The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
November 29, 2013
Origins® is a registered trademark used under license. ©2013 Margolis, Inc.
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Best Selection… Best Ser vice… Best prices poinsettia
Garland
orchids
SALE
t Sells Ou Fast!
$2.49 per foot or 75’ rolls for $150.00
4” containers $4.99 each or 2 for $6.00
Regularly $39.99
wreaths
Blue spruce
Heirloom tomato seed
$24.99 each
LIVE MAS CHRIST S! TREE
Freshest in Town!
6’ to 7’ tall $200 Regularly $289.99 each
Christmas trees
austrian pines
max sea Fertilizer SALE
NEW NT SHIPME
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NEWMAN’S Newmans
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Ocate Road
Walmart
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and let us keep it fresh until the holidays. Newman’s offers the only indoor Christmas Tree storage and display. You can also order garland, wreaths and poinsettias and have us hold them until you need them for holiday decorating. Order early for best selection. We sell out earlier and earlier every year.
Family Owned & Operated Since 1974
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Pete Moss’ Garden Tip: Pick out the best tree now
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$49.99 to $249.99
9:00am to 5:00pm seven days a week.
Good thru 12/5/13 • while supplies last • stop by today and see our Great selection.
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PASATIEMPO I November 29 - December 5, 2013
5 I-2
7501 Cerrillos rd.
471-8642
in
LOS ALAMOS
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 www.simplyamish.com
CB FOX/FURNITURE
1735 Central • Los Alamos • 662-2864 • WWW.CBFOX.COM
RUSH COLE
Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room • Bedroom • Entertainment • Lighting • Accessories
Featuring Attractive Hand Crafted Southwestern Lighting
NEW SHIPMENT JUST ARRIVED! Great selection of Hand-Forged Iron Lamps, Unique Batik and Rawhide Lamp Shades.
“OSHOTO”, 30 X 40”, oil on canvas
~ The wondrous visions of a Santa Fe artist ~ (As seen in Santa Fean, Trend and Cowboys & Indians magazines.)
Opening Reception: Friday, November 29, 2013 • 5 P.M. to 7 P.M. Meet artist Rush Cole as she shares her artistic vision in a meet and greet from 5 to 7 pm GRADUATE GEMOLOGIST • MASTER JEWELER • FINE ART
JEWEL MARK• 233 CANYON ROAD, SUITE I • SANTA FE • NEW MEXICO 505.820.6304 • WWW.JEWELMARK.NET
Reasonable prices every day of the year! Please come in, you’ll be pleasantly surprised.
SANTA FE COUNTRY FURNITURE 1708 Cerrillos Road • 984-1478 • Corner of 2nd Street & Cerrillos 525 Airport Road • 660-4003 • Corner of Center Drive & Airport
(GOOGLE MAPS USE: 273 AIRPORT RD. • IPHONE SEARCH USE: “LOC: +35.638542, -106.024098”)
Monday - Saturday
•
9-5
•
Closed Sundays
PASATIEMPOMAGAZINE.COM
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THE SANTA FE NEW MEXICAN
November 29 - December 5, 2013
www.pasatiempomagazine.com
On the cOver 44 things that go rump in the night It has been 50 years since Maurice Sendak’s classic children’s story Where the Wild Things Are was first published. Generations of children have seen a hero in Max, the book’s young protagonist who ventures to the land of the wild things, tames them, and becomes their king. Pop Gallery’s Wild Rumpus, a group exhibit of art inspired by Sendak’s tale, proves that Where the Wild Things Are lives on in the adult imagination as well. The show opens Friday, Nov. 29. On the cover is David Ho’s 2013 mixed-media piece Missing You.
BOOKS 18 20 22 34 38 50
mOvIng ImAgeS
In Other Words My Beloved Brontosaurus A ghastly good read White Fire reading about writing Writing Is My Drink Bird is the word Charlie Parker A mystery solved A Courier in New Mexico Family plot The Death of Santini
52 54 56 58
Dallas Buyers Club The Broken Circle Breakdown The Armstrong Lie The Huger Games: Catching Fire 60 Pasa Pics
muSIc And PerFOrmAnce 24 26 30 32
cAlendAr 67 Pasa Week
Pasa reviews Charles Lloyd & Friends Barrels of carols Holiday music terrell’s tune-up A Hebrew take on Waits Pasa tempos CD Reviews
And 15 mixed media 17 Star codes 64 restaurant review: tomasita’s restaurant
AdvertISIng: 505-995-3819 santafenewmexican.com Ad deadline 5 p.m. monday
Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 e. marcy St. Santa Fe, nm 87501. editorial: 505-986-3019. e-mail: pasa@sfnewmexican.com PASAtIemPO edItOr — KrIStInA melcher 505-986-3044, kmelcher@sfnewmexican.com ■
Art director — marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com
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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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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, nancy coggeshall, laurel gladden, Peg goldstein, robert Ker, Jennifer levin, robert nott, Adele Oliveira, Jonathan richards, heather roan-robbins, casey Sanchez, henry Shukman, michael Wade Simpson, 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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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
SFCA
The Santa Fe Concert Association presents
LEAHY FAMILY CHRISTMAS A Celtic Holiday Concert
Rousing instrumentals, singing, and dance!
DECEMBER 2, 7:30PM TICKETS:
$20-$55 | TICKETSSANTAFE.ORG | (505) 988-1234 OR SANTA FE CONCERT ASSOCIATION (505) 984-8759
LOCATION:
LENSIC PERFORMING ARTS CENTER
INFO:
SANTAFECONCERTS.ORG
Santa Fe Concert Association, 324 Paseo de Peralta, Santa Fe, NM 87501 984.8759 PASATIEMPOMAGAZINE.COM
7
Symphony
the
anta fe
...bringing great music to life ™
Christmas Treasures
SANTA FE LEGACY GUSTAVE BAUMANN • GERALD CASSIDY LOUIE EWING • LAURA GILPIN • KATE KRASIN ELIOT PORTER • TODD WEBB November 29, 2013 - January 31, 2014
Musical delights for the whole family!
Gustave Baumann, Taos Placita, 1947
Rimsky-Korsakov, Snow Maiden Williams, Sound the Bells Arnold, Holly & The Ivy Silvestri, Polar Express Delius, Sleigh Ride Anderson, A Christmas Sleigh Ride Berlin, White Christmas Plus the Santa Fe High Honor Choir
JOSEPH YOUNG Guest Conductor
Laura Gilpin, The Potters of San Ildefonso, 1925
c SUNDAY, DECEMBER 15, 4:00 PM at
the Lensic
Tickets $20 – $70
Children 6–14 half price with an adult purchase.
505.983.1414
or visit The Lensic Box Office www.santafesymphony.org
FREE PREVIEW TALK AT 3:00 PM SPONSORED IN PART BY
The 2013-2014 season is funded in part by the Santa Fe Arts Commission, and the 1% Lodgers’ Tax, New Mexico Arts, a division of the Office of Cultural Affairs, and the National Endowment for the Arts.
8
PASATIEMPO I November 29 - December 5, 2013
Please call for directions and appointment 505.988.5116 www.photographydealers.com | srltd@photographydealers.com
CUSTOM
CLOTHIER
POP-UP-SHOP LAUNCHES TODAY! at CASWECK GALLERIES
203 W. Water Street 505-988-2966 November 29 through December 7 11am - 4pm or by appointment: 505-986-9710 atelierd@cybermesa.com Bring your favorite fashionistas, friends, daughters & family to meet Danielle designer extraordinaire & shop for timeless original designs, handcrafted by local skilled artisans paid a living wage.
PASATIEMPOMAGAZINE.COM
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make it memorable Choose a statement of style, authentic and unforgettable, crafted with care by skilled hands in distant lands.
Santa Fe’s Oldest Bazaar The 131st St. Nicholas Bazaar
Sat. December 7th 2013
10am-2pm * Handmade Gifts
Satin and Lace Evening Bag, $49 HANDCRAFTED IN INDIA
* Baked Goods * Wreaths Wonderful * Household Items
Again This Year
Twice Blessed Preview Party 219 Galisteo St Santa Fe www.tenthousandvillages.com
Fri and Sat, Nov 29 and 30 BUY ONE, GET ONE 50% Off all jewelry and accessories. Discount applied to item of equal or lesser value. Not valid with other discounts or purchase of Traveler’s Finds. Valid at participating stores only. Artisans have been paid in full.
