: A Life in the Twentieth Century” is published by Allen Lane/ Penguin Books. PASATIEMPOMAGAZINE.COM
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Victor Parker, courtesy Britten-Pears Foundation
Their relationship was not entirely monogamous, and a more problematic aspect of Britten’s life was what has sometimes been interpreted as an ongoing propensity for underage boys. Powell’s biography strikes a defensive posture on this matter, insisting that Britten’s friendships with a parade of lads stopped short of sexual impropriety. The historical record leaves room for ambiguity on this matter, but it seems likely that Powell’s stance is correct. It basically mirrors the belief expressed in a 2006 book devoted entirely to examining this question, John Bridcut’s Britten’s Children, a nonsalacious study that situates Britten’s friendships with adolescent boys in the context of his time rather than ours and that rather views Britten as a figure who forever saw part of himself as 13 years old and sought out friendships accordingly. Many of us will find the whole matter discomfiting. At this point, we could probably get by not dealing with it at all but for the fact that a considerable number of the composer’s works were conceived with young performers specifically in mind or were centered on operatic characters who are abused boys, such as Peter Grimes’ apprentices, Billy Budd, and Miles in The Turn of the Screw. In any case, Powell prefers to keep things uncomplicated: “Auden,” he writes, “had never understood Britten’s relationship with younger boys, in which the principal elements were a prep-school-masterish enjoyment of fun and games, a nostalgic wish to re-experience the happier part of his own childhood and a touchingly simple desire to do good.”
shirks almost entirely) and is more comprehensive in relating historical circumstances, though not always with Powell’s inviting readability. His penchant for using British vernacular expressions may win over readers in the U.K. yet grow wearying to Americans. Still, the writing is vivid. Commenting on the dictatorial stance Britten adopted at the Aldeburgh Festival, he writes: “Tenor Robert Tear also viewed Aldeburgh in terms of a royal court (from before Henry VIII’s break with Rome), identifying there a ‘Pope, King, a couple of sycophantic academics and perhaps a handmaiden or two strewing palms.’ Tear disliked what he identified as the reverence of Aldeburgh and its festival, ‘an atmosphere laden with waspishness, bitterness, cold, hard eyes, with cabalistic meetings under the Cherry Tree with Pimms, with the inscrutability of the elite.’ ” Kildea can be a bit prickly himself. One wishes, for example, that an editor had spared him the embarrassment of referring to Alan Bennett’s play The Habit of Art (a fictionalized drama about Britten and Auden that many Santa Feans saw via an NT Live broadcast in 2010) as Bennett’s “ordinary play The Habit of Art.” He is more outspoken on the dicey sexual stuff than Powell is, and he never views his subject through the
Paul Weideman I The New Mexican
The good earth
Clockwise from top left, Evelyn Salce Curtis Losack sorting apples under a pecan tree; giving a piano lesson; in her rows with Goldie; and on her land; contemporary photos by Stacia Spragg-Braude, courtesy Museum of New Mexico Press
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PASATIEMPO I November 22-28, 2013
The musical life of Corrales farmer Evelyn Salce Curtis Losack
E
velyn Salce Curtis Losack has been a music teacher for many decades as well as a farmer. Her story, and the story of her community, Corrales, is wonderfully told (and pictured) in If There’s Squash Bugs in Heaven, I Ain’t Staying: Learning to Make the Perfect Pie, Sing When You Need To, and Find the Way Home With Farmer Evelyn (Museum of New Mexico Press). “She’s a farmer, but music is where her heart is grounded,” author Stacia Spragg-Braude said. “It’s woven into her farm, because her parents would sing when she was out in the orchard.” Spragg-Braude worked for many years as a photographer for the Albuquerque Tribune. Her previous projects include a portfolio focused on Bulgaria’s Roma community and the book To Walk in Beauty: A Navajo Family’s Journey Home. A dedicated film photographer, she usually shoots with a Leica 35mm camera. For If There’s Squash Bugs, however, she chose to employ one of the cheap, medium-format Holga cameras that often yield unpredictable results. “I liked letting go of any kind of control,” she said. “A lot of stuff didn’t turn out, but it was more about the process, as opposed to the end results.” She is currently working on a collaborative project with her 7-year-old son, August. “It’s about teaching him the poetry of his world. He has an eye for seeing things and how things move and look. We go exploring together. We’ll see where it goes. It’s very different from my previous projects, which have been very journalistic.” The writing and photography that ended up as If There’s Squash Bugs only slowly took shape as a book. “I had just finished the book on the Navajo family, and I had been farming with a friend for a year or two for the Corrales growers market. Then Evelyn mentioned she was getting too old for all the work, and I said I’d help her out with her vegetable garden.” The new book documents a close companionship with the elderly but still active farmer, who inhabits a rich domain. “A tin-topped adobe barn sits next to a pond filled with mean geese Evelyn grabs by the neck to hug and wild ones just passing through,” SpraggBraude writes. “An orchard of living, breathing trees hangs heavy with cherries and fat peaches; green, yellow, red, and burnished crimson-black apples; smoky-purple plums, pears, and quince. A chunky plot of working dirt is rowed and furrowed with the old crops — blue corn, New Mexican hot chile peppers, and squash lined up next to heirloom tomatoes, colored carrots, and okra.” Evelyn’s grandfather, Angelo Salce, left his native Italy as a teenager and ended up working as a cobbler in Albuquerque, then growing crops with his wife, Maria, in Corrales (and singing operas while working in the fields). Their daughter, Dulcelina, married Vincent Curtis; Evelyn was born to the couple on April 16, 1929. In the early years of the Depression,
they survived, according to family lore, by “eating peas for breakfast, carrots for lunch, and peas and carrots for dinner.” Spragg-Braude recounts that one day, while out driving, she and Evelyn passed by an old, abandoned house. This is where Evelyn’s husband, Johnnie Losack, grew up, and it brought back memories of picking blackberries in 1947, on their first day together — she a girl of 17 and Johnnie just back from World War II service in the U.S. Marines. There was a time during their early married years when he worked at White Sands Missile Range and Evelyn was a teacher. But by 1979, they were back in Corrales, running the farm. It has been a decade since Evelyn’s husband died. Her children and grandchildren help out on the family orchard and plots, but only part-time. That’s not the only change. The word “Corrales” means corrals, and it’s not rare even today “to have to stop and help round up a loose horse or bribe a bull that’s wandered into the middle of the road back to his corral with some fresh apples.” But the place has been altered dramatically. The adobes have been joined by “houses like you’d see back East, trailers, mansions, everything,” Spragg-Braude said. The sand dunes to the west are mostly gone now, replaced by subdivisions. “One thing I wanted to explore was the idea that when a place changes, does its essence change with it? I happen to feel like, through Evelyn, a lot of that spiritscape lives on in the stories and her memories, and it gives a depth and soul to a place that I think is able to withstand a lot of change,” the photographer said.“The thing I’m really attracted to is exploring the sense of place and the power of place. We need that kind of connection — to have a belief in something that’s bigger than what’s in front of us and have a connection to the land and history. “These days, more people want local food, and one important reason is that they crave a connection to the place where they live. Knowing that your food comes from where we live and is grown by people we know completes a circle of life that so much of our modern life has lost. In Evelyn I saw a real way of living and a connected way of living, and I felt like her story is relevant to all of us.” Evelyn will be 85 next spring and she has some physical problems, but she still gets out in her garden and plants and hoes and makes her own vinegar and cider. She makes pies every Sunday for the market. Another evidence of her important place in the community is this Spragg-Braude vignette about Casa Vieja, the Corrales restaurant located in an old adobe house with walls three feet thick. “Josh, the chef, can be seen poking around Evelyn’s farm, gathering downed apple wood to smoke his meats, goose eggs to richen his baked goods, basil, fresh radishes, advice and old stories. Evelyn even gave him a start
A Losack family snapshot: Evelyn and Johnnie before their wedding, 1949
of her apple cider vinegar that’s been in the family for over a hundred years.” She nurtures her love for the aria with the occasional visit to the Santa Fe Opera. “She goes on the night when it’s reduced-rate, to dress rehearsals, and she takes her music students,” Spragg-Braude said. Watch the author’s short video piece, a “trailer” for If There’s Squash Bugs, at www.staciaspraggbraude. com, and you will hear her wonderful voice from a 1929 recording and see her at market, in the kitchen, on the old tractor — these were taken with a vintage 8mm movie camera the photographer found on eBay. Like her parents, Evelyn used to sing out on her farm. “One man told me the most beautiful story, that back in the ’50s and ’60s they’d get up really early in the morning and go outside and would hear Evelyn singing, and they knew all was OK in the world.” The book gives an account of how, one summer morning, Evelyn is making little newspaper hats to protect tomato starts, and Carmen is playing on the kitchen radio. “I used to sing like that,” she tells Spragg-Braude. “And if I don’t sing like that in heaven, I ain’t staying.” ◀
details ▼ Booksigning with Stacia Spragg-Braude, author of If There’s Squash Bugs in Heaven, I Ain’t Staying ▼ 4 p.m. Saturday, Nov. 23 ▼ Collected Works Bookstore, 202 Galisteo St., 505-988-4226
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MOVING IMAGES pasa pics
— compiled by Robert Ker
coms. Here he plays a Texas bigot in 1985 who learns he is HIV-positive and works within the gay community to acquire and distribute life-saving drugs still unapproved by the FDA. Jennifer Garner and Jared Leto co-star. Opens Wednesday, Nov. 27. Rated R. 117 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) DELIVERY MAN You’re not going to believe this, but in Vince Vaughn’s latest film, he plays a smart-alecky slacker who learns to take responsibility for himself and others. In this case, it’s a lot of others, as his character discovers that he fathered 533 children through donations to a sperm bank some 20 years ago. Now he has to make up for lost daddy time. Rated PG-13. 103 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) FROZEN This year’s animated Thanksgiving-week family film takes place in a magical world where two children team up with a silly snowman to save the world from eternal winter. Kristen Bell and Alan Tudyk head the voice cast. Opens on Tuesday, Nov. 26. Rated PG. 108 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. (Not reviewed) The Hunger Games: Catching Fire at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week A.C.O.D. A comedy inspired by the hilarity of the knock-down, drag-out divorces of the 1980s and the children who are still refereeing their warring parents 20 years after the fact, A.C.O.D. (which stands for Adult Children of Divorce) follows Carter (Adam Scott) as he attempts to keep himself together during his younger brother’s wedding planning. There are genuine laughs and moments of uncomfortable recognition, but the film relies too heavily on standard indie-comedy beats to tell its story. The cast, which includes Richard Jenkins, Catherine O’Hara, Amy Poehler, and Jane Lynch, is so good that it barely matters, but a less conventional approach would have made this movie excellent. Rated R. 88 minutes. Jean Cocteau Cinema, Santa Fe. ( Jennifer Levin) THE ARMSTRONG LIE Alex Gibney has tackled documentaries about abuse of power in everything from corporate malfeasance (Enron: The Smartest Guys in the Room) to torture (Taxi to the Dark Side). Now he looks at Lance Armstrong, the bicyclist’s addiction to power, and the doping scandal that engulfed him. Opens Wednesday, Nov. 27. Rated R. 122 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) 36