Friday December 6th 2013
4:30-6:30 $10 Donation at the Door Church of the Holy Faith •311 East Palace Ave.
‘tis beer to give AND receive! do your holiday shopping at the Waves and receive a taste of our new
restaurant: izanami!
for every $100 spent on gift certificates & merchandise between 11/1–12/15, you’ll receive a $10 voucher for food & drink at izanami.
izanami details: www. 10
PASATIEMPO I November 29 - December 5, 2013
gift
ten thousand waves .com
click “november/december specials”
ON THE PLAZA
15% Locals Discount Open daily 11:30am till close Heated Balcony Happy Hour twice daily Taking reservations for Holiday Parties NFLTicket;Half Price Half Time on Bar Food and Draft Beer
505-490-6550 • ThunderbirdSantaFe.com • Facebook.com/ThunderbirdBarGrill 50 Lincoln Ave, on the Santa Fe Plaza
30 Buffalo thundeR tRail santa fe, nM
BuffaloThunderResoRt.COM
87 7-Thund er
PASATIEMPOMAGAZINE.COM
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GLOW Preview Party Wed., Dec. 4, 5–8pm Music, cocoa, cookies, gifts & more. $20 members/$25 non-members
GLOW runs for 5 consecutive weekends
Thurs.–Sat., 5–8pm, Dec. 5–7, 12–14, 19–21, 26–28, Jan. 2–4 $5 members/$8 non-members, children 12 & under free
Birds in the Garden opens Dec. 4
Installation of the international porcelain bird exhibition by artist Christy Hengst.
715 Camino Lejo 505.471.9103
Tickets available at the door or online. www.santafebotanicalgarden.org/events/glow
TITLE SPONSORS: Thornburg Management · Nedra Matteucci Galleries · Hutton Broadcasting, LLC · Samuel Design Group
A N D R E W S M I T H G A L L E RY I N C . CLASSIC AND HISTORIC, MASTERPIECES OF PHOTOGRAPHY Featuring special exhibitions of ANSEL ADAMS photographs from THE DAVID H. ARRINGTON COLLECTION
IMS
internal
MEDICINE SPECIALISTS
Taking New Patients and Same Day Appointments!
Rose and Driftwood, Ca. 1932 © 2013 Trustees of the Ansel Adams Publishing Rights Trust
Also on view: LEE FRIEDLANDER - MANNEQUIN through January 5, 2014 Next to the Georgia O’Ke e ffe M useum a t 12 2 Grant Ave., Santa Fe , N M 8 7 5 0 1 5 0 5 . 9 8 4 . 1 2 3 4 • H o u r s : 1 1 - 4 , M o n d ay - S a t u r d ay. w ww.AndrewSmithGa ll ery. c om 12
PASATIEMPO I November 29 - December 5, 2013
William "Wink" Bacon PA-C
Taking care of Northern New Mexicans for 12 years
APPOINTMENT line: (505) 395-3003 IMS’s independent staff is here to take care of you at our modern, new office and at the hospital. 1650 Hospital Drive, Suite 800
Santa Fe, NM 87505
PASATIEMPOMAGAZINE.COM
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Proudly serving Northern New Mexico & Santa Fe for over 22 years.
• Implant Dentures • Implant Crowns • Partial & Full Dentures • Same Day Repairs • In-house Dental Lab • Emergencies Welcome • Artistically Crafted • Customized to the Individual
GIVE THE GIFT OF HEALTH. Offering 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. Quail Run Club Fits Your Lifestyle. Call today for a tour. 3101 Old Pecos Trail 505.986.2200 quailrunsantafe.com
EMERGENCIES WELCOME EMERGENCIES WELCOME FINANCING AVAILABLE SENIOR DISCOUNTS DISCOUNTS
Join Quail Run Club by December 23 & receive FREE dues until March 2014!
Stars Never Fade Productions proudly presents:
Drummin’ Man with
Catherine Donovan
Offering the vocal styling of Anita O’Day
PHOTO: PAUL SLAUGHTER
John Trentacosta Celebrates Gene Krupa
Sunday, December 1, 6:00 PM Monday, December 2, 6:00 PM La Casa Sena Cantina 125 East Palace Avenue/ Santa Fe Ticket Price $25.00 For reservations please call 988-9232 Seating for both shows begins at 5:30
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PASATIEMPO I November 29 - December 5, 2013
D
IN STEREO
209 E MARCY
989.8110
BACKATTHERANCH.COM
MIXED MEDIA
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View the hues Premiering on Thanksgiving weekend, the 35mm Archival Film Series features a quartet of classic Technicolor movies at the Lensic Performing Arts Center (211 W. San Francisco St.). Friday, Nov. 29, offers showings of the 1954 adventure-fantasy 20,000 Leagues Under the Sea and the 1953 musical The Band Wagon; on Saturday, Nov. 30, it’s the 1962 African adventure Hatari and the 1959 Alfred Hitchcock thriller North by Northwest. “This first weekend is dedicated to Technicolor, and we have original glorious prints for all of the films we’re showing,” said director Tim Hunter (The River’s Edge, Twin Peaks, Mad Men), who is co-producing the new series with Lensic executive and artistic director Robert Martin. Hunter, who has collected and archived films since the 1960s, is working with the Lensic to locate prints from movie archives and collectors around the country. The first four films in the series are presented in partnership with the Academy Film Archive, a division of the Academy of Motion Picture Arts and Sciences in Los Angeles. “I think collectors feel very strongly that they’re preserving films to be shown rather than to be locked in a vault. The point of this series is that now that filmmaking and film showing has gone completely digital, all 35 millimeter prints have become archival material in a certain sense. And we think there’s no better way to see classic film than to see it in the original prints. The series is designed to find the best archive prints we can.” The prints of two of the movies screening in the series this month — North by Northwest and the stunning desert biopic Lawrence of Arabia — were borrowed a few years ago by Sony to use as color reference prints for the Blu-ray versions. Not only is the Lensic showing superb versions of great movies, but the series is also affordable: all seats are $7, available by calling 505-988-1234 or visiting www.ticketssantafe.org. “We’re hoping that this will recreate the original experience of seeing films in a neighborhood theater,” said Hunter, who is a part-time Santa Fe resident. 35mm Archival Film Series: Friday, Nov. 29 2 p.m.: 20,000 Leagues Under the Sea starring Kirk Douglas and James Mason 7 p.m.: The Band Wagon with Fred Astaire and Cyd Charisse Saturday, Nov. 30 2 p.m.: Hatari! with John Wayne and Elsa Martinelli 7 p.m.: North by Northwest starring Cary Grant, Eva Marie Saint, and James Mason The series continues on Dec. 27 with White Christmas at 2 p.m. and Lawrence of Arabia at 7 p.m. — Paul Weideman
Santa Fe 141 Paseo de Peralta, Suite C Mon Wed -- Fri Fri 505-983-2909
$23
three courses before 7 p.m. eVerY NIGHT
1501 Paseo de Peralta, Santa Fe | 5:30-10:00pm | 505.955.7805 | www.hotelsantafe.com
ADDDDDDDDDDDDDDDDDDDDDDDDF H H H H H H H H VERDIfying Shakespeare: H H Exploring Verdi’s Operatic Treatments of Shakespeare Themes H H Join a spirited discussion with musical illustrations between H H Shakespearean scholar and President of the Shakespeare H Guild, John Andrews and Joe Illick, opera conductor and Artistic Director of the H H Santa Fe Concert Association, as they examine Verdi’s relationship to Shakespeare. H H H 5:30pm—Wednesday, December 4 H H Unitarian Universalist Congregation of Santa Fe H H 107 W. Barcelona St. H Free to members of all Guilds. Non-members $10, or join at the door from $35 per year. H JLLLLLLLLLLLLLLLLLLLLLLLL:
cashmere so much to be cashmere thankful cashmerefor… 108 Don Gaspar • 988-9558 PASATIEMPOMAGAZINE.COM
15
Case Trading Post
at the Wheelwright Museum Of The American Indian Artist Demonstration with Nambe Pueblo Potter Robert Vigil Saturday, Nov. 30th, 2013 10:00 am & 1:00 pm
Open 7 days a week Free Admission Donations Appreciated
Artist:
Robert Vigil
W
Photo by: Robert Mesa
W
fetishes
jewelry
pottery
since 1981
Wheelwright Museum OF THE AMERICAN INDIAN
Come visit the shop or contact us
704 Camino Lejo • Museum Hill • Santa Fe, NM • 87505
casetradingpost@wheelwright.org • 505-982-4636 x 110 • 800-607-4636 x110
SOLD
57 LeaPinG POwder rOad $720,000 warm finishes adorn this single level four bedroom, three bath home with vigas, latillas, and Saltillo tile floors. attached 2-car garage and studio/casita. #201201748
End of 20% off sale Ends December 1st
SOLD
21 MiMOSa rOad $349,000 three bedroom, two bath home with a skylight entry, a living room with high clerestory windows, a terrific kitchen, an attached 2-car garage, and lovely views. #201301928
34 viSta teSuque $975,000 Serene, pristine and impeccably contemporary with magnificent sunset views. Features include 4Br, 3.5Ba, and 3,845 sq ft. exquisite finishes, abundant light and an amazing value. #201301178
1438-C BiSHOPS LOdGe rOad this approximately 6,300 sq ft home in the heart of tesuque includes the timeless appointments of brick floors, a pitched roof, dormer windows, gleaming plaster and numerous fireplaces, all blended with distinctively clean contemporary lines. #201302483 $1,980,000
rOXanne aPPLe 505.660.5998 santafecalling.com
326 Grant avenue i Santa Fe, nM 87501 i 505.988.2533 sothebyshomes.com/santafe
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PASATIEMPO I November 29 - December 5, 2013
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This post-Thanksgiving morning begins in a relatively peaceful
haze as long as no one has just rocked the boat or stepped on our territorial toes, though both are quite possible with communicative Mercury still in broody Scorpio, dredging up the past, and Venus and Mars in earthy, possessive Capricorn and Virgo. If we don’t get stuck on old news or have not been too shaken by this last month of tricky, taxing transits, this can be a beautiful day. Just after sunset in a clear sky we can see an unusually beautiful Venus set in the west right before a glowing Jupiter rises up the east. These two bright planets, both known to bestow abundant emotions and encourage our more generous natures, are opposed to each other. Working in tandem with each other, they open up our feelings — all of them. The mood sharpens tonight and through the weekend. We may need to have time alone, or to get real with a few close friends, or to hang out with our most cynical compatriots. On Monday the mood lightens and looks forward. A new moon in Sagittarius on Monday night marks a fresh cycle and begins an active and exciting month ahead. Friday, Nov. 29: The mood is copacetic if determined this morning; midday is potentially festive and indulgent as the moon aspects Venus and Jupiter. People tend to be friendly but competitive. There are one-on-one deep conversations as the moon enters Scorpio. Saturday, Nov. 30: We’re honest but can be more kindly if we do not feel boxed into a corner by another’s expectations. If some personal need that was buried over the holidays needs to be expressed now, be straightforward about it as the sun trines ingenious, iconoclastic Uranus. Rein in an abrasive edge around dinnertime, and make room to roam tonight.
Scott RobinSon
BRANCH MANAGER scott.robinson@gatewayloan.com NMLS #202265
502 W. Cordova Rd, Suite B • Santa Fe • 505-428-0331
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
GIVE BARRY METZGER A JINGLE
505-670-9019
www.thewoodcarespecialist.com
1273-B Calle De Comercio, Santa Fe, NM 87507
Sunday, Dec. 1: A serious moon-Saturn conjunction overnight may leave us wondering about the permanence of our situations. We feel more optimistic midday as the moon trines buoyant Jupiter. The auspices are good for traveling home, though crowds may get edgy. Send out calm and soothing thoughts. Relief and amusement seeps in tonight as the moon enters expansive Sagittarius. Monday, Dec. 2: Clear the decks, reconnect, and get the lay of the land. Tonight’s new moon begins a fresh cycle. It feels good to move; our souls are restless. Tonight, feel the pulse of the global community and listen for travel plans or ecological news. Unusual messages out of the blue can start a whole new chapter.
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
Tuesday, Dec. 3: Attention scatters easily, but funny banter can help us move plans along. Guide people and manage them with open arms and open doors. Quick action may be needed to pursue opportunities — think things through, and don’t dillydally. Wednesday, Dec. 4: The mood tends to be restless, ruthlessly honest, opinionated, and optimistic. No one wants to waste time or talk about the tough stuff — notice an unspoken, thoughtful undertone. We may need to review the lessons of the last few months and work on the next leg of the journey as Mercury enters Sagittarius tonight. Thursday, Dec. 4: With mental Mercury in cheerful, perceptive Sagittarius and the mood-defining moon in industrious Capricorn, we need a break from past efforts and to look for what’s fresh and expansive. Competence is admired — skills come easily when called upon. We may want to prove something to ourselves. Make overtures and decisions midday as the moon conjuncts Venus, and look for spontaneous late-night gatherings as the moon enters Aquarius. ◀ www.roanrobbins.com
so much to be thankful for… 108 Don Gaspar • 988-9558 PASATIEMPOMAGAZINE.COM
17
In Other wOrds book reviews My Beloved Brontosaurus: On the Road With Old Bones, New Science, and Our Favorite Dinosaurs by Brian Switek, Farrar, Straus and Giroux, 259 pages Author Brian Switek’s passion for dinosaurs was fully evident by the time he appeared as a stegosaurus in a preschool skit about dinosaurs. A conflict between the herbivorousplated dinosaur with tail spikes and another dinosaur was incorrectly portrayed. The green-suited, nascent scientist then improvised and explained the misrepresentation to the audience. After that auspicious episode — and years of research, study, and digging — the “five-year-old prehistory fanatic” matured into a well-known science writer and dinosaur expert. Switek’s long-ago performance reflects one of the themes running throughout his My Beloved Brontosaurus. Ongoing paleontological research and debate conflict with popular culture’s depiction of these extinct beasts. The confusion is easy to understand. Dinosaurs excite the imagination. Endearingly or horrifyingly portrayed, they appear in songs and films and have inspired television shows like the The Flintstones. A purple representative of the creatures hosts the children’s program Barney & Friends. In the western U.S., where so many dinosaur skeletons have been discovered, erroneously depicted behemoths graze beside highways to entice tourists. Museum signage can be incorrect or outdated. Even the brontosaurus of the title has become passé, in a sense — research has resulted in the creature’s new categorization as Apatosaurus. “New dinosaur discoveries come out faster than you might imagine,” he tells the reader. One of the most stunning of those discoveries is that birds are closely related to dinosaurs. This “changed the entire perception of what dinosaurs were,” Switek writes. “Dinofuzz,” early feathers on avian dinosaurs, were for warmth, not flight. That lineage survived the extinction at the end of the Cretaceous period and continues in the birds we see today — just look at a roadrunner. How and why the likes of Tyrannosaurus and Triceratops were extirpated is another area of continuing research. An asteroid that crashed to the Earth is popularly believed to be the cause. Switek deems it “one of the most devastating episodes in the history of life.” A 111-mile-wide impact crater near the Yucatan Peninsula supports the theory. This event rained fire, steam, and debris
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PASATIEMPO I November 29 - December 5, 2013
that wrought massive, widespread destruction and could have “flash fried” North American dinosaurs, according to one paleontologist. However devastating the impact was, it did give mammals a leg-up for their “big evolutionary chance.” Factors such as climate change, receding seaways, and intense volcanic activity also played a role. “Signs of fossil sex are hard to find,” Switek writes. Studying the biology of dinosaur sex is complicated, because fossilized skeletons bear no soft tissue. The discovery of an oviraptorosaur — whose appearance with feathers, crest, and beak resembles a “terrestrial parrot” — illuminated aspects of a female dinosaur’s reproductive system. Two preserved eggs cradled in the oviraptorosaur’s hips were recovered at a site in China. But that breakthrough doesn’t explain how the whirl, twirl, and tango of dinosaur love was actually performed — particularly in the case of the Kentrosaurus, a cousin to the stegosaurus. The bone-piercing spikes running down the animal’s back and tail would seem to hinder the usual approaches to coupling favored by man and beast. Less mindboggling is the thought of a species up to 80 or 90 feet in length making whoopee. Considering how dinosaurs lived, dominated, and then disappeared drives Switek’s narrative. He outlines previous thinking in chapters devoted to dinosaur development, their societies, and appearance, their bones and extinction, even the sounds they may have made. Whoever stopped to think that dinosaurs were “vocal, social creatures?” Switek’s immediate prose enables the reader to accompany him to museums and meetings to overhear conversations with other experts in the field. He also takes us to dinosaur discovery sites, such as New Mexico’s Ghost Ranch quarry, “one of the richest Triassic localities in the world.” Coelophysis bones by the thousands have been discovered there. The slender, bipedal carnivore, 9 feet long, is the state’s official fossil. Besides explaining how dinosaurs changed during their heyday in prehistory, from 250 million to 66 million years ago, Switek also recounts the history of paleontological research in the United States. Working with bits and pieces of skeletons, paleontologists since the late 19th century understandably misidentified and mismatched bones. Scientists today, particularly since the 1980s, are working with those same puzzle pieces but are aided by computer modeling and instant communication with colleagues all over the globe. A fiberglass replica of a Brachiosaurus skeleton, consisting of 280 bones, overlooks dithering passengers in Concourse B at Chicago’s O’Hare Airport. This gigantic skeleton and those seen in museums are emblematic and deliver a sober, affecting message. Any contemplation of dinosaurs and their fate gives one pause, signaling our planet’s ever-evolving history. — Nancy Coggeshall