PASATIEMPO I November 22-28, 2013
BLACK NATIVITY In 1961, Langston Hughes adapted the Nativity story in a stage musical with an African-American cast. Kasi Lemmons adapts that play for the screen, keeping the cheerful songs and casting Jennifer Hudson, Forest Whitaker, Angela Bassett, Tyrese Gibson, and Nas in prominent roles. Rated PG. 93 minutes. Opens Wednesday, Nov. 27. Regal Stadium 14, Santa Fe. (Not reviewed) THE BOOK THIEF Over the last 10 years, few novels have been as beloved or heralded as Markus Zusak’s 2005 young-adult book about a girl in Nazi Germany who helps her foster parents hide a Jewish man. The film version stars Sophie Nélisse as the girl and Geoffrey Rush and Emily Watson as the parents. Opens Wednesday, Nov. 27. Rated PG-13. 131 minutes. Regal DeVargas, Santa Fe. (Not reviewed) THE CHRISTMAS CANDLE It’s a bit difficult to see how this Yuletide film about a small town in England in the late 1900s and its magic, angel-touched, miraclegiving candle got major American distribution. The subject is odd and the actors little-known — but holiday album mega-seller Susan Boyle makes her big-screen debut in it, so maybe that was the miracle that the movie needed. Rated PG. 100 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) DALLAS BUYER’S CLUB Matthew McConaughey has enjoyed a career resurgence that seemed practically impossible back when he was mired in cheesy rom-
HERB & DOROTHY 50x50 A 2008 documentary introduced us to Herb and Dorothy Vogel, an elderly New York couple who amassed an enormous contemporary art collection on fairly modest salaries. This follow-up film details the couple’s plan to donate art to one museum in each of the 50 states (the New Mexico Museum of Art is among the recipients). Not rated. 87 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) HOMEFRONT James Franco has had a weird, wild year on the silver screen, between traveling to Oz (Oz the Great and Powerful), chillin’ during spring break (Spring Breakers), and facing the end of the world with his pals (This Is the End). Now he takes on his most unlikely part yet: the bad guy in a Jason Statham action pic. Opens Tuesday, Nov. 26. Rated R. 100 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) THE HUMAN SCALE This exploration of the evolution of cities — which is about managing growth but also about facilitating more human environments — features fascinating, telling stories of challenges and progress in Copenhagen, Chongqing, Melbourne, Dhaka, Christchurch, and other of the world’s cities. A radical transformation of Times Square into a more pedestrian-oriented urban habitat is one of the simpler, more benign examples of the possibilities illuminated by filmmaker Andreas Dalsgaard in this documentary based on the studies of Danish architect Jan Gehl. Not rated. 83 minutes. The Screen, Santa Fe. (Paul Weideman)
THE HUNGER GAMES: CATCHING FIRE To the few people who haven’t read Suzanne Collins’ bestselling Hunger Games trilogy, it must have seemed like the first film had a clean ending: Katniss ( Jennifer Lawrence) and Peeta ( Josh Hutcherson) won the Hunger Games! The end! Nope — this sequel finds them touring the land and smelling rebellion in the air. That smarmy President Snow (Donald Sutherland) sure seemed ready to be taken down a peg, didn’t he? Rated PG-13. 146 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) KILL YOUR DARLINGS Allen Ginsberg’s freshman year at Columbia University is portrayed in this film as creatively fertile but punctuated by betrayal and murder. A stellar cast experiments with hard drugs and taboo sex in this vision of Ginsberg’s friendship with Lucien Carr, a fellow student who kills his older lover. Daniel Radcliffe as Ginsberg and Ben Foster as William Burroughs give standout performances. Though muddied by some anachronistic musical choices, this movie shows an important but little-known aspect of the formation of the Beat Generation. Rated R. 104 minutes. Regal DeVargas, Santa Fe. ( Jennifer Levin) See review, Page 40. LIFE IN STILLS Miriam Weissenstein, widow of the famous Israeli photographer Rudi Weissenstein, tends their old photo shop in Tel Aviv with her grandson, Ben Peter. Director Tamar Tal captures their love as well as their bickering about a dramatic, recent family tragedy and about their impending eviction. The honest portrayal of their lives is punctuated by shots of Miriam’s husband’s wonderful photographs of his country and its people. Screens as part of the Santa Fe Jewish Film Festival at 4 p.m. Sunday, Nov. 24, only. Not rated. 60 minutes. Center for Contemporary Arts, Santa Fe. (Paul Weideman) See review, Page 44. A PERFECT MAN Liev Schreiber plays James, a sleazy womanizer who cheats on his wife ( Jeanne Tripplehorn) repeatedly — until she pretends to be an anonymous woman on a phone call and makes him fall in love with her all over again. Not rated. 95 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with a showing of Verdi’s Rigoletto from Teatro Antico di Taormina in Italy. Carlos Almaguer, Gianluca Terranova, and Rocio Ignacio star. 11 a.m. Sunday, Feb. 24, only. Not rated. 140 minutes, plus two intermissions. The Screen, Santa Fe. (Not reviewed) PHILOMENA If you aren’t getting your daily requirement of charm, this film is for you. Steve Coogan plays a U.K. journalist with a human-interest story: he takes
an Irish woman ( Judi Dench) to America to meet her long-estranged son. Laughs and life lessons unfurl over the course of the duo’s road trip. Stephen Frears (The Queen) directs. Opens Wednesday, Nov. 27. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. (Not reviewed) SUNLIGHT JR. The working poor rarely appear in TV or movies. Filmmaker Laurie Collyer (Sherrybaby) corrects that with this glimpse of a Florida couple (Naomi Watts and Matt Dillon) who attempt to make ends meet in minimum-wage jobs and with government benefits while living in a motel in a strip-mall wasteland. The movie is not as bleak as it might sound, thanks to Collyer’s journalistic eye for detail and the lead actors’ deep investment in the often-hopeful characters, but it does veer dangerously close to preachiness and melodrama. Not rated. 90 minutes. Center for Contemporary Arts, Santa Fe. (Robert Ker) See review, Page 42. ZAPRUDER AND STOLLEY: WITNESS TO AN ASSASSINATION Journalists Richard B. Stolley and Hal Wingo introduce a free showing of this short documentary about a Life magazine bureau chief and his efforts to obtain Abraham Zapruder’s film of the Kennedy assassination. A panel discussion about how the media has evolved since follows the screening. 7 p.m. Friday, Nov. 22, only. Lensic Performing Arts Center, Santa Fe. (Not reviewed)
now in theaters ABOUT TIME British filmmaker Richard Curtis (Notting Hill, Love Actually) wrote and directed this film about a time-traveling man named Tim (Domhnall Gleeson) who tries to give himself a second chance at love. Tim meets a woman (Rachel McAdams) but soon realizes it will take multiple tries to get the courtship right. Bill Nighy plays Tim’s father, and Groundhog Day is apparently this film’s spiritual father. Rated R. 124 minutes. Regal DeVargas, Santa Fe. (Not reviewed) 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)
THE BEST MAN HOLIDAY Morris Chestnut, Taye Diggs, Terrence Howard, Nia Long, and Regina Hall are among the actors who reprise their roles from 1999’s The Best Man (Malcolm D. Lee returns as writer and director). The intervening 14 years have done nothing to diminish the friendships, romances, and rivalries of the old buddies. Rated R. 124 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) BIG ASS SPIDER Well, with a title like that you know what’s in store for you, don’t you? When a mutant alien spider — who is very big — starts eating people in Los Angeles, it’s up to a hospital security guard (Lombardo Boyar) and an exterminator (Greg Grunberg) to save the day. The two leads give engaging performances, and the film never takes itself too seriously, though there are a few moments of genuine suspense and terror. Not rated. 80 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Nott) 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) BLUE JASMINE Woody Allen’s latest mixes comedy and tragedy in an inspired symphony of social criticism. Cate Blanchett is Jasmine, a Park Avenue socialite who lost everything when her husband (Alec Baldwin) went to jail for financial fraud. She goes to San Francisco and moves in with her blue-collar sister Ginger (a perfect Sally Hawkins). The cast, which also includes Bobby Cannavale, Andrew Dice Clay, and Peter Sarsgaard, is flawless. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) THE BUTLER At times overblown and unwieldy, an occupational hazard for a movie that covers 80 years of the civil rights movement in America, this is still a major accomplishment. We see it through the eyes of Cecil Gaines (Forest Whitaker), a man who rises from the cotton fields of Georgia to a tenure as White House butler that extends from Eisenhower through Obama’s election. The fine cast includes Oprah continued on Page 38
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Winfrey as his wife and star cameos as the presidents. Rated PG-13. 132 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) CAPTAIN PHILLIPS Director Paul Greengrass knows how to turn newspaper headlines into white-knuckle thrillers, having earned accolades with 2006’s United 93. This time he tells the story of Captain Richard Phillips (Tom Hanks), whose freighter was hijacked by Somali pirates in 2009. Rated PG-13. 133 minutes. Regal DeVargas, Santa Fe. (Not reviewed) DESIGN IS ONE: LELLA & MASSIMO VIGNELLI The ItalianAmerican designers Massimo and Lella Vignelli are like a modern-day Charles and Ray Eames in the breadth and excellence of their output. Filmmakers Kathy Brew and Roberto Guerra focus on the Vignellis’ work — they’re behind the logos for J.C. Penney and Knoll, Ford’s blue oval, and the brochures for U.S. national parks. Not rated. 86 minutes. Center for Contemporary Arts, Santa Fe. (Paul Weideman) ENDER’S GAME The 1985 Hugo Award-winning magnum opus by Orson Scott Card gets the blockbuster treatment. Asa Butterfield plays Ender Wiggin, a teenager who is called upon to save Earth from aliens. Fortunately, he’s led by a colonel played by Harrison Ford — an actor who has saved his share of planets and countries on the big screen. Ben Kingsley and Viola Davis co-star. Rated PG-13. 114 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) ENOUGH SAID Fans of Woody Allen’s rom-coms 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 that includes Catherine Keener and Toni Collette. Nicole Holofcener directs them all with a generous spirit. The results are moving, honest, and often very funny. Rated PG-13. 93 minutes. Regal DeVargas, Santa Fe. (Robert Ker)
spicy
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PASATIEMPO I November 22-28, 2013