SubtextS
Constant voice There are countless ways to talk about poetry — what it looks like or sounds like; what it’s for — but all that really matters is whether or not you want to read it. What a writer meant to say is less important than how you receive the meaning, but when a poet is able to meld lilting, resonant language with graspable ideas, reading poetry is less like reading a story and more like a symbiosis or even friendship between writer and reader. In The Underside of Light, Pasatiempo contributor Wayne Lee tackles disease, faith, family history, and Virginia Woolf, among other inspirations, in tightly calibrated poems that wring use out of language like water from a sponge. Lee doesn’t stick to one style, yet his voice and tone remain consistent, whether the poem is dealing with his friend’s death from cancer or taking a walk through a museum. He moves easily between narrative and more conceptual structures, nearly always grounded in the immediacy of image. In “Thirst,” he toys with the tension between academic knowledge of writing and lived experience: He’s learned the terms for image, symbol, metaphor, but can’t get past the syntax of this incident that shaped his adolescence, the white man’s grammar cinching his words the way his down-heeled cowboy boots once pinched his toes.
Lee is the author of two previous books of poetry: Doggerel & Caterwauls: Poems Inspired by Cats & Dogs and, with his wife Alice Lee, Twenty Poems From the Blue House. He is at work on a memoir called “Man in the Moonies: My Three Years in the Unification Church.” Lee reads from The Underside of Light (Aldrich Press) at Teatro Paraguas Studio (3205 Calle Marie, 505-4241601) on Sunday, Dec. 1, at 5 p.m. The event also features music by flutist Windy Dankoff and classical guitarist Yves C. Lucero. Visit www.teatroparaguas.org. — Jennifer Levin
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Arzee the Dwarf by Chandrahas Choudhury, New York Review Books/ HarperCollins, 201 pages Were Charles Dickens alive today, he would have found 21st-century Bombay the natural urban sequel to the London of his novels. A teeming metropolis, home to 20 million and a madcap place of Herculean class struggle, complex arranged marriages, and a raucous, eccentric street life, it’s like Great Expectations set on the Subcontinent. And it’s no secret that many of the city’s writers have gobbled up Dickens’ oeuvre as a model for writing about a nation of social strivers, ardently hustling to become part of the growing middle class, many hoping to escape their entrenched family destinies or caste fates. In Arzee the Dwarf, Chandrahas Choudhury, the editor of India: A Traveller’s Literary Companion, has crafted a protagonist of a darkly comic bent that would have made Dickens proud. Arzee is a man of fading marriageable age whose friends berate him for lacking two feet in height. Yet he refuses to be steered into a subhuman life as a street oddity and instead blazes a path through Bombay, hell-bent on achieving middleclass respectability. His way out of poverty involves a job that shields his small frame from public exposure. His days are spent behind auditorium walls manning an ancient projector at the decaying Noor Theater, which screens Indian classics to an audience with more taste than cash. Always playing second fiddle, Arzee has spent his professional life as an assistant projectionist. When a higher-up announces his retirement, Arzee can scarcely hide his ambition. He could now make a yearly figure large enough to make even a diminutive man suitable for marriage — elating his mother, who can finally indulge in her life-affirming work of selecting a wife for her son. But the Noor’s reclusive owner, realizing that screening vintage films at yesterday’s prices is bankrupting him, comes out of hiding to announce the theater’s closure. Crushed and broken, Arzee breaks down and runs through the streets of Bombay. His sprint through schools and shops is one of the novel’s highlights, cinematically capturing a city straddling smartphone modernity and third-world sanitation. Unwilling to face reality, Arzee indentures himself to a gangster loan shark to pay off debts and maintain his mother’s illusion that her son finally has a job worthy of a wife. But his servitude requires him to don a costume as a mini-sized beverage and parade around the city. Arzee is horrified, seeming to glimpse his fate in the groveling of another dwarf on the marketing campaign who is all too gleeful to participate in his own self-humiliation. Nonetheless, the loan shark also figures as a big brother, using his underworld connections to locate Arzee’s long-lost love. In the meantime, Arzee’s mother finds out about the Noor’s closure and is so distraught that she unwittingly reveals a devastating family secret. The result is a plot twist that will lead the protagonist to fight for his new love, free himself from his mother’s shadow, and push on toward self-reliance — previously unimaginable in a society where schoolboys enjoy impunity as they tackle and assault Arzee in broad daylight. A slim book, Arzee is an intimate portrait of Bombay, by turns bohemian and brutal, and changing just fast enough that even a dwarf who has been maligned and condescended to all his life may find a space to assert himself as a man, worthy of love and respect. — Casey Sanchez
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19
Craig Smith I For The New Mexican
Douglas Preston and Lincoln Child
Deborah Feingold
A ghastly good read Douglas Preston and Lincoln Child’s new thriller
D
ouglas Preston claims he has no trouble sleeping at night. That isn’t always the case for readers of the novels he writes with creative co-conspirator Lincoln Child. The pair’s thrillers mix intricately logical plots, carefully sculpted prose, and gruesomely vivid occurrences into disturbing wholes. After a good dose of Preston and Child, going to sleep with the light on and the covers over your head seems like quite a reasonable decision. Santa Fean Preston reads from and signs copies of his and Child’s latest collaboration, White Fire, on Thursday, Dec. 5, at Collected Works Bookstore. The book was produced the same way their other common projects have been: with old-fashioned hard work, creative insight, shared respect, and plenty of argument. “The way we work, we each take a series of chapters or plot threads and write them all,” Preston explained. “Then we swap them and rewrite each other, which pisses each of us off. Nobody likes to be rewritten, but I think the end result is good. He doesn’t let me get away with anything, and I don’t let him get away with anything. “We’re like an old married couple. We squabble, we argue, but we’ve learned how to argue; we’ve learned how to fight. Because in this writing process, we have to challenge each other. That’s part of what our job is:
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PASATIEMPO I November 29 - December 5, 2013
to say, No, I don’t like that idea, I’d rather do this. Or, I don’t like what you’ve written, we have to throw it out. Maybe we’re lucky we live 2,000 miles apart, so we don’t actually come to physical blows.” Fans will find a plethora of tantalizing individuals in the novel. Most notable is Aloysius X.L. Pendergast, the duo’s primary character, who has starred in 11 books by the authors to date and appeared in several others. He is a polymath, a special FBI agent, and a specialist in the mazes of serial killers’ minds — an überman in the tradition, if not the physical mold, of a Doc Savage, a Sherlock Holmes, or a Nero Wolfe. Corrie Swanson, who assisted Pendergast on a previous case, returns as an advanced student of criminology whose thesis subject brings her to a ritzy Colorado winter resort town. There she and Pendergast find a trail of secrets that leads into the past, poisons lives and minds in the present, and has terrible implications for the future. Along the way, the secrets cause havoc among other characters, including a real-estate diva, a law officer just trying to do his job, a young man who befriends Corrie, and some very unfortunate victims of fate. While there are many types of people in the novel, they are all painted painstakingly as individuals. That’s important to their authors, Preston said. “There's nothing worse than reading a mystery novel or a thriller