FREE BIRDS This animated adventure stars two turkeys (voiced by Owen Wilson and Woody Harrelson) who travel back in time to take their species off of the Thanksgiving menu. Gobble gobble! Rated PG. 91 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) GRAVITY You’ve never seen a movie like this before. Tense and gripping but also tranquil and meditative, this thriller from director Alfonso Cuarón centers on two astronauts (George Clooney and Sandra Bullock) whose shuttle is destroyed while they are on a space walk. The resulting struggle to survive — like the special effects of the film itself — showcases humankind’s vast resourcefulness and potential. Cuarón’s story also celebrates how small, yet still important, we all are. Rated PG-13. 91 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. (Robert Ker) JACKASS PRESENTS: BAD GRANDPA Johnny Knoxville dons an old-man costume to go out in public and act like a jerk toward his unsuspecting “victims.” Once a jackass, always a jackass, apparently. Rated R. 92 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) LAST VEGAS Michael Douglas, Robert De Niro, Kevin Kline, and Morgan Freeman play four men who travel to Las Vegas for a wild bachelor party just to prove that the AARP crowd can get just as hung over as the younger dudes in The Hangover. Rated PG-13. 105 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THOR: THE DARK WORLD The Marvel movie machine chugs along, and at this point it seems as if the filmmakers are more concerned with not derailing the gravy train than they are with making a great movie. Marvel is dependable; you may not leave the theater feeling inspired, but you won’t want a refund. And so it goes with the latest Thor picture, which is visually drab (the bold colors of The Avengers are gone) except when the hammer starts flying and plodding and predictable except when it attempts humor. Overall, it rates as “Fine, I guess.” Rated PG-13. 111 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; screens in 2-D only at DreamCatcher, Española. (Robert Ker) 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. Unfortunately, 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, from the horror-film-like score and celebrity cameos to the happy ending, blunting the impact and putting his intentions into question. There’s fine acting all around, from Chiwetel Ejiofor’s star turn as Northup and Michael Fassbender’s villainous landowner to newcomer Lupita Nyong’o’s portrait of suffering. Rated R. 133 minutes. Regal DeVargas, Santa Fe; DreamCatcher, Española. (Robert Ker) WADJDA Young Wadjda (Waad Mohammed) is a lot like any other 10-yearold: she just wants a bike so she can ride to school with her best friend. It’s too bad, then, that she lives in Riyadh, Saudi Arabia, where conservative Muslim clerics call the shots, women aren’t allowed to drive, and girls are told they shouldn’t ride bikes. This first feature filmed entirely in Saudi Arabia — and the first to be made by a Saudi woman (writer-director Haifaa Al-Mansour) — offers Western audiences a glimpse of day-to-day life in Saudi Arabia while simply, cleverly using a young girl to point out cultural injustices in that country. Rated PG. 98 minutes. In Arabic with subtitles. Center for Contemporary Arts, Santa Fe. (Laurel Gladden) WHEN THE IRON BIRD FLIES: TIBETAN BUDDHISM ARRIVES IN THE WEST Through personal stories from Buddhist communities in the U.S., this documentary describes the impact that Tibetan Buddhism’s core teachings has had on participants’ lives, allowing them to maintain a measure of peace and relief from the trials and demands of contemporary life. Historic footage of the takeover of Tibet by the Chinese and plenty of talking heads offer a picture of how an international community has embraced an ancient practice from a once-remote kingdom. Not rated. 96 minutes. Jean Cocteau Cinema, Santa Fe. (Michael Abatemarco)
other screenings Center for Contemporary Arts 6 p.m. Saturday, Nov. 23: Room 514. Screens as part of the Santa Fe Jewish Film Festival. Jean Cocteau Cinema 11 p.m. Friday and Saturday, Nov. 22 and 23: Manborg. Regal Stadium 14 Friday-Monday, Nov. 22-25: Cloudy With a Chance of Meatballs 2. Screens in 2-D. ◀
What’s shoWing Call theaters or check websites to confirm screening times. CCA CinemAtheque And SCreening room
1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org The Armstrong Lie (R) Wed. 12:45 p.m., 3:15 p.m., 5:45 p.m. Blue Is The Warmest Color (NC-17) Fri. 12:15 p.m., 3:45 p.m., 7:15 p.m. Sat. 2:15 p.m., 8:15 p.m. Sun. 12:15 p.m., 7:15 p.m. Mon. to Wed. 12:15 p.m., 3:45 p.m., 7:15 p.m. Design Is One:The Vignellis (NR) Fri. to Tue. 1:15 p.m. Herb & Dorothy 50x50 (NR) Fri. to Sun. 11:15 a.m. Life in Stills (NR) Sun. 4 p.m. Room 514 (NR) Sat. 6 p.m. Sunlight Jr. (NR) Fri. 5:15 p.m. Sat. to Tue. 8 p.m. Wed. 8:15 p.m. Wadjda (PG) Fri. 3 p.m., 7:45 p.m. Sat. 12 p.m., 3 p.m., 5:15 p.m. Sun. to Tue. 3:15 p.m., 5:30 p.m. JeAn CoCteAu CinemA
418 Montezuma, 505-466-5528 www.jeancocteaucinema.com A.C.O.D. (R) Fri. 8:30 p.m. Sat. 6:20 p.m. Sun. and Mon. 8:30 p.m. Tue. 8 p.m. Wed. and Thurs. 6:20 p.m. Big Ass Spider! (PG-13) Sat. 2 p.m. Sun. 4:15 p.m. Wed. and Thurs. 2 p.m. Manborg (NR) Fri. and Sat. 11 p.m. A Perfect Man (NR) Fri. 2 p.m. Sat. 8:30 p.m. Sun. 2 p.m. Wed. and Thurs. 8:30 p.m. When the Iron Bird Flies (NR) Fri. and Sat. 4:15 p.m. Mon. 6:20 p.m. Wed. and Thurs. 4:15 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. 1:05 p.m., 4 p.m., 7 p.m., 9:55 p.m. Sun. to Tue. 1:05 p.m., 4 p.m., 7 p.m. About Time (R) Fri. and Sat. 1:10 p.m., 4:10 p.m., 7:10 p.m., 10 p.m. Sun. to Tue. 1:10 p.m., 4:10 p.m., 7:10 p.m. Blue Jasmine (PG-13) Fri. to Tue. 4:20 p.m., 7:20 p.m. The BookThief (PG-13) Wed. 12:30 p.m., 3:30 p.m., 6:30 p.m. Thurs. 12:30 p.m., 3:30 p.m., 6:30 p.m., 9:25 p.m. The Butler (PG-13) Fri. and Sat. 1:20 p.m., 9:40 p.m. Sun. to Tue. 1:20 p.m. Captain Phillips (PG-13) Fri. and Sat. 1 p.m., 3:55 p.m., 6:50 p.m., 9:45 p.m. Sun. to Tue. 1 p.m., 3:55 p.m., 6:50 p.m. Enough Said (PG-13) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:05 p.m. Sun. to Tue. 1:40 p.m., 4:40 p.m., 7:40 p.m. Kill Your Darlings (R) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 9:50 p.m. Sun. to Tue. 1:30 p.m., 4:30 p.m., 7:30 p.m. Philomena (R) Wed. 1 p.m., 3:15 p.m., 5:30 p.m., 7:45 p.m. Thurs. 1 p.m., 3:15 p.m., 5:30 p.m., 7:45 p.m., 10 p.m. regAl StAdium 14
3474 Zafarano Drive, 505-424-6296, www.fandango.com Call theater or see website for times not shown. The Best Man Holiday (R) Fri. to Sun. 10 a.m., 12:55 p.m., 4:05 p.m., 7:05 p.m., 10 p.m. Mon. 12:55 p.m., 4:05 p.m., 7:05 p.m., 10 p.m. Black Nativity (Pg) Opens Wed. The Christmas Candle (PG) Fri. to Sun. 10:20 a.m., 12:40 p.m., 3:10 p.m., 5:30 p.m., 7:50 p.m., 10:10 p.m. Mon. 12:40 p.m., 3:10 p.m., 5:30 p.m., 7:50 p.m., 10:10 p.m. Cloudy With a Chance of Meatballs 2 (PG) Fri. to Sun. 11:30 a.m. Mon. 12:15 p.m., 2:40 p.m., 5:10 p.m., 7:35 p.m., 10:05 p.m. Dallas Buyers Club (r) Opens Wed.
Delivery Man (PG-13) Fri. to Sun. 10:40 a.m., 1:25 p.m., 4:10 p.m., 7:35 p.m., 10:10 p.m. Mon. 1:25 p.m., 4:10 p.m., 7:35 p.m., 10:10 p.m. Ender’s Game (PG-13) Fri. to Sun. 10:50 a.m., 1:35 p.m., 4:25 p.m., 7:25 p.m., 10:15 p.m. Mon. 1:35 p.m., 4:25 p.m., 7:25 p.m., 10:15 p.m. Free Birds (PG) Fri. to Sun. 10:15 a.m., 12:35 p.m., 2:55 p.m., 5:15 p.m., 7:10 p.m., 9:30 p.m. Mon. 12:35 p.m., 2:55 p.m., 5:15 p.m., 7:10 p.m., 9:30 p.m. Frozen 3D (PG) Tue. 7 p.m., 9:45 p.m. Frozen (PG) Tue. 7:15 p.m., 10 p.m. Gravity 3D (PG-13) Fri. to Mon. 12:10 p.m., 4:55 p.m., 7:10 p.m., 9:50 p.m. Gravity (PG-13) Fri. to Mon. 2:30 p.m. Homefront (R) Tue. 8 p.m., 10:30 p.m. The Hunger Games: Catching Fire (PG-13) Fri. to Sun. 10 a.m., 10:30 a.m., 12 p.m., 12:30 p.m., 1 p.m., 3 p.m., 3:30 p.m., 4 p.m., 4:30 p.m., 6:30 p.m., 7 p.m., 7:30 p.m., 8 p.m., 10 p.m., 10:30 p.m., 11 p.m. Mon. 12 p.m., 12:30 p.m., 1 p.m., 3:30 p.m., 4 p.m., 4:30 p.m., 7 p.m., 7:30 p.m., 8 p.m., 10:30 p.m. Tue. to Thurs. 12 p.m., 12:30 p.m., 3:30 p.m., 4 p.m., 7 p.m., 7:30 p.m., 10:30 p.m. Jackass Presents: Bad Grandpa (R) Fri. to Mon. 1:50 p.m., 4:15 p.m., 7:20 p.m., 9:45 p.m. Last Vegas (PG-13) Fri. to Sun. 10:45 a.m., 1:20 p.m., 4:10 p.m., 7:35 p.m., 10:15 p.m. Mon. 1:20 p.m., 4:10 p.m., 7:35 p.m., 10:15 p.m. Thor:The Dark World 3D (PG-13) Fri. to Sun. 10:05 a.m., 4:20 p.m., 7:15 p.m. Mon. 4:20 p.m., 7:15 p.m. Thor:The Dark World (PG-13) Fri. to Mon. 12:50 p.m., 1:15 p.m., 4:15 p.m., 7:45 p.m., 10:15 p.m., 10:35 p.m.
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Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com All Is Lost (PG-13) Fri. 1:30 p.m., 3:45 p.m., 7:45 p.m. Sat. 11:15 a.m., 1:30 p.m., 3:45 p.m., 7:45 p.m. Sun. 1:30 p.m., 3:45 p.m., 7:45 p.m. Mon. 3:45 p.m., 7:45 p.m. Tue. to Thurs. 1:30 p.m., 3:45 p.m., 7:45 p.m. The Human Scale (NR) Fri. to Thurs. 6 p.m. Rigoletto (NR) Sun. 11 a.m. mitChell dreAmCAtCher CinemA (eSPAñolA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com Call theater or see website for times not shown. 12 Years a Slave (R) Fri. 4:40 p.m., 7:30 p.m. Sat. and Sun. 1:50 p.m., 4:40 p.m., 7:30 p.m. Mon. and Tue. 4:40 p.m., 7:30 p.m. Delivery Man (PG-13) Fri. 4:45 p.m., 7:15 p.m., 9:55 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:15 p.m., 9:55 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:15 p.m. Mon. and Tue. 4:45 p.m., 7:15 p.m. Free Birds (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. and Tue. 4:30 p.m., 7 p.m.
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The Hunger Games: Catching Fire The IMAX Experience (PG-13) Fri. and Sat. 4:25 p.m., 8 p.m. The Hunger Games: Catching Fire (PG-13)
Fri. 6:50 p.m., 9:55 p.m. Sat. 2:30 p.m., 6:50 p.m., 9:55 p.m. Sun. 2:30 p.m., 4:25 p.m., 6:50 p.m. Mon. and Tue. 4:25 p.m., 6:50 p.m. Jackass Presents: Bad Grandpa (R) Fri. 4:55 p.m., 7:35 p.m., 9:45 p.m. Sat. 2:35 p.m., 4:55 p.m., 7:35 p.m., 9:45 p.m. Sun. 2:35 p.m., 4:55 p.m., 7:35 p.m. Mon. and Tue. 4:55 p.m., 7:35 p.m. Last Vegas (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. and Tue. 4:50 p.m., 7:25 p.m. Thor:The Dark World 3D (PG-13) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. and Tue. 4:35 p.m., 7:05 p.m.
PASATIEMPOMAGAZINE.COM
39
movIng Images film reviews
Birth of a Beat Jennifer Levin I For The New Mexican Kill Your Darlings, bio-drama, rated R, Regal DeVargas, 3 chiles Variously attributed to Sir Arthur Quiller-Couch, William Faulker, and Stephen King, the advice to “kill your darlings” is handed to creative writing students as encouragement not to get too attached to their pet themes and favorite lines if they do not serve the needs of a particular poem or story. In Kill Your Darlings, the maxim is offered quite tersely by a professor in a literature class at Columbia University in 1944. But the protagonist, Allen Ginsberg (played by Daniel Radcliffe), has skipped class that day to participate in a Benzedrine-fueled afternoon of destruction and recreation with his pals as they rip apart shelves of classic literature in a friend’s apartment and make the scraps into something new. Writer and director John Krokidas and co-writer Austin Bunn chose Ginsberg’s freshman year of college as the historical point at which to introduce us to a small group of men who changed the course of American literature and poetry. He meets Jack Kerouac (Jack Houston) and William Burroughs (Ben Foster), neither of whom is enrolled at the university, through his new friend, the rebellious Lucien Carr (Dane DeHaan), who wants to start a creative revolution. In the early 1940s, free verse is still considered heretical by the academy, and the bestselling poet in the country is Ogden Nash, who writes bouncy, jouncy rhyming poems that, though sometimes violent, are unchallenging. Ginsberg, the son of a poet in New Jersey, is familiar with the literary status quo but is entranced and energized by the potential for a rawer kind of writing that would stab at the heart of meaning.