where all the characters are flat and they look the same and they talk the same and they all have nice Anglo-Saxon names. Everybody isn’t the same, and has a chiseled face and looks like Harrison Ford. So we do try to put real people in our books.” On the other hand, there is a graceful nod in White Fire to Holmes, Arthur Conan Doyle’s timeless creation. The discovery of a long-lost Holmes story is one of the linchpins of the tale, and the authors sought and received the blessings of the Conan Doyle estate to create a fictional one for the book. Preston and Child got in touch with the estate through Santa Fe attorney Saul Cohen, who assisted members of Conan Doyle’s family. “We said we wanted to write this new story,” Preston said. “They were very wary of that because, frankly, there are a lot of very bad pastiches out there, unauthorized. People take the Sherlock Holmes character and write anything and publish it. So they said, we’d like to see the story. We sent them the first 2,000 words of it, and they came back at us and said you know, this isn’t bad — keep going. We sent them the final story, and they said, this is really quite good. So they accepted it, and allowed us to print in the front of the book the logo of the Conan Doyle estate. We feel quite happy about that. Rabid Sherlock Holmes fans will have their own opinion of the story, but we think it holds up, and we hope they feel it does.” White Fire came together and “seemed to write itself” more than earlier Preston and Child novels, Preston said. That might be because the book is a stand-alone novel rather than a trilogy, two of which preceded this production. Even so, there came a point in the writing when various characters suddenly refused to dance to the writers’ tune and went off on their own. “Every story is different, but at a certain point you’ve got an outline, you know where you’re going, you get there, and the character just walks the wrong way on the stage. You’re like, where are you going? And the character turns and says, I’m not going that way. That wouldn’t be me. I’m going this way. Then you follow them, because you can’t go against the character. If you do, you’re just painting by numbers. Besides, Preston added, when that kind of breakout occurs, “it’s invariably true that the direction the character takes you is better, more interesting, more unexpected” than what the writer had projected. Preston is doing several signings for White Fire here and there, but no major tour, because book tours have changed in recent years, he said. “It used to be that I would do the traveling and Lincoln, who hates to travel, would come to New York, and we’d do a few signings in New York and New Jersey, where he lives. But I don’t do big tours like I used to. I think that publishers realize that’s not as effective as it used to be. Social media and the internet have made the traditional book tour less inviting and important to readers, I think.” One other thing about the partnership: Child’s job includes writing the most disturbing chapters in each book, and sometimes Preston finds himself reluctant to edit or even read them. “I have to tell you there’s one chapter in that book that Linc wrote that I was not able to bring myself to read. He writes the really horrible chapters, the sick twisted chapters. That was one. “I knew what was in it. We talked about it. Then I started to read it and thought, You know, I’m not going to read this chapter. It’s too horrible.” ◀
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details ▼ Douglas Preston reads from White Fire ▼ 6 p.m. Thursday, Dec. 5 ▼ Collected Works Bookstore, 202 Galisteo St., 988-4226
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Reading about writing during National NovelWriting Month Jennifer Levin I For The New Mexican
S
ome people believe that writing cannot be taught. You’re either a writer or you’re not, and beyond learning some basic grammar rules and elements of style, most of which you learn in school by the time you’re 15, you’re on your own. This has not stopped the proliferation of MFA programs in creative writing, publication of countless how-to books on writing, and the formation of writing groups in every city and town; nor has it stopped the growing popularity of National Novel Writing Month (or NaNoWriMo, as it is known) — when people all over the country and beyond attempt to churn out 50,000 words during November — from taking root in our collective idea of what it means to be a writer today. NaNoWriMo, with its social-networking website, local “write-ins” in cafés, and e-badges for completion, particularly embodies what makes me, an old-fashioned misanthrope, uncomfortable about today’s literary scene: I fear that “what it means to be a writer” is discussed with far more frequency and urgency than “what it means to write.”
A personAl essAy That said, after being completely opposed to it for many years, I’m doing NaNoWriMo this month because I’ve gotten sick of being a writer instead of writing. Sure, I write articles and other kinds of copy for a living, but my “real writing” is fiction. After getting caught in a holding pattern of serious illness for a few years, I lost my writing mojo. I’d sit down to write and wake up hours later, having no recollection of falling asleep. Or I’d watch all Theo Pauline Nestor seven seasons of The West Wing, followed by eight seasons of Weeds. It was time to get my act together. Now, three weeks in and lagging behind at 26,000 words, I can see I was wrong all along about NaNoWriMo, because NaNoWriMo is what you make it. You couldn’t pay me to go to a write-in and compete with other writers for highest word count in the shortest amount of time, but I’m writing again, for real, and it feels great. The 50,000 words of NaNoWriMo is boot camp, or a pace car, not an affront to art. I believe that writing can be taught, although not everyone can learn it, and if you’re not learning from the right teacher then you’re better off on your own. This can be an expensive lesson to learn if you go the grad-school route and don’t like your professors, or time-consuming if you join a local critique group and don’t like the writing of the people in it. The most accessible, inexpensive, and nonintimidating way to receive writing lessons — beyond simply reading as many novels, stories, poems, essays, and memoirs as you can — is by reading how-to books and essays about writing. Some of these books are wonderful and some are terrible, and you might go through several before you find one that speaks to you. My biggest frustration, when it comes to these books, is that the authors too often assume their readers have never written before, that they only aspire to do so and do not know quite where to start. Such an assumption can lead to a remedial, condescending tone that even beginning writers might find alienating. Though Theo Pauline Nestor — a former Santa Fe resident and the author of Writing Is My Drink: A Writer’s Story of Finding Her Voice (and a Guide to How 22
PASATIEMPO I November 29 - December 5, 2013
You Can Too), published by Simon & Schuster — does assume that her readers are beginners, some of the exercises she proposes have the potential to crack the most seasoned writers wide open. Nestor, who reads from her book on Wednesday, Dec. 4, at Collected Works Bookstore, takes us to the very heart of writing: the search for emotional truth. You have to write what you think and face your fears if you want your words to have power. This may seem obvious, but sometimes what we are afraid of is ourselves — our real beliefs, the things our parents said that hurt us, what we truly want to say to other people. Basically, we are afraid of our fears. Nestor believes that this place, this shame place, is where you’ll find the richest source material. She specifically discusses the writing of memoir, but the secret shames about which we lie to ourselves can hamper fiction, poetry, and even journalism, because fear and shame bottled up can have a deadening effect on your ability to think deeply and broadly about your subject matter. If you can’t or won’t feel your own feelings, how will your characters be able to feel theirs? How will a reader connect to what you’ve written? This kind of writing is not for the timid. Nor, I am finding out, is NaNoWriMo. Everyone’s process is different, but I have found that I cannot get the plot out without discovering the characters first, which means that, for the moment, I have a lot of interior monologue and very few scenes. My old struggle over What happens next? or, far more annoying, How do I get this person into the next room? has disappeared into a jumbled mess of nonlinear digressions that I will put in order later, during revision. The jumble is daunting, but at least it’s out of my head and on the page, where it belongs. Revision isn’t what scares me. What scares me is the unknown, and an unwritten novel is a huge unknown. Nestor talks quite a bit about how our creativity and imagination can be bullied into silence by our fear of what family members might say. When you’re writing a memoir, family members have a stake in their own portrayal, in what you’re going to say about them. When you’re writing a novel, family members have a stake in judging the way your mind works via the inner lives of your characters. Nestor has some exercises to exorcise those demons. Write on this question: How have you kept silent or limited your writing because you feel that somehow you owe this silence or limited articulation to a family member? Type the words “This Is What I Think” in boldface at the top of a page and print out several copies. Use these pages for ten-minute timed writings. As fast as you can, make a list of times when you could not access trust in yourself. If this sounds like writing as therapy — well, maybe it is. Some people will tell you that means it’s automatically not art, not literature. Some people will tell you that the least important subject matter is ourselves and that real writers write fiction. Some writers will tell you that fiction is nothing but “entertainment” and that poetry is the higher art. Such advice is why sometimes it is best to write alone, because other people’s ideas about what it means to be a writer can negatively affect what it means for you to actually sit down and write. Writing Is My Drink was the perfect NaNoWriMo pep talk for me, because Nestor wants me to write. She wants all of us to write. ◀
details ▼ Theo Pauline Nestor reads from Writing Is My Drink: A Writer’s Story of Finding Her Voice (and a Guide to How You Can Too) ▼ 6 p.m. Wednesday, Dec. 4 ▼ Collected Works Bookstore, 202 Galisteo St., 505-988-4226
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Sax in context
I
t’s said that the playing of Miles Davis, the chameleon musician who took his music in several directions, actually changed little over the years. Instead, it was the context that changed. No matter if heard in his early, cool-school years, the hard-bop and new-thing sounds of the late ’50s and ’60s, or the various electric periods that followed, Miles’ trademark approach to his instrument varied little. The same can be said of saxophonist Charles Lloyd. While the context changes that Lloyd has experienced are more subtle than those Davis went through — no plugged-in backbeat for the saxophonist — his sound and musical mannerisms have kept a certain signature since his emergence as a major voice in the 1960s. Though Lloyd has worked with musicians as varied as pianists Keith Jarrett, Brad Mehldau, Bobo Stenson, Geri Allen, and Jason Moran, drummers Jack DeJohnette and Billy Higgins, or Greek vocalist Maria Farantouri, his warm tone and ambitious phrasing make his playing immediately identifiable. This consistency throughout differing contexts was on display when Lloyd, with his current rhythm section of bassist Reuben Rogers and drummer Eric Harland, appeared with eclectic guitarist Bill Frisell at a near sold-out Lensic in a presentation of the New Mexico Jazz Festival. In a 90-minute set of unannounced numbers, Lloyd made a solid connection with Frisell’s spacious, often quirky ways. This ensemble’s group sound was something else again for Lloyd, and different from his recordings with electric guitarist John Abercrombie. The saxophonist seemed to revel in Frisell’s relaxed, split-rhythm approach. For his part, the guitarist worked a number of tonal variations and styles to match each tune’s mood. Some of his electric play on numbers with pronounced rhythms set the saxophonist to dancing in a herky-jerky style that recalled a puppet on a string. Shades of Thelonious Monk! The show opened in a pastoral mood, with a thoughtful drums-andsax-only exchange that suggested rolling hills and dappled skies in its wavering lines and percussive accents. Frisell easily took up the mood, sounding something like hill-country music in his accompanying twang. A tune based on the changes of “Autumn Leaves” continued to show Frisell’s gentler side, emphasizing his trademark harmonics with pleasant, ringing-chord patterns ending with off-kilter tonal blends. Lloyd picked up his clarinetlike tárogató for a piece with Middle Eastern reflections, making for a blend with the guitar of acoustic and electric spirituality. A piece that started with Rogers’ arco-bass lines took up a pulsing rhythm that resembled something from Davis’ Bitches Brew period — the rhythm accented by Lloyd’s maracas and hand-shaker percussion added to the drums as Frisell employed a steel-pan-like sound in a twisted solo. In another number, Lloyd’s rich, warm flute tones, his phrases deflating in volume as they extended, hung over equally rich chords from the guitar. In a piece with guitar and drums only, Frisell kept an electric drone whirring behind some of his most exotic play. The performance took on devotional airs as it drew to a close, Frisell’s guitar introducing a waltz that found the quartet developing both transcendent passages and the calm center of the storm they’d unleashed. Of the many contexts aired this night, this one was the most varied and emotionally charged. — Bill Kohlhaase
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December Special: ‘Tis the Season
7 to 8 p.m., Planetarium 505-428-1744 Come and hear various theories of the Christmas Star, ranging from meteors and comets to exploding stars and conjunctions of the planets.
Winter Choral Concert
5:30 p.m., Jemez Rooms 505-428-1731 Chorus and chamber music students sing traditional carols, holiday songs and classical vocal arrangements.
Holiday Arts & Crafts Fair
9 a.m. to 2 p.m., Campus Center Artisans showcase handcrafted items.
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Performing Arts Showcase
7 p.m., Capital High School Theater
Nurses Pinning Ceremony
1 p.m., Fitness Education Center
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Governing Board Meeting
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Christmas greeting card with Colorado and New Mexico scenes, late 1890s; courtesy Palace of the Governors Photo Archives (NMHM/DCA) Negative No. 009008
James M. Keller I The New Mexican
o holiday dominates the concert scene as thoroughly as Christmas does. During the coming month, it will be practically impossible for anybody in Santa Fe to go to a classical-ish concert without ingesting a generous dose of Christmas music. There’s good reason for it; since composers through the centuries have written so much lovely music for the Christmas season, this is really the only logical time to present it. (It would seem odd for a group to program Bach’s Christmas Oratorio or Respighi’s “Laud to the Nativity” in August.) Then, too, many people have a primal and positive reaction to Christmas carols, which have a way of triggering nostalgic sentiments. Christmas carols would probably be still more potent if we weren’t quite so inundated with them every December, but protesting would be as effective as 26
PASATIEMPO I November 29 - December 5, 2013
whistling into the wind. Commercially oriented composers fuel what I gather is a widespread desire for new arrangements of old carols, such that there is hardly a performing ensemble that lacks carol settings with which to close their December performances. Very few concerts in the coming month fail to include carol-settings in their playlists. Two exceptions are the annual orchestral concerts of the Santa Fe Concert Association, which Joseph Illick, the organization’s artistic director, conducts on Christmas Eve and New Year’s Eve. The former of these is an all-Beethoven affair: his Violin Concerto (featuring violinist-on-the-rise Caroline Goulding) and his Symphony No. 4. Robert Schumann called the latter “a slender Grecian maiden between two Nordic giants,” struck by its modest elegance when compared to the huge Third and Fifth Symphonies that surrounded it. The New Year’s Eve concert similarly comprises a concerto and a symphony, in this case Poulenc’s bubbling Concerto for Two Pianos (in which Illick and Claire Huangci tickle
the ivories) and the bucolic Second Symphony of Brahms. (The dress rehearsals of the Dec. 24 and the Dec. 31 concerts, at 2 p.m. on their respective afternoons, take the form of a family presentation with commentary by Illick.) Santa Fe Pro Musica, led by Thomas O’Connor, has two go-rounds of Bach’s six Brandenburg Concertos, on Dec. 28 and Dec. 29. The Brandenburgs have no built-in Christmas association, but Pro Musica has been making them a seasonal tradition — as, indeed, have quite a few performing groups across the land. And then a cluster of concerts from Dec. 28 to Dec. 31 features a newly created ensemble called Voasis. An offspring of the Santa Fe Desert Chorale (which describes it as its “sassy new little sister”), this vocal octet was formed to titillate Glee-oriented listeners, and it will offer closeharmony arrangements of Great American Songbook numbers that involve the hour of midnight. Apart from these, expect Christmas fare. continued on Page 28
HOLIDAY-MUSIC SCHEDULE Sunday, Dec. 1, at 4 p.m.