Three’s a crowd: Daniel Radcliffe and Dane DeHaan
40
PASATIEMPO I November 22-28, 2013
Two’s company: Dane DeHaan, left, and Daniel Radcliffe
Ginsberg comes to Columbia a sober but impressionable youth and is soon corrupted by these heretics. As it does for many people, college presents certain possibilities to Ginsberg — among them, exploring his interest in men, which is sparked and encouraged by Lucien, though not indulged, despite the fact that Lucien embraces the role of sexual provocateur — play-acting, or so he would like people to believe, at a kind of mincing interpretation of homosexuality to provoke the people around him. By today’s standards, and this seems conscious on the part of the actors and filmmakers, Lucien is ridiculous — narcissistic, overly dramatic, selfindulgent, believing that he can change the course of history simply by behaving in a way that irks older men. Ginsberg knows that it takes more than that. His seriousness as a writer is clear from the beginning. His immersion in process and eventual understanding of how to write with truth and abandon is exhilarating and inspiring. That the filmmakers manage to capture the hubris of these boys, their inherent self-indulgence, while at the same time showing us the importance of this period in the formation of the Beat Generation, is an
admirable feat. And revealing Lucien as a spoiled, sociopathic, self-hating gay man who murders his older, obsessed lover without making Lucien either a one-note devil or a martyr for the repressive times is remarkable. Lucien, portrayed as Ginsberg’s first love, is all talk. In the end, he betrays what he has told Ginsberg their revolution stand for, not because he murders David Kammerer (Michael C. Hall), but because he lies about why he did it. For Ginsberg to be involved in something like this during his freshman year of college, while becoming fully invested in his life as a writer and exploring a sexual preference that could get him arrested, in the waning days of World War II, had to have had a formative effect on who the Beats became, especially given that Kerouac and Burroughs were arrested, though not sentenced, in connection with the murder. Performances in Kill Your Darlings are uniformly excellent, especially Radcliffe’s and Foster’s. The movie gets muddled by some anachronistic musical choices, such as TV on the Radio’s “Wolf Like Me” in one of the most important scenes. It’s a great song, but most of the movie is set against period jazz. If you are not familiar with the song and don’t feel its power, it has the potential to toss your right out of the movie, though it does showcase the proto-punk-rock artistic anarchy to which these young men aspired. Some loud, screeching atonal jazz may have worked just as well to jump them into the aesthetic future. Kill Your Darlings ends before the excesses and entrenched sexism of the Beat Generation can be explored. Kerouac, a mean drunk, allegedly stole writing from his female lovers and offered it as his own. Burroughs, a prolific writer and heroin addict who believed drugs were his best path to creative genius, killed his wife in a William Tell-style shooting accident. What we do know by the movie’s end is that Ginsberg, who, like Burroughs, died in 1997, was on his way to becoming the poet who would forever change the way young writers learn to express their discontent with the world. ◀
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SUNLIGHT JR. SUNLIGHTJR.COM
“SCARY, SUSPENSEFUL AND SHOCKINGLY INTENSE. IT’S QUITE A SPECTACLE, WATCHING LANCE ARMSTRONG LIE HIS ASS OFF.”
-Joe Morgenstern, WALL STREET JOURNAL
THE ARMSTRONG LIE WRITTEN AND DIRECTED BY ALEX GIBNEY
Santa Fe Jewish Film Festival presents
This advertisement printed in 2013
-Peter Travers, ROLLING STONE
“FASCINATING. TRULY SINGULAR, A TALE OF AMBITION THAT’S ALMOST MAD ENOUGH TO BE MYTHIC.”
The Chosen: A Mini Festival of New Israeli Cinema Featuring
ROOM 514
6:00p Saturday, November 23! With a Special Guest!! &
LIFE IN STILLS
4:00p Sunday, November 24
With Skype to Ben Peters (film’s star!) Advance tickets recommended by going to santafejff.org/tickets
Fri Nov 22
Sat Nov 23
Sun Nov 24
11:15a - Herb & Dorothy* 12:15p - Blue 1:15p - Design Is One* 3:00p - Wadjda* 3:45p - Blue 5:15p - Sunlight Jr.* 7:15p - Blue 7:45p - Wadjda*
11:15a - Herb & Dorothy* 12:00p - Wadjda 1:15p - Design Is One* 2:15p - Blue 3:00p - Wadjda* 5:15p - Wadjda* 6:00p - SFJFF: Room 514 8:00p - Sunlight Jr.* 8:15p - Blue
11:15a - Herb and Dorothy* 12:15p - Blue 1:15p - Design Is One* 3:15p - Wadjda* 4:00p - SFJFF: Life in Stills 5:30p - Wadjda* 7:15p - Blue 8:00p - Sunlight Jr.*
* indicates shows will be in The Studio, our new screening room for $8.00, or $6.00 CCA Members!
Mon-Tues Nov 25-26
Wed Nov 27
12:15p - Blue 12:15p - Blue 12:45p - Armstrong Lie* 1:15p - Design Is 3:15p - Armstrong Lie* One* 3:45p - Blue 3:00p - Wadjda* 5:45p - Armstrong Lie* 3:45p - Blue 7:15p - Blue 5:30p - Wadjda* 8:15p - Sunlight Jr. 7:15p - Blue Thurs Nov 28 8:00p - Sunlight Jr.* Cinematheque closed, Happy Thanksgiving!!
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movIng Images film reviews
Scraping by, together Robert Ker I For The New Mexican Sunlight Jr., drama, not rated, Center for Contemporary Arts, 3 chiles America’s poor are disappearing even as the number of people living in poverty grows — they are not visible in the media or in the national discourse, as the concerns of middle-class consumers frequently dominate the headlines. Both main political parties seem to downplay the problems of the poor, lest they get blamed for them or are held accountable for the lack of solutions. The working poor aren’t very visible in entertainment, either — aside from the occasional film such as Winter’s Bone, what we see in movies and TV shows are people who are happy and if not rich then at least comfortable. But writer and director Laurie Collyer looks in the direction of the poor for her second featurelength narrative film. Naomi Watts and Matt Dillon play a Florida couple who attempt to make ends meet on minimum-wage jobs and meager government benefits. Livable wages and affordable housing have eluded them, and they have taken up residence in a rundown motel in the midst of a wasteland of strip malls. Watts’ Melissa works in a convenience store called the Sunlight Jr. and fends off severe harassment from an ex-boyfriend (Norman Reedus) while trying to convince her sleazy manager (Antoni Corone) to keep her off the night shift and get her into the company’s college-training program. Dillon’s Richie takes the punches harder, experiencing victimization and emasculation that
Norman Reedus
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PASATIEMPO I November 22-28, 2013
Love on a shoestring: Naomi Watts and Matt Dillon
he feels he must compensate for. Both actors are outstanding, with Watts shedding her easy glamor (she’s currently starring as Princess Diana in Diana) and investing in the character; Melissa wears each tough break on her face. Dillon reminds us how good an actor he is, projecting a generous spirit while internalizing his self-loathing. In spite of it all, the two people take comfort in each other, using their motel room as a refuge where they can enjoy their booze and rollicking sex life. When Melissa becomes pregnant, it is a cause for joy and a hope for a new beginning. At least at the film’s outset, these two people see their circumstances as temporary and resourcefully play the angles available to them, even as those angles dissipate one by one. When you’re living paycheck to paycheck and don’t have stable housing, life’s rules have a way of changing every day; it’s a game that’s nearly impossible to win. The film is mostly about how Melissa and Richie react to a life with more chutes than ladders. Collyer, in her first feature film since 2006’s Maggie Gyllenhaal vehicle Sherrybaby, approaches the film with a writer’s affection for her characters and a journalist’s eye for detail — she has cited Barbara Ehrenreich’s book Nickel and Dimed: On (Not) Getting By in America as an influence on the film. These approaches to such serious material are rife with their own pitfalls, as the former can cause Collyer to veer dangerously close to melodrama, while the latter can make the film feel like an exposé on society’s ills. Indeed, Collyer nearly overstuffs the film with a checklist of issues ranging from the environment to healthcare to abortion to drug addiction.
It helps that the film looks and sounds terrific. Cinematographer Igor Martinovic, who mostly works in documentary, shows a keen eye for storytelling and capturing the Floridian sunshine, dark motel rooms, and the eerie glow of convenience-store fluorescents. He and Collyer make sure to include a little bit of the nature that pops up in the stripmall wasteland, perhaps specifically to show how unnatural the characters’ whole lifestyle is. Guitarist J. Mascis of Dinosaur Jr. provides a moody score, reminiscent of Neil Young’s work on Jim Jarmusch’s Dead Man. One thing Collyer accomplishes is showing the lie of the “welfare queen” myth. Many scenes in the film’s second half take place in the shabby apartment of Melissa’s mother (Tess Harper). Stuffed with malnourished foster children, littered with garbage and beat-up furniture, and preyed on by shady characters, this is not a place where one can find happiness. These scenes occasionally veer into caricature but don’t veer far from many people’s reality. As a final aside, a bleak look into the lives of America’s poor — dank motel rooms strewn with empty bottles and shoddy apartments with stained carpets — is underserved by the digital, highdefinition technology used to shoot modern movies. I am not a film purist; I support filmmakers’ affordable and practical access to tools and I applaud necessary efforts by arthouse theaters to convert to digital projection, but in movies like Sunlight Jr. you miss the warmth of film. HD is not the technology of realism; it looks too sharp and harsh and undermines any emotional investment we might hope to feel. ◀
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StartS todaY in tHeaterS everYWHere check local listings For theater locations and showtimes
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CRITIC’S PICK. AMAZING...ROBERT REDFORD GIVES THE PERFORMANCE OF HIS LIFE. A.O. Scott, The New York Times
Fri at 1:30, 3:45 and 7:45 • Sat at 11:15, 1:30, 3:45 and 7:45 Mon at 3:45 and 7:45 Tues, Wed and Thurs at 1:30, 3:45 and 7:45
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PERFORMANCE AT THE SCREEN
Fri through Thurs at 6:00
Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®
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Sunday: 11:00 AM SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com
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Arts & Crafts Fair Date: November 23, 2013 Time: 9:00 a.m. to 4:00 p.m. GONZALES COMMUNITY SCHOOL 851 W. Alameda, Santa fe The Native American Student Services
Holiday Treats
Program will have their Annual ARTS &
Silent Auction
CRAFTS FAIR on Saturday, November
Over 40 Vendors!
23, 2013. Booth Rentals are $25.00.
Fry Bread Sale & much more!
Call 467-2547 to receive a vendor booth application. Proceeds benefit SFPS Native American students.
Garcia Street Books is having a Holiday Sale!
One Day Only!
Come in Saturday, November 23rd, for 25% off all books, calendars, and cards!
a rt - a rc H i t e c t u r e - l i t e r at u r e - St y le - S ou t H w e St n ew fiction a n d non - f ic t ion
376 Garcia Street • Santa Fe, NM 87501 • 505-986-0151 (next to Downtown Subscription and Photo-Eye)
Open seven days 9-6 • www.garciastreetbooks.com
Market Fresh Cooking Thanksgiving Series at the Santa Fe Farmers Market
10:00 am Tuesday, November 26th In the Farmers Market Pavilion
Come enjoy a cooking demonstation by:
Valeria Alarcon Health Coach and Nutritionist, AADP
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PASATIEMPO I November 22-28, 2013
Frozen moments Paul Weideman I The New Mexican Life in Stills, documentary, no rating, in Hebrew and German with subtitles, Center for Contemporary Arts, 3.5 chiles Old hands look through carefully wrapped and filed negatives. We see some of the images: still photographs by Rudi Weissenstein of Tel Aviv’s Ben Peter and Miriam Weissenstein busy Magen David and Herbert Samuel public squares. A young man is telling his grandmother that when people come into the shop to buy photographs, she shouldn’t wonder aloud why they don’t leave. This is Miriam Weissenstein, the photographer’s widow, talking with her daughter’s boy, Ben Peter. Miriam and Ben are the focus of this beautiful 2011 film, screening at the Center for Contemporary Arts as part of the Santa Fe Jewish Film Festival. The setting is the “Photo House,” Weissenstein’s 73-year-old studio and shop. Filmmaker Tamar Tal cuts to the store full of people. Miriam, 96, spends much of her time explaining what street scenes, which buildings, the visitors are looking at in the photos. Alone later with Miriam, Ben is showing her how their website works, how people can search for and order photos. She doesn’t like any of it. Over the sound of their arguing proceeds a parade of wonderful photographs: people at the large, outdoor Gordon Pool (1957), the architecturally unique Mugrabi Cinema (1936), and Dizengoff Square in winter (1950) and summer (1964). These are a few of the approximately one million images in the Weissenstein archive. Public interest in them is high, but the 1940 shop is less valued by the Tel Aviv government, which plans to raze it to build a six-story building. That’s one of the film’s subplots. Another is no less wrenching. After witnessing scenes from an old home movie, we find out that, four years before, Ben’s father shot his mother, and then himself. He and his grandmother don’t talk about it. “She always says mean things about my dad, which I don’t want to hear.” “But he murdered my child!” Miriam tells the filmmaker. “How can I not talk badly about him?” The director captures the natural rhythm of his two subjects’ love and their feistiness. In one gentle moment, Ben pets a luxurious cat as she watches, smiling. Then they’re trying to talk about the family tragedy, arguing about whether or not his father was a loser. The filmmaker peppers the story with marvelous Weissenstein stills, among them New Immigrants, 1938; Refugee Boat, 1939; Speech by Golda Meir, 1937; Laundry Girls, 1947; and Fishermen in Jaffa, 1969. There’s also an exhilarating and stylish photo of Miriam as a young girl, jumping in the air. The film ends with the eviction letter and the news that they can move back in three years. Ben takes his grandmother to show her around the temporary storage space he has found, then sets about putting all the catalogs, prints, and negatives in boxes. “It sounds like we can manage,” she says bravely. The original music by Alberto Shwartz is lovely and heartbreaking as we see her watching workers take apart the old shop. ◀
PE T OU S & TD OO R
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RESTAURANT REVIEW Laurel Gladden I For The New Mexican
Southside comforts
Plaza Café Southside 3466 Zafarano Drive, 505-424-0755 Breakfast, lunch & dinner 7 a.m.-9 p.m. Mondays-Thursdays, 7 a.m.-10 p.m. Fridays, 8 a.m.-10 p.m. Saturdays, 8 a.m.-9 p.m. Sundays Takeout available Vegetarian options Handicapped-accessible Noise level: moderate to boisterous Patio dining in season Full bar Credit cards, no checks
•
The Short Order A charming establishment with a ‘50s-era dinerlike ambience, Plaza Café Southside is an anchor among the restaurants congregating around the Regal Stadium 14 theater. With its wide-ranging menu — offering breakfast all day and night, sandwiches, tacos, enchiladas, fajitas, burgers, melts, the newsworthy Frito pie, salads, steak, chicken, and fish — and its efficient, usually friendly staff, it’s worth going out of the way for. Sweets here may make you want to heed popular advice and eat dessert first. Recommended: posole rojo, fish tacos, fish and chips, bowl of green chile, ACE BLT, green-chile apple pie, and cuatro leches cupcake.
Ratings range from 0 to 4 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.
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PASATIEMPO I November 22-28, 2013
In a fit of YOLO sentiment, some people insist, “Life is short. Eat dessert first!” Not having much of a sweet tooth, I don’t generally heed that advice, but the dessert case at Plaza Café Southside could change my tune. A charming establishment with a ’50s-era dinerlike ambience, Plaza Café Southside is an anchor among the restaurants and cafés congregating around the Regal Stadium 14 theater. Though I rarely think of these places if I’m not going to the movies, I would go out of my way for Plaza Café Southside, though — and not just for dessert. The menu runs a wide gamut, including everything from pancakes and egg dishes — breakfast is served all day and night — to sandwiches, tacos, enchiladas, fajitas, burgers (including a house-made quinoa version), melts, the newsworthy Frito pie, salads, steak, chicken, and fish. You’ll detect a mild Greek influence in dishes like the hummus plate, the Middle Eastern and chicken souvlaki salads, and the indulgent Greek fries (something akin to poutine, this is a pile of fries dressed with an olive-oil-lemon-caper sauce and topped with salty, crumbly myzithra cheese). You can order a margarita, a martini, wine or beer, horchata, prickly pear lemonade, espresso, a root-beer float, a vanilla malt, or a red-velvet-cake shake. The restaurant makes a point of telling you, in tiny type, a few things it is proud of: its support of the farmto-table program, its use of local grass-fed antibiotic-free beef and cage-free eggs, and the fact that all of its pastries, desserts, and breads are house-made daily. The café doesn’t take a lot of shortcuts. Hash browns, for example, aren’t pulled from a bag of frozen, preshredded spuds. The jalapeño malt vinegar offered for dunking your super-crisp fried fish is infused in-house — you might spy seeds and pieces of vegetal pulp floating in the little glass cup. Service is efficient and speedy, with personalities that range from no-nonsense and businesslike to friendly and familial. Across the board, servings are generous, almost to a fault. The posole rojo could probably feed a family of four. It’s an enormous bowl of pork, hominy, and red-chile stew that hits all the comfort-food buttons: warm, thick but still slurpable, spicy but not searingly so, starchy, meaty but not fatty, and filling. Traditional garnishes like cilantro, cabbage, lemon, diced red onion, and giant corn tortilla chips add distinctive flavors as well as a welcome variety of textures and some snappy crunch. No vegetarian will go hungry with the Middle Eastern salad. In addition to a heap of fresh, crisp greens, crunchy purple cabbage, and jewel-like roasted carrots and beets, you’ll need to find tummy room for four garlicky quinoaenhanced falafel balls, a mountain of chunky hummus, and a stack of house-made pita bread. The calamari appetizer was the most modest dish we tried, a reasonable portion of lightly battered squid tumbled together with strips and rings of sometimes-spicy jalapeño. The habanero dipping sauce added more heat and a pleasant creaminess, but the black chile oil didn’t compute. Several types of tacos are on the menu. The best in my experience are the Baja-style fish, flaky white cod breaded
lightly and fried till ideally crisp — which it stays, even inside a tortilla and topped with a creamy sauce, cabbage, tomato, pickled onion, avocado, and salsa or pico de gallo. The ACE BLT (A stands for avocado, C for cheddar, E for fried egg, and the rest you should know) is a rainbow of a sandwich, with ruby-red tomato, bright orange cheese, a golden egg yolk, fresh spring-green lettuce, and buttery avocado. It’s typically served on sourdough, but try it on the green-chile-cheese bread for a little extra zing. New Mexico isn’t exactly known for its fish and chips, but the hunks of beer-battered cod served here might satisfy the choosiest of Brits. A traditionalist might blanch at the habanero tartar sauce, the jalapeño-infused malt vinegar, or the dusting of red chile on the fries. The welcome, well-balanced spice and the chips’ fluffy potato centers and complete lack of greasiness would win him over. This Southern girl can’t abide overly sweet mayonnaisey slaw; Plaza Café Southside’s, though, has a light oil-and-vinegar dressing with caraway seeds adding an intriguing sweet hint of anise. Now about those desserts. Sweetness and tart fruitiness balance out the heat in a towering pie of still-slightly-firm apple and spicy roasted green chile, while a generous dose of cinnamon offers a warmth of its own. In the weightiest cupcake I’ve ever held, vanilla cake is sodden with not tres but cuatro leches — they pool in the bottom of the shiny foil wrapper as you peel it away. It’s an uber-rich and decadent undertaking, which should come as no surprise, but what might is that it is not overly sweet, the dulce de leche filling notwithstanding. It’s true that life is short, and especially during the impending holiday season, our schedules will be packed. But a slice of that pie or that hefty cupcake — those are worth making time for. ◀
Check, please
Dinner for two at Plaza Café Southside: Calamari and jalapeños ..........................................$ 4.99 Posole rojo ..............................................................$ 9.95 Mediterranean salad ...............................................$12.95 Green-chile apple pie ..............................................$ 5.95 Two Marble Brewery Happy Camper IPAs ..............$ 9.50 TOTAL ....................................................................$43.34 (before tax and tip) Lunch for two, another visit: Spicy fish and chips ................................................$15.95 ACE BLT .................................................................$12.95 Cuatro leches cupcake ............................................$ 2.70 TOTAL ....................................................................$31.60 (before tax and tip)
Making AV Look Good in Your Home Saturday, November 23 @ 10AM Join us and a panel of local experts as we discuss tips, tricks, and special methods for integrating technology flawlessly into your home without wreaking your decor.
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the chocolate trail • mis crismes • christmas at the pueblos
feliz navidad
Winter 2013-14 • The Santa Fe New Mexican • santafenewmexican.com
SUNDAY, NOVEMBER 24 in the
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PASATIEMPO I November 22 - 28, 2013
You turn to us.
pasa week Friday, Nov. 22
When the Stars Trembled in Río Puerco, proceeds support a full production of the play based on García’s work, visit teatroparaguas.org for details, 7 p.m., Teatro Paraguas Studio, 3205 Calle Marie, no charge.
GALLERY/MUSEUM OPENINGS
Art Exchange Gallery 60 E. San Francisco St., 505-603-4485. Rivers and Other Places, paintings by Jeff Tabor, reception 3-5 p.m., through Dec. 12. Eight Modern 231 Delgado St., 505-995-0231. Part and Parcel, paintings by Rebecca Shore, reception 5-7 p.m., through Jan. 11. Fine Arts Gallery Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 505-473-6440. Pink Lady, BFA thesis work by graduating senior Jessi Gulliford, reception 5:30-6:30 p.m. Heidi Loewen Porcelain Gallery 315 Johnson St., 505-988-2225. Snow White, sculptural vessels by Loewen, reception 5-8 p.m., through December. Rock Paper Scissor Salonspa 500 Montezuma Ave., Sanbusco Market Center, 505-955-8500. Sailing Taos, work by painter/metalsmith Thom Wheeler; Meditations, photographs by Patti Zolnick, reception 5-7 p.m., through December. Santa Fe Community Gallery Santa Fe Community Convention Center, 201 W. Marcy St., 505-955-6705. In/Visible Borders: New Mexico Photographers, works by Carlan Tapp, Patrick Nagatani, and Norman Mauskopf, reception 5-7 p.m., through Feb. 21. Than Povi Fine Art Gallery 6 Banana Ln., 10 miles north of Santa Fe off US 84/285, 505-455-9988. Linda Lomahaftewa: Works on Paper, through Jan. 10. Turner Carroll 725 Canyon Road, 505-986-9800. Idle Hands, group show of works by gallery artists, reception 5-7 p.m., through Jan. 15.
BOOKS/TALKS
The Age of Chronos and the Age of Zeus St. John’s College tutor Janet Dougherty summarizes Plato’s dialogue, Statesman, 7:30 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, no charge. JFK Assassination: 50 Years After the Coup David Brownlow, Dwight Loop, Dean Balsamo present historical and anecdotal information with video clips and commentary, 6 p.m., Jean Cocteau Cinema, 418 Montezuma Ave., $8 at the door.
EVENTS
CLASSICAL MUSIC
Music on Barcelona Bach and Francaix flute trios and the Black Mesa Brass Quintet performing selections from Porgy and Bess, 5:30 p.m., Unitarian Univeralist Congregation of Santa Fe, 107 W. Barcelona Rd., donations accepted. TGIF organ recital David Beatty performs music of Dupre, Beatty, and Wold, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated.
IN CONCERT
Santa Fe Music Collective vocal series Catherine Donavon with Brian Bennett on piano, Andy Zadrozny on bass, and John Trentacosta on drums, 7 p.m., Museum Hill Café, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.orgf.
THEATER/DANCE
The Actor’s Nightmare A play by Christopher Durang, 7 p.m., Capital High School, 4851 Paseo del Sol, $5 at the door, students $3.
Pasa’s Little Black Book......... 50 Elsewhere............................ 52 People Who Need People..... 52 Under 21............................. 52 Pasa Kids............................ 52
compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
Radius Books shows work by photographer Janet Russek, 227 E. Palace Ave.