Dec. 11 at 5 p.m.
conducting seasonal music by Bach and others, plus carols ▶ Immaculate Heart of Mary Chapel, 50 Mount Carmel Road, 505-988-1975 ▶ $15-$25, http://ihmretreat.com
under the title Winter Tales at a private residence in Tesuque that will be revealed when you book tickets. ▶ $75, 505-989-7900, www.serenataofsantafe@gmail.com
▶ New Mexico Bach Society, Franz Vote
Dec. 24 at 5 p.m.
▶ Serenata of Santa Fe offers a“secret soirée”
▶ Santa Fe Concert Association Orchestra,
Joseph Illick conducting
▶ Beethoven’s Violin Concerto (with
Caroline Goulding) and Symphony No. 4
▶ (“family concert”dress rehearsal
at 2 p.m., $10)
▶ Lensic Performing Arts Center ▶ $25-$95, Tickets Santa Fe at the Lensic
Dec. 13 & 19 at 7 p.m.
▶ Santa Fe Women’s Ensemble, Linda Raney
Dec. 24 at 6 p.m.
conducting
▶ Loretto Chapel, 207 Old Santa Fe Trail ▶ $10-$35 ▶ The same program will be repeated Dec. 14
at 3 p.m. at First Presbyterian Church, $10 & $25, & Dec. 21 at 3 p.m. at the Immaculate Heart of Mary Chapel, $10 & $25 ▶ Tickets Santa Fe at the Lensic
Monday, Dec. 2, at 7:30 p.m.
▶ Celtic Holiday Concert, with members of
the Leahy family, presented by Santa Fe Concert Association ▶ Lensic Performing Arts Center 211 W. San Francisco St. ▶ $20-$55, Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org)
Dec. 13 at 7:30 p.m.
▶ New Mexico Gay Men’s Chorus presents
My Winter Song to You
▶ James A. Little Theater, New Mexico School
for the Deaf, 1060 Cerrillos Road ▶ $10-$20, www.nmgmc.org
Dec. 15 at 4:30 p.m.
▶ Marvel Not, Joseph, with Música Antigua
de Albuquerque
1701 Arroyo Chamiso
▶ $16, discounts available, reservations at
505-842-9613
Dec. 17 at 6 p.m.
▶ The Lighter Side of Christmas, a benefit
concert with an ensemble from Santa Fe Desert Chorale ▶ LewAllen Gallery Downtown, 125 W. Palace Ave. ▶ $80, www.desertchorale.org
Dec. 19 at 7 p.m.
Concert Association ▶ Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place ▶ $20-$55, Tickets Santa Fe at the Lensic
(Swing!), which alternates chamber reductions of Tchaikovsky’s ballet score with jazz arrangements of the same by Duke Ellington and Billy Strayhorn ▶ St. Francis Auditorium, New Mexico Museum of Art,107 W. Palace Ave. ▶ $30 until Nov. 29, then $35, discounts available; 505-913-7211, www.concordiasantafe.org
Dec. 6 at 7:30 p.m.
▶ Concordia Santa Fe presents The Nutcracker
▶ Baroque Christmas cantatas and carols
with soprano Ellen Hargis, violinist Carla Moore, viola da gambist John Dornenburg, and harpsichordist Jillon Stoppels Dupree ▶ Great Hall, Peterson Student Center, St. John’s College,1160 Camino de Cruz Blanca, 505-984-6000 ▶ No charge
Dec. 13 at 7:30 p.m.
▶ Paula Poundstone’s Ha Ha Ho Ho Holiday
Comedy Show ▶ Lensic Performing Arts Center ▶ $27.50 & $35, Tickets Santa Fe at the Lensic
Museum of Art
▶ $10-$65, discounts available,
Tickets Santa Fe at the Lensic
Dec. 28-29 at 4 p.m. and 8 p.m., Dec. 30-31 at 8 p.m.
▶ Voasis sings In the Midnight Hour ▶ Warehouse 21, 1614 Paseo de Peralta,
505-989-4423
Dec. 31 at 5 p.m.
Twelfth Night ▶ Great Hall, Peterson Student Center, St. John’s College ▶ No charge
▶ Poulenc’s Concerto for Two Pianos
▶ Santa Fe Concert Association Orchestra,
▶ Student production of Shakespeare’s
Joseph Illick conducting
(with Illick and Claire Huangci) and Brahms’Symphony No. 2 ▶ (“family concert”dress rehearsal at 2 p.m., $10) ▶ Lensic Performing Arts Center ▶ $25-$95, discounts available, Tickets Santa Fe at the Lensic
Lullabies, Joshua Haberman conducting
▶ Cathedral Basilica of St. Francis of Assisi ▶ $10-$65, www.desertchorale.org
Dec. 15 at 4 p.m.
▶ Santa Fe Symphony Orchestra and
Sangre de Cristo Chorale, Maxine Thévenot conducting ▶ First Presbyterian Church, 208 Grant Ave., 505-982-8544 ▶ The same program will be given Dec. 7 at 5:30 p.m. at First United Methodist Church (715 Diamond Drive, Los Alamos) ▶ $20, discounts available, www.sdcchorale.org
conducting
▶ Bach’s six Brandenburg Concertos ▶ St. Francis Auditorium, New Mexico
Dec. 13 & 14 at 7:30 p.m. and Dec. 15 at 3 p.m.
▶ Santa Fe Desert Chorale presents Carols and
▶ Britten’s A Ceremony of Carols with the
Dec. 28 at 6 p.m. & Dec. 29 at 3 p.m.
▶ Santa Fe Pro Musica, Thomas O’Connor
▶ $15-$100, www.desertchorale.org
Dec. 14, 19, 20, 21 & 23, all at 8 p.m.
Dec. 8 at 3 p.m.
540 Montezuma Ave. 505-984-2645
▶ $2 cover
▶ Christ Evangelical Lutheran Church,
Dec. 6 at 7:30 p.m.
▶ The King’s Singers, presented by Santa Fe
▶ David Geist’s Christmas Eve Sing-along ▶ Geist Cabaret, Pranzo Italian Grill,
Chorus presents Christmas Treasures, Joseph Young conducting ▶ Lensic Performing Arts Center ▶ $20-$70, Tickets Santa Fe at the Lensic
Dec. 15 at 4 p.m.
▶ The Big Holiday Sing with the Santa Fe
Desert Chorale, University of New Mexico Concert Choir, and UNM Children’s Choir ▶ Cristo Rey Parish, 1120 Canyon Road ▶ $10-$25, www.desertchorale.org
Dec. 20-24 at 6 p.m. & 8 p.m. each evening
▶ Santa Fe Pro Musica Baroque Ensemble,
with mezzo-sopranos Deborah Domanski or Dianna Grabowski ▶ Loretto Chapel ▶ $20-$65, Tickets Santa Fe at the Lensic
Dec. 21 at 2 & 7:30 p.m., Dec. 22 at 1 & 5 p.m.