Baby With the Bathwater A comic look at parenting presented by Desert Academy Performing Arts, Atrium Theater, 7 p.m., Desert Academy, 7300 Old Santa Fe Trail, $8, students $5. Dearly Departed Santa Fe Prep Theater presents a comedy by David Bottrell and Jessie Jones, 7:30 p.m., Theater, 1101 Camino de la Cruz Blanca, $7 at the door, students and seniors $5. The Jungle Book Pandemonium Productions presents the musical based on the 1967 Disney film at New Mexico School for the Deaf, 7 p.m., James A. Little Theater, 1060 Cerrillos Rd., tickets available online at pandemoniumprod.org or call 505-982-3327.
In the Wings....................... 53 At the Galleries.................... 54 Libraries.............................. 54 Museums & Art Spaces........ 54 Exhibitionism...................... 55
Many Hands, Many Feet Bellydance showcase and bazaar, 7:30 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, $10-$20 sliding scale, ages 11 and under no charge. Our Lady of 121st Street Stephen Adly Guirgis’ comedy about a missing corpse, 7 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12-$15, discounts available, ticketssantafe.org, 505-988-1234. Under One Umbrella Festival The community is invited to share five- to tenminute creativity-themed performances and join in a conversation with historian Nasario García; also, a preview of select scenes from the play
Contemporary Clay Fair Works by 30 New Mexico artists; gala opening 4-7 p.m., continues Saturday and Sunday, Santa Fe Woman’s Club, 1616 Old Pecos Trail, no charge, contemporaryclayfair.com. From Zapruder to Taksim Square An event marking the 50th anniversary of the Kennedy assassination, featuring journalists Richard Stolley and Hal Wingo, who reported on the assassination from Dallas and Washington, D.C., includes a screening of the documentary Zapruder and Stolley: Witness to an Assassination followed by a panel discussion, 7 p.m., the Lensic, no charge. Honor the Treaties Performance titled The Last Indian on Earth by artist Gregg Deal, followed by a panel discussion including Nani Chacon, Ernesto Yerena, Jaque Fragua, and Deal, 5-7 p.m., Museum of Contemporary Native Arts, 108 Cathedral Place, no charge. Mandala sand painting The monks of Drepung Loseling Monastery construct an sand mandala for environmental healing, 10 a.m.-5 p.m., Wednesdays-Sundays through Dec. 8, Seret & Sons Gallery, 121 Sandoval St., mysticalartsoftibet.org, no charge. Dance workshops Held in conjuntion with the Many Hands, Many Feet dance festival; full schedule and details available online at manyhandsmanyfeet.com, El Museo Cultural de Santa Fe, 555 Camino de la Familia, $30-$40. Pueblo of Tesuque Flea Market Friday-Sunday through the year, 9 a.m.-4 p.m., Pueblo of Tesuque Flea Market, 15 Flea Market Rd., no charge, pueblooftesuquefleamarket.com. ▶▶▶▶▶▶▶▶
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. 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. PASATIEMPOMAGAZINE.COM
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NIGHTLIFE
(See addresses below) Chispa! at El Mesón Three Faces of Jazz, 7:30 p.m., no cover. Cowgirl BBQ Singer/songwriter D. Henry Fenton, 5-7:30 p.m.; Sean Healen Band, local rockers, 8:30 p.m.-close, no cover. El Farol Baracutanga, salsa merengue, 9 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. Second Street Brewery Country Blues Revue, 6-9 p.m., no cover. Second Street Brewery at the Railyard Andy Primm, pop-rock, 7 p.m., no cover. The Palace Restaurant & Saloon C.S. Rockshow, Don Curry, Pete Springer, and Ron Crowder, 9:30 p.m., call for cover. Tiny’s Underground Cadence, rock and R & B, 8:30 p.m., no cover.
23 Saturday GaLLERy/MuSEuM oPENINGS
Nedra Matteucci Galleries 1075 Paseo de Peralta, 982-4631. Leon Gaspard: Impressions of Russia and the Faraway, retrospective exhibit, reception 2-4 p.m., through December.
IN CoNCERT
High Mayhem Fall Concert Series 2013 Performances by Al Faaet’s Elemental Orchestra, Alchemical Burn, We Drew Lightening, and Disasterman, 7 p.m., High Mayhem Emerging Arts, 2811 Siler Ln, $10 suggested donation.
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PASATIEMPO I November 22-28, 2013
THEaTER/DaNCE
The Actor’s Nightmare A play by Christopher Durang, 2 and 7 p.m., Capital High School, 4851 Paseo del Sol, $5 at the door, students $3. Dearly Departed Santa Fe Prep Theater presents a comedy by David Bottrell and Jessie Jones, 7:30 p.m., Theater, 1101 Camino de la Cruz Blanca, $7 at the door, students and seniors $5. The Hobbit Santa Fe Performing Arts’ City Different Players (ages 7 to 12) present J.R.R. Tolkien’s classic for the stage, 2 p.m., Armory for the Arts, 1050 Old Pecos Trail, $8, 505-984-1370. The Jungle Book Pandemonium Productions presents the musical based on the 1967 Disney film at New Mexico School for the Deaf, 2 p.m., James A. Little Theater, 1060 Cerrillos Rd., call 505-982-3327 for tickets or visit pandemoniumprod.org. Our Lady of 121st Street Stephen Adly Guirgis’ comedy about a missing corpse, 7 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12-$15, discounts available, ticketssantafe.org, 505-988-1234. Second annual Storytelling Feast Storytellers Joe Hayes, Gail Marriner, Steven Pla, Mary Ellen Gonzales, and Cynthia Dobson spin tales in support of The Food Depot, 3-4:30 p.m., La Tienda Performance Space, 7 Caliente Rd., Eldorado, donations of food or money accepted. The Secret War Monologist Mike Daisey’s new work exploring national security, privacy, and freedom, 7 p.m., the Lensic, $10-$20, ticketssantafe.org, 505-988-1234.
Pasa’s little black book Spa Eldorado Hotel & St., 505-988-4455 o 309 W. San Francisc El Farol 5-983-9912 808 Canyon Rd., 50 ill El Paseo Bar & Gr 92-2848 5-9 50 , St. teo 208 Galis Evangelo’s o St., 505-982-9014 200 W. San Francisc erging arts High Mayhem Em -2047 38 5-4 2811 Siler Ln., 50 Hotel Santa Fe ta, 505-982-1200 1501 Paseo de Peral asters Iconik Coffee Ro -0996 28 5-4 50 , St. na 1600 Le ca La Bo 5-982-3433 72 W. Marcy St., 50 ina La Casa Sena Cant 5-988-9232 50 125 E. Palace Ave., at La Fonda La Fiesta Lounge , 505-982-5511 St. o 100 E. San Francisc a Fe Resort nt La Posada de Sa Ave., 505-986-0000 e lac Pa E. 0 33 a and Sp ar g ts Center Lensic Performin St., 505-988-1234 o isc nc Fra n 211 W. Sa e Lodge Th at ge un Lo Lodge Francis Dr., St. N. 0 at Santa Fe 75 505-992-5800
under one umbrella Festival Community conversation/open-mic and un cafecito with Teatro artists and Nasario García, 1-6 p.m., visit teatroparaguas.org for details, Teatro Paraguas Studio, 3205 Calle Marie, no charge.
BooKS/TaLKS
Hallelujah! The Making of Messiah A discussion with Santa Fe Symphony guest conductor Tom Hall and Talitha Arnold, 7 p.m., United Church of Santa Fe, 1804 Arroyo Chamiso, $5 suggested donation benefits Esperanza Shelter for Battered Families. Stacia Spragg-Braude The writer and photographer discusses her book If There’s Squash Bugs in Heaven, I Ain’t Staying: Learning to Make the Perfect Pie, Sing When You Need to, and Find the Way Home with Farmer Evelyn, 4 p.m., Collected Works Bookstore, 202 Galisteo St., no charge, 505-988-4226 (see story, Page 34).
EVENTS
annual pre-Thanksgiving book sale Hard covers $1, paperbacks three for $1, Sunday is bag day (all you can fit for $3), 10 a.m.-4 p.m., Santa Fe Public Library, La Farge Branch, 730 Llano St., no charge. Contemporary Clay Fair Works by 30 New Mexico artists; 10 a.m.-5 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, no charge, contemporaryclayfair.com. Contra Dance New England-Style folk dance with music by the Jolly Republicans, beginners class 7 p.m., dance 7:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $9, students $5, 505-820-3535.
Low ’n Slow Lowrider Bar at Hotel Chimayó de Santa Fe 125 Washington Ave., 505-988-4900 The Matador 116 W. San Francisco St., 505-984-5050 The Mine Shaft Tavern 2846 NM 14, Madrid, 505-473-0743 Museum Hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Garrett’s Desert Inn 311 Old Santa Fe Trail, 505-982-1851 omira Bar & Grill 1005 S. St. Francis St., 505-780-5483 The 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
Holiday fair at St. Mike’s Arts & crafts and food fair featuring handcrafted jewelry, scarfs, and paintings, 9 a.m.-4 p.m., St. Michael’s High School, 100 Siringo Rd., no charge. Dance workshops Held in conjunction with the Many Hands, Many Feet bellydance festival; times vary, visit manyhandsmanyfeet.com for full schedule and details, El Museo Cultural de Santa Fe, 555 Camino de la Familia, $30-$40. Santa Fe artists Market 8 a.m.-1 p.m. Saturdays through November, 505-310-1555, Railyard Plaza and Farmers Market Pavilion, 1607 Paseo de Peralta, no charge. Santa Fe Farmers Market 8 a.m.-1 p.m., santafefarmersmarket.com, Railyard Plaza and Farmers Market Pavilion, 1607 Paseo de Peralta, no charge. Silver anniversary aID & Comfort Gala Presented by Southwest CARE Center; featuring theatrical singer Prince Poppycock, and a silent auction, 8 p.m., Eldorado Hotel & Spa, 309 W. San Francisco St., $50, 505-989-9255, southwestcare.org (see story, Page 28). Trader Walt’s Southwestern & International Marketplace More than 100 vendor booths with antiques, folk and fine art, books, jewelry, and snacks, 8 a.m.-3 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, no charge.
NIGHTLIFE
(See Page 50 for addresses) anasazi Restaurant & Bar Guitarist Jesus Bas, 7-10 p.m., no cover.
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., Suite 117, 505-988-7102 Thunderbird Bar & Grill 50 Lincoln Ave., 505-490-6550 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
NIGHTLIFE
Chispa! at El Mesón Andy Kingston Trio, rock-tinged jazz and standards, 7:30 p.m., no cover. Cowgirl BBQ Hot Club of Santa Fe, Gypsy jazz and bluegrass, 2-5 p.m.; Broomdust Caravan, juke joint honky-tonk and biker bar rock, 8:30p. m.-close, no cover. El Farol Sister Mary Band, rock and roll, 9 p.m., no cover. Hotel Santa Fe Guitarist/flutist Ronald Roybal, 7-9 p.m., no cover. Mine Shaft Tavern HonkyTonk Deluxe, pure country, 7-11 p.m., call for cover. Pranzo Italian Grill Pianist David Geist and vocalist Julie Trujillo, 6-9 p.m., call for cover. Second Street Brewery Roots-rock guitarist Jono Manson, 7 p.m., no cover. Second Street Brewery MVIII Jazz Project, 6-9 p.m., no cover. Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m., no cover. Vanessie Pianist Bob Finnie, 6 p.m., call for cover.
(See Page 50 for addresses) Cowgirl BBQ Broomdust Family Revival, cosmic acoustic country/gospel/blues, noon3 p.m., multi-instrumentalist Gerry Carthy, 8 p.m.-close, 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 Sundays: Ramon Bermudez Trio, 11:30 a.m.-1:30 p.m., no cover. La Posada de Santa Fe Resort and Spa Cowboy singer and guitarist Wiley Jim, 7 p.m., no cover. Vanessie Doug Montgomery, piano and vocals, 6-10 p.m., call for cover.
25 Monday BOOKS/TALKS
Southwest Seminars lecture series The First Great Exchange: Documenting the Movement of People, Plants, and Animals Between Africa and Asia, a talk by Henry Wright, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door.
24 Sunday
EVENTS
CLASSICAL MUSIC
Weekly all-ages informal swing dances Lessons 7-8 p.m., dance 8-10 p.m., 7 p.m., Odd Fellows Hall, 1125 Cerrillos Rd, dance only $3, lesson and dance $8, 505-473-0955.
Santa Fe Community Orchestra Michael Bowen’s Land of Enchantment and guest soloist Dana Winograd performing with Gonzales Community School students and SFCO, 2:30 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations appreciated. Santa Fe Symphony Orchestra & Chorus Handel’s Messiah, 4 p.m., pre-concert lecture 3 p.m., the Lensic, $20-$70, ticketssantafe.org, 505-988-1234. Serenata of Santa Fe Windstream, music of Beethoven, Thuille, and Poulenc, 3 p.m., Scottish Rite Center, 463 Paseo de Peralta, $25; discounts available, 505-989-7988, 505-988-1234, ticketssantafe.org.
THEATER/DANCE
Our Lady of 121st Street Stephen Adly Guirgis’ comedy about a missing corpse, 2 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12-$15, discounts available, ticketssantafe.org, 505-988-1234. Dearly Departed Santa Fe Prep Theater presents a comedy by David Bottrell and Jessie Jones, 2 p.m., 1101 Camino de la Cruz Blanca, $7 at the door, students and seniors $5. The Hobbit Santa Fe Performing Arts’ City Different Players (ages 7 to 12) present J.R.R. Tolkien’s classic, 2 p.m., Armory for the Arts, 1050 Old Pecos Trail, $8, 505-984-1370. Jules Works Follies Twentieth Edition The monthly variety show series continues with Joe West, Greg Turner, Trent Zelanzy, and others, 6 p.m., Jean Cocteau Cinema, 418 Montezuma Ave., $7 suggested donation at the door. The Jungle Book Pandemonium Productions presents the musical based on the 1967 Disney film at New Mexico School for the Deaf, 2 p.m., James A. Little Theater, 1060 Cerrillos Rd., call 505-982-3327 for tickets or visit pandemoniumprod.org.
NIGHTLIFE
(See Page 50 for addresses) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, weekly, 9 p.m., no cover. El Farol Jazz saxophonist Trey Keepin, 7 p.m., no cover. Vanessie Doug Montgomery, piano and vocals, 6-10 p.m., call for cover.
26 Tuesday EVENTS
Lunar Safe Place, by David Rudolph, Abbate Fine Art, 713 Canyon Rd.
Unexpected! A performance by local stand-up comedian Lucas Corvatta, 7 p.m., Cowgirl BBQ, 319 S. Guadalupe St., $10 in advance online at lucascorvatta.com.
BOOKS/TALKS
Elaine Pinkerton Coleman and Jann Arrington Wolcott The authors present A WWII Adoption Story, a reading and book signing event in support of local youth shelters, 3 p.m., Op. Cit. Bookstore, 500 Montezuma Ave., Suite 101, Sanbusco Center, no charge. Janet Russek: The Tenuous Stem The local photographer celebrates the launch of her monograph with an exhibit and signing, 2-4 p.m., Radius Books, 227 E. Palace Ave. Santa Fe Poets 2 Poetry reading series hosted by Santa Fe Poet Laureate Jon Davis joined by local poets, 3-4:30 p.m., Institute of American Indian Arts, 83 Avan Nu Po Road, no charge (see Subtexts, Page 16).
EVENTS
Annual pre-Thanksgiving book sale Bag day (all you can fit for $3), 1-3:30 p.m., Santa Fe Public Library, La Farge Branch, 1730 Llano St., no charge.
Contemporary Clay Fair Works by 30 New Mexico artists; 10 a.m.5 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, no charge, contemporaryclayfair.com. Israeli dances Weekly on Sundays, 8 p.m., Odd Fellows Hall, 1125 Cerrillos Rd, $5 donation at the door, call 505-466-2920 for details. Dance workshops Held in conjunction with the Many Hands, Many Feet bellydance festival; times vary, visit manyhandsmanyfeet.com for full schedule and details, El Museo Cultural de Santa Fe, 555 Camino de la Familia, $30-$40. R. Eric Gustafson The author discusses Last Guy Waltzing: A Tale of Reinvention, 2 p.m., Collected Works Bookstore, 202 Galisteo St., no charge. Railyard Artisan Market 10 a.m.-4 p.m., 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.
International folk dances Weekly on Tuesdays, lessons 7 p.m., dance 8 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5 donation at the door, call 505-501-5081 or 505-466-2920 for details. Santa Fe Farmers Market 8 a.m.-1 p.m., santafefarmersmarket.com, Railyard Plaza and Farmers Market Pavilion, 1607 Paseo de Peralta, no charge.
NIGHTLIFE
(See Page 50 for addresses) Cowgirl BBQ Folk-roots singer/songwriters Kevin & Faith, 8 p.m.-close, 8 p.m., no cover. El Farol Canyon Road Blues Jam, 8:30 p.m., no cover. Vanessie Doug Montgomery, piano and vocals; Bob Finnie, Great American Songbook, ’60s and ’70s pop, 6-11 p.m., call for cover.
27 Wednesday BOOKS/TALKS
Curator’s talk Gallery discussion, 12:30 p.m., Georgia O’Keeffe Museum, 217 Johnson St., by museum admission. ▶▶▶▶▶▶▶▶
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tAos
Wednesday Spotlight Tour Docent-led talk on 19th-century photographer Julia Margaret Cameron, 12:15 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., by museum admission, nmartmuseum.org.
Harwood Museum of Art 38 Ledoux St., 575-758-9826. The Harwoods: Burt Harwood • Historic Photographs • Highlights From the Taos Municipal Schools Historic Art Collection; full schedule of ancillary events available online at harwoodmuseum.org. Open 10 a.m.-5 p.m. Tuesday-Saturday, noon5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday. 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, 10 a.m.-4 p.m. Tuesday-Sunday, by museum admission.
evenTS
Tibetan monks chanting prayers Held in conjunction with the annual environmental sand mandala creation, 5:30 p.m., Upaya Zen Center, 1404 Cerro Gordo Rd., donations appreciated.
nIGHTLIFe
(See Page 50 for addresses) Chispa! at el Mesón Chuscales, classic and contemporary flamenco guitar, 7 p.m., no cover. Cowgirl BBQ Kenny Skywolf Band, local bluesman, 8 p.m.-close, no cover. el Farol Nacha Mendez with Santastico, 8 p.m., no cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Posada de Santa Fe Resort and Spa Omar Villanueva, Latin fusion, 7 p.m.-close, no cover. The Pantry Restaurant Acoustic guitar and vocals with Gary Vigil, 6 p.m., no cover. Tiny’s 505 Electric Jam with Nick Wimett and M.C. Clymer, 8 p.m., no cover. vanessie JeM, Americana, folk, and originals; Bob Finnie, Great American Songbook, ’60s and ’70s pop, 6-11 p.m., call for cover.
Talking Heads
▶ people who need people Actors/Filmmakers/Musicians
Taos Art Museum and Fechin House shows work by Eugenie Glaman, 227 Paseo del Pueblo Norte.
28 Thursday nIGHTLIFe
(See Page 50 for addresses) el Farol Guitarras con Sabor, 9 p.m., no cover. La Boca Pan-Latin chanteuse Nacha Mendez, 7 p.m., no cover. La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio with Kanoa Kaluhiwa on sax and Asher Barreras on bass, 6-9 p.m., no cover. Low ‘n’ Slow Lowrider Bar at Hotel Chimayó Guitarist Gerry Carthy, Celtic, Spanish, and classical, 9 p.m., no cover. Omira Bar & Grill Equinox, jazz with Joseph Salack on bass and Lou Levin on keyboard, 6-8 p.m., no cover. The Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m., no cover. The Palace Restaurant & Saloon Limelight karaoke, 9:30 p.m., call for cover.
▶ Elsewhere AlbuquErquE Museums/Art Spaces
Wednesday Spotlight Tour Stop by the New Mexico Museum of Art at 12:15 p.m. Wednesday, Nov. 27, for a brief docent-led talk on the works of 19th-century photographer Julia Margaret Cameron. For a schedule of the weekly series, visit nmartmuseum.org; shown, Ms. Ewen Hay Cameron.
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PASATIEMPO I November 22-28, 2013
516 Arts Art at the Border: 21st-Century Responses, artists address the sociopolitical environment of the U.S.-Mexico border, through Jan. 4. Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-242-4600. Open 9 a.m.-5 p.m. Tuesday-Sunday; adults $4 ($1 discount for NM residents); seniors $2; children ages 4-12 $1; 3 and under no charge; the first Wednesday of the month and 9 a.m.1 p.m. Sundays no charge. Indian Pueblo Cultural Center 240112th St. N.W., 866-855-7902. Two Millenia of Pueblo Weaving, a talk by Laurie Webster, 5:30-7 p.m. Friday, Nov. 22; Third Annual Pueblo Fiber Arts Show, 9 a.m.-4 p.m. Saturday, Nov. 23; Zuni in 1923, films from the A:Shiwi A:wan Museum & Heritage Center, 1:30-4 p.m. Sunday, Nov. 24, $5 at the door, art show and sale no charge.
UnM Art Museum Center for the Arts, 505-277-4001. From Raymond Jonson to Kiki Smith, the museum celebrates its 50th anniversary with exhibits of works from the permanent collection, through Dec. 21 • Andy Warhol’s Snapshots and Takes • From Rembrandt to Pollock to Atget • Agnes Martin: The Early Years 1947-1957 • Life’s a Beach, work by Martin Parr, through Dec. 14. Open 10 a.m.4 p.m. Tuesday-Saturday; $5 suggested donation.
events/Performances
Peter Case Singer/songwriter, vintage rock ‘n’ roll, blues, and soul, 8 p.m. Saturday, Nov. 23, Outpost Performance Space, 210 Yale Blvd. S.E., $17 in advance at ampconcerts.org, $22 day of show. Chatter Sunday Steve Reich’s Drumming performed by the ensembles Crossing 32nd Street and LINKS! Percussion, 10:30 a.m. Sunday, Nov. 24, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterchamber.org.
mAdrid
Madrid Christmas & Holiday Festivities Weekends through December; Town of Lights display; mule/stagecoach rides; screening of Madrid’s Famous Christmas Town of Lights and Toyland Saturdays and Sundays; Christmas parade 4 p.m. Saturday, Dec. 7; details available online at visitmadrid.com.
plAcitAs
32nd Annual Placitas Holiday Fine Arts & Crafts Sale Held at Anasazi Fields Winery, next to Las Placitas Presbyterian Church, and Placitas Elementary School, 10 a.m.-5 p.m. Saturday, 10 a.m.-4:30 p.m. Sunday, Nov. 23-24, placitasholidaysale.com, 505-867-2450.
socorro
Festival of the Cranes Annual celebration of the cranes’ return to their wintering grounds, including lectures, workshops, and Bosque del Apache National Wildlife Refuge tours, for details visit festivalofthecranes.com, continues daily through Sunday, Nov. 24, prices vary.
Auditions for Benchwarmers Eight one-act plays, all ages and experiences welcome, auditions 1 p.m. Saturday, Dec. 14, and 6:30 p.m. Sunday, Dec. 15, Santa Fe Playhouse, 142 E. DeVargas St., 505-988-4262 or santafeplayhouse.org for information. Auditions for The Lyons All ages and ethnicities, noon Saturday, Dec. 7, 6:30 Sunday, Dec. 8, Santa Fe Playhouse, 142 E. DeVargas St., 505-988-4262 or santafeplayhouse.org for information. Santa Fe Bandstand Applications to perform at the 2014 Santa Fe Bandstand are being accepted; Nov. 29 deadline for submissions; visit santafebandstand.org.
Donations/volunteers
Georgia O’Keeffe Museum docent training Join the volunteers who work in the galleries, offer tours, and provide interpretations, Thursdays 8:30 a.m.-noon through March 6, contact szurick@okeeffemuseum.org, 505-946-1007. Santa Fe Humane Society and Animal Shelter Dogs desperately need individuals to take them on daily walks; all shifts available, call Katherine at 505-983-4309, Ext. 128. St. elizabeth Shelter Help with meal preparation at residential facilities and emergency shelters; other duties also available; contact Rosario, 505-982-6611, Ext. 108, volunteer@steshelter.org.
▶ under 21 In COnCeRT
Frozen Dawn Benifest Benefit concert for Joe Angel Hernandez; bands include Fields of Elysium, Carrion Kind, and Unleash the Baboon, Warehouse 21, 1614 Paseo de Peralta, $10, 505-989-4423.
▶ pasa Kids The Food Depot L.O.v.e. program Child-friendly projects for ages 3 and older (accompanied by an adult) are available between 1 and 3 p.m. the third Friday of each month; contact Viola Lujan, 505471-1633, Ext. 11, or vlujan@thefooddepot.org. Preschooler’s Story Hour 10:45 a.m. weekly on Wednesdays and Thursdays, Collected Works Bookstore, 202 Galisteo St., 505-988-4226. ◀
In the wings Ringing in the holidays
traditional Winter spanish Market Juried artisans carrying on the work of 17thand 18th-century Spanish colonial arts, 2-9 p.m. Friday, 9 a.m.-5 p.m. Saturday, Nov. 29-30, Hotel Albuquerque at Old Town, 800 Rio Grand Blvd. N.W., $6; $10 for couples; children 12 and under free, spanishcolonial.org, 505-982-2226. eighth annual sWaia Winter indian Market More than 200 participants; artist demonstrations, fashion show, and silent art auction, 9 a.m. Saturday and Sunday, Nov 30-Dec. 1, Santa Fe Community Convention Center, 201 W. Marcy St., $10 per day, $15 weekend pass, tickets available at the door only, swaia.org. third annual Winter solstice Concert Music of the season by Bach, Monteverdi, Handel, and Palestrina, 4 p.m. Sunday, Dec. 1, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., visit ihmretreat.com for tickets. leahy Family: a Celtic holiday Celtic music, dance, and song, 7:30 p.m. Monday, Dec. 2, the Lensic, $20-$55, 505-984-8759 or ticketssantafe.org, 505-988-1234. a Christmas Carol Santa Fe Playhouse presents Charles Dickens’ classic adapted by Doris Baizley, 7:30 p.m. Thursday-Saturday, 4 p.m. Sunday, Dec. 5-22, Santa Fe Playhouse, 142 E. De Vargas St., preview $10; opening gala $30; general admission $20; discounts available; santafeplayhouse.org, 505-988-4262. the King’s singers Holiday concert with the British vocal ensemble, 7:30 p.m. Friday, Dec. 6, Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place, $20-$55. MoiFa Winter Celebration Hands-on art making, refreshments, and live music, 1-4 p.m. Sunday, Dec. 8, Museum of International Folk Art, 706 Camino Lejo, by museum admission. sangre de Cristo Chorale The 45-member ensemble presents Deo Gracias, 3 p.m. Sunday, Dec. 8, First Presbyterian Church of Santa Fe, 208 Grant Ave., $20 in advance and at the door, sdcchorale.org. st. Michael’s high school annual Christmas Concert Selections for orchestra, concert band, jazz band, choir, and marimba ensemble, held in Tipton Hall, call 505-660-3187 for more information, 6 p.m. Thursday, Dec. 12, St. Michael’s High School, 100 Siringo Rd., no charge. Paula Poundstone The stand-up comedian in her Ha, Ha, Ho, Ho Holiday Show, 7:30 p.m. Friday, Dec. 13, the Lensic, $27.50 and $35, ticketssantafe.org, 505-988-1234. santa Fe desert Chorale The 2013 Winter Festival opens with Carols and Lullabies, 8 p.m. Saturday Dec. 14, visit desertchorale.org for details and full schedule of concerts to Dec. 23, Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place, $15-$65; student discounts available. santa Fe symphony orchestra & Chorus: Christmas treasures Pre-concert lecture at 3 p.m., 4 p.m. Sunday, Dec. 15, the Lensic, $20-$70, ticketssantafe.org, 505-988-1234.
Upcoming events MUsiC
Concordia santa Fe The wind ensemble in The Nutcracker (Swing)!, 7 p.m. Thursday, Dec. 19th, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations appreciated. santa Fe Pro Musica Baroque ensemble A Baroque Christmas, featuring mezzo-sopranos Deborah Domanski and Dianna Grabowski, 6 p.m. Friday-Tuesday, Dec. 20-24, Loretto Chapel, 207 Old Santa Fe Trail, $20-$65, advance tickets available at the SFPM box office, 505-988-4640, Ext. 1000, santafepromusica. com or at the Lensic box office, 505-988-1234, ticketssantafe.org. Chuscales Local flamenco guitarist in Forever in My Heart, an annual flamenco holiday concert, 7:30 p.m. Friday, Dec. 20, El Museo Cultural de Santa Fe, 555 Camino de la Familia, $30 in advance at brownpapertickets.com, visit chuscales.com for details. the nutcracker Aspen Santa Fe Ballet presents the holiday favorite, 2 and 7:30 p.m. Saturday, Dec. 21, and 1 and 5 p.m. Sunday, Dec. 22, the Lensic, $25-$72, aspensantafeballet.com or ticketssantafe.org, 505-988-1234.
Brian Wingard Jazz saxophonist, with bassist Colin Deuble, pianist Chris Ishee, and percussionist John Trentacosta, 7 p.m. Friday, Dec. 6, Museum Hill Cafe, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.org. Roger landes and douglas goodhart Bouzouki and fiddle music from the Irish, French, French-Canadian, and Balkan traditions, 7:30 p.m. Thursday, Dec. 12, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. ian Moore Blues/rock guitarist, 7:30 p.m. Thursday, Dec. 12, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25 in advance at brownpapertickets.com, $29 at the door. the Met live in hd James Levine conducts Verdi’s Falstaff, 6 p.m. Saturday, Dec. 14, the Lensic, $22-$28, ticketssantafe.org, 505-988-1234. dan hicks Singer/songwriter, 7:30 p.m. Saturday, Dec. 14, Greer Garson Theatre, 1600 St. Michael’s Dr., $34-$44, 505-988-1234, ticketssantafe.org. Pink Martini Latin, jazz, and classic pop orchestra, 7:30 p.m. Monday, Jan. 20, the Lensic, $54-$84, 505-988-1234, ticketssantafe.org. Ray Wylie hubbard Country, folk, and blues, 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.
theateR/danCe
einstein: a stage Portrait Tom Schuch appears in the award-winning one-man show, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, Dec. 6-8, Teatro Paraguas Studio, 3205 Calle Marie, $16, seniors and students $12, 505-424-1601.
the second City Comedy-theater troupe, 7 p.m. Saturday, Dec. 7, the Lensic, $27-$44, ticketssantafe.org, 505-988-1234. Winter dance SFUA&D Garson Dance Company presents new works, 7 p.m. Wednesday, Dec. 11, Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org. Jewels of Bellydance Bellydancing showcase, 8 p.m. Saturday, Dec. 14, The Dance Barns, 1140 Alto St., $15-$25, 505-988-1234, ticketssantafe.org. annie Presented by Musical Theatre Works Santa Fe, 7 p.m. Friday, Dec. 20, Greer Garson Theatre, 1600 St. Michael’s Dr., $15 in advance at musicaltheatreworks.net, student discounts available, $20 at the door, 505-946-0488.
haPPenings
santa Fe Women’s ensemble benefit Caroling party and silent auction, 5:30 p.m. Saturday, Dec. 7, Manitou Galleries, 123 W. Palace Ave., $50, 505-988-1234, ticketssantafe.org. lannan literary series Nothing Personal: The Dark Room Collective Reunion Tour, African American poets Natasha Trethewey, Major Jackson, Thomas Sayers Ellis, John Keene, Tisa Bryant, and Sharan Strange, 7 p.m. Thursday, Dec. 12, the Lensic, $6, seniors and students $3; ticketssantafe.org, 505-988-1234. 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.
the Kings singers perform Dec. 6 at cathedral Basilica of st. Francis of Assisi.
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AT THE GALLERIES David Richard Gallery 544 S. Guadalupe St., 505-983-9555. Life Support: Art, Design, Sustenance, international group show of functional and interior designs, through November. Gerald Peters Gallery 1011 Paseo de Peralta, 505-954-5700. Photographs by Chuck Forsman, through November. LewAllen Galleries at the Railyard 1613 Paseo de Peralta, 505-988-3250. Beyond Earth’s Rhythms, paintings by Michael Roque Collins, through Nov. 24. Phil Space 1410 Second St., 505-983-7945. A Roswell Sojourn/A Prairie Return, paintings by Jerry West, through December. Santa Fe Clay 545 Camino de la Familia, 505-984-1122. Repsher + Repsher, works by Matt and David Repsher; Small Treasures, group show of gallery artists; through Dec. 14.
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. 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. Monday-Friday. 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. Monday-Friday 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 Street, 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. FridaySaturday. Closed Sunday.
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PASATIEMPO I November 22-28, 2013
paintings by Jerry West at phil Space, 1410 Second St.
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.
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 December. 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 Indian Arts & Culture 710 Camino Lejo, 505-476-1250. What’s New in New: Recent Acquisitions, through 2013 • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays. Museum of International Folk Art 706 Camino Lejo, 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. Tuesday-Sunday. 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, 505-982-2226. Beltrán-Kropp 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 19th-century 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. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; no charge for NM residents on Sundays. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 505476-5200. 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; free admission 5-8 p.m. Fridays. New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. 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; NM residents free on Sundays. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Place, 505-988-8900. Open 10 a.m.-5 p.m. TuesdaySunday. $10 admission. Poeh Museum Poeh Center Complex, Pueblo of Pojoque, 78 Cities of Gold Rd., 505-455-3334. Fashion designs by Patricia Michaels, through November. Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.4 p.m. Saturday; donations accepted. SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. Design LAB: Next Nest, group show of furniture, lighting, and interior designs, through December. Open Thursday through Sunday. $10; seniors and students $5; no charge 10 a.m.-noon Saturday; no charge Friday Wheelwright Museum of the American Indian 704 Camino Lejo, 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
Rebecca Shore: 2011-19-G, 2011, gouache on paper. Eight Modern (231 Delgado St.) presents Rebecca Shore: Part and Parcel, an exhibition of abstract paintings that explores arrangements of shapes that have the appearance of dimensionality and depth. “There is something magical about making an image that convinces us of a third dimension,” Shore writes. The show opens Friday, Nov. 22, with a 5 p.m. reception. Call 505-995-0231.
Patti Zolnick: Storm Over White Sands, 2012, photograph. Rock Paper Scissor Salonspa (500 Montezuma Ave., in Sanbusco Market Center) presents Meditations, an exhibit of photos by Patti Zolnick, and Sailing Taos, a show of works by painter and metalsmith Thom Wheeler. There is a reception on Friday, Nov. 22, at 5 p.m. Call 505-955-8500.
Heidi Loewen: Snow White, 2013, porcelain, 22-karat gold leaf, and oil. Heidi Loewen Porcelain Gallery and School presents an exhibition of Loewen’s ceramics. The artist crafts works in a variety of vessel forms, including porcelain wares and sculptural objects. The show opens with a 5 p.m. reception on Friday, Nov. 22. The gallery is at 315 Johnson St.. Call 505-988-2225.
tracy Krumm: Cavity (Strainer), 2013, crocheted metal thread and metal strainer. Idle Hands is an exhibition at Turner Carroll Gallery of work by artists who utilize handicraft techniques, such as crocheting and weaving. Among the artists represented are Chuck Close, Andrew Romanoff, Tuscany Wenger, and Hung Liu. There is a 5 p.m. reception on Friday, Nov. 22. The gallery is at 725 Canyon Road. Call 505-986-9800.
Linda Lomahaftewa: Year of the Serpent, 2013, monotype. Linda Lomahaftewa: Works on Paper opens Friday, Nov. 22, at Than Povi Fine Art Gallery (6 Banana Lane, Exit 176, off U.S. 84/285). Lomahaftewa, who teaches at the Institute of American Indian Arts, explores her Hopi and Choctaw heritage in contemporary abstract compositions that incorporate Native petroglyph designs, themes, and symbols. A reception is scheduled for Dec. 6. Call 505-455-9988. PASATIEMPOMAGAZINE.COM
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