▶ Aspen Santa Fe Ballet in The Nutcracker ▶ Lensic Performing Arts Center ▶ $25-$72, Tickets Santa Fe at the Lensic PASATIEMPOMAGAZINE.COM
27
Angel, taken just before Christmas in Anna Becker Park, Belen, NM, 1996, photo by Robert A. Christensen; courtesy Palace of the Governors Photo Archives (NMHM/DCA) Negative No. HP.2013.16.16
Barrels of carols, continued from Page 26 The holiday concert season begins in earnest on the first day of December, when the New Mexico Bach Society, conducted by Franz Vote, offers a program that comprises Renaissance and Baroque choral movements (including five items from Bach’s Christmas Oratorio), other morsels from Bach’s cantatas and instrumental works, and arrangements of many, many Christmas carols from England, Germany, France, and Spain. The Santa Fe Concert Association leaps into action the next day, presenting (on Monday, Dec. 2) a Celtic Holiday Concert performed by eight singing, playing, and dancing members of the Leahy family from Lakeville, Ontario. The Concert Association scarcely catches its breath before its next offering, on Dec. 6: The King’s Singers, the ever-popular, highly virtuosic men’s sextet from Great Britain, which has remained one of the world’s most admired vocal ensembles as individual members have come and gone through the past 45 years. Their return engagement at the Cathedral Basilica of St. Francis of Assisi is to include a few early-music classics by Lassus and Byrd, some Herbert Howells pieces to warm listeners’ Anglican innards, a touch of seasonal Poulenc, and easily digested contemporary 28
PASATIEMPO I November 29 - December 5, 2013
arrangements of carols. That evening of Dec. 6 presents the principal conundrum of the concertgoer’s month. Just as The King’s Singers attack their downbeat downtown, another very enticing performance gets underway two miles to the southeast, on the campus of St. John’s College. The four performers are not household names in the general concert world — soprano Ellen Hargis, violinist Carla Moore, viola da gambist John Dornenburg, and harpsichordist Jillon Stoppels Dupree — but all are well known and highly regarded in early-music circles. Why, why, why does this have to coincide with The King’s Singers? Music lovers find themselves on the horns of a dilemma, and either option would seem to be the right choice. Those who make their way to St. John’s will be treated with Christmas cantatas by Scarlatti and Telemann, as well as a selection of English, French, and Spanish carols. Speaking of St. John’s College, the students there will be undertaking a production of Shakespeare’s irresistible Twelfth Night from Dec. 13 to Dec.15. It isn’t a Christmas-themed play, but it does reflect the topsyturvy character of entertainments that might take place at Twelfth Night — the close of the Christmas season — in Elizabethan England. This being the centenary of the birth of Benjamin Britten, it would seem terribly wrong if some group
On a tight budget? First Presbyterian Church (208 Grant Ave., 505-982-8544, Ext. 16) is the place to be for half-hour TGIF concerts every Friday at 5:30 p.m. Admission is by donation. Its December lineup involves music by Corelli and Vaughan Williams from the Eternal Summer String Orchestra of Santa Fe (Dec. 6); arias, songs, and carols sung by three former Santa Fe Opera apprentices and choirs from the opera and the Cathedral Church of St. John, Albuquerque (Dec. 13); the church’s bell choir plus the High Desert Harp Ensemble (Dec. 20); and an assortment of vocal and instrumental concert works and carols (Dec. 27).
didn’t offer his much-loved A Ceremony of Carols. Double thanks, therefore, are due to the 45-member Sangre de Cristo Chorale and its director, Maxine Thévenot. They will offer this modern classic (with harpist Lynn GormanDeVelder) along with other music of the season on Dec. 7 in Los Alamos and Dec. 8 in Santa Fe. The Santa Fe Women’s Ensemble, directed by Linda Raney, can be depended on to put together programs that depart from the quotidian, and their seasonal program this year follows true to form. It gets five airings at different locations from Dec. 13 through Dec. 21, and it includes the premiere of the group’s latest commission, a setting of the Salve Regina Mater by the Swiss composer Ivo Antognini. Also on the program are several of the ensemble’s previous commissioned works and relative classics by Daniel Pinkham and Maurice Duruflé ... and carols. Usually Christmas-related happenings fall into the category of “very soft news,” excepting of course the annual reporting from the frontline trenches of the ongoing War on Christmas — which, judging from the number of Christmas concerts this coming month, does not seem to be going very well. This year, however, Christmas music has actually made national headlines thanks to the Hallmark greeting-card company, which released a Christmastree ornament sporting a phrase from the beloved carol “Deck the Halls.” At issue was the fact that Hallmark felt it prudent to alter the questionable line from “Don we now our gay apparel” to “Don we now our fun apparel,” because, you know, they wouldn’t want people to think, well, that. Odds would seem very favorable that The New Mexico Gay Men’s Chorus is likely to uphold traditional values, and therefore the time-honored text, if it includes that particular carol in its program My Winter Song to You on Dec. 13. And don’t forget the very clever comedian Paula Poundstone, who that same evening will be in town for what she calls her Ha Ha Ho Ho Holiday Comedy Show. We sense irreverence. Santa Fe Desert Chorale gets into the holiday spirit not only by launching Voasis but also through three other programs. Their main offering receives five performances from Dec. 14 through Dec. 23 at the Cathedral Basilica of St. Francis of Assisi: Carols and Lullabies, in which Joshua Haberman conducts excerpts from Rachmaninoff’s All-Night Vigil, European and American carols, and what the group describes as “pulsating African rhythms accompanied by an infectious drumbeat.” Also on its calendar is The Big Holiday Sing, which on Dec. 15 brings together the Desert Chorale, the University of New Mexico Concert Choir, and the UNM Children’s Choir for a Christmaspalooza with an audience singalong. Then on Dec. 17, the ensemble offers a “saucy holiday concert” featuring a small ensemble of the chorale’s singers backed up by “a sizzling rhythm section.” If you’re into the idea of a Christmas singalong on a more intimate scale, you might stroll over to the Geist Cabaret at Pranzo Italian Grill on Dec. 24, where resident show-tune maven David Geist will make sure folks have themselves a merry little Christmas. The Santa Fe Symphony Orchestra and Chorus presents a program of light classics relating to the season (by Leroy Anderson, Malcolm Arnold, and others) on Dec. 15. The guest conductor will be Joseph Young, one of the candidates in the group’s current search for a new principal conductor, so this could provide a glimpse of the orchestra’s future. Listeners who feel that Christmas music gets better the farther back it reaches should take note of the Dec. 15 concert by Música Antigua de Albuquerque, which brings its array of early instruments to Santa Fe for a recital of medieval and Renaissance Christmas music. The Nutcracker, with one of Tchaikovsky’s most beloved scores, returns in its annual staging by Aspen Santa Fe Ballet in four performances on Dec. 21 and Dec. 22. Although the group uses a recorded soundtrack, the choreography (by the organization’s artistic director Tom Mossbrucker and executive director Jean-Philippe Malaty) generously involves 60 dancers — some of them adults and others children from the company’s school . One of the most delightful of the city’s Christmas traditions is the annual holiday offering of Santa Fe Pro Musica Baroque Ensemble in the Loretto Chapel. The music, all from the 17th and 18th centuries, is performed on modern instruments, and this year the vocal component is rendered by a pair of mezzo-sopranos — Deborah Domanski and Dianna Grabowski — who alternate in the 10 go-rounds of the program from Dec. 20 through Dec. 24. The repertoire includes works by Handel, Purcell, and Telemann, as well as — you can count on it — more carols. ◀
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29
TERRELL’S TUNE-UP Steve Terrell
A Hebrew take
Making a tribute album honoring the music of Tom Waits isn’t a new idea. A few of them have come out over the years, though since Waits’ stature, especially among his fellow artists, it’s actually surprising there haven’t been more. (A good surprise, I have to say, considering that most tribute albums suck out loud.) Speaking of surprises, I just stumbled across a various-artists Waits tribute that might just twist your head off. Shirim Meshumashim — in English, “Used Songs” (which is also the name of a Waits “best-of” compilation a few years back) — features songs by an assortment of Israeli musicians little known outside their own country. All of the 22 songs, compiled by Israeli producer Guy Hajjaj, are sung in Hebrew. Don’t worry if you’re like this Okie goy boy and don’t understand a word of that language. This only adds an element of mystery and majesty to the music. That’s apparent from the opening of the first song, “Clap Hands” by Yaron Ben Ami & Noa Golandski. The duo recites an a cappella, sing-song nursery rhyme (one of them in a mocking falsetto voice) before starting the actual song. The effect is impressively spooky. A recent review of this album in the online Heeb magazine (an irreverent “lifestyle” publication aimed at young Jews) sums it up best: “Tom Waits always seemed to me to have more in common with biblical prophets than he did with other musicians. Listening to his gravely yowl, it’s not hard to imagine Waits in good company next to the wild haired, wild eyed madmen of the Bible, who stumbled out of the desert with evil visions in their heads, declaring to
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PASATIEMPO I November 29 - December 5, 2013
anyone within earshot that, yes, they’d seen God in the wilderness, and boy was he pissed.” Like Waits’ own vast catalog over the past 40 years or so, on Shirim Meshumashim you can find sleazedup torch songs, beatnik jazz, sweet folkie ditties, dirty-sounding blues, hobo confessionals, ominous barnyard banjo tunes, and crazy sonic experiments. As is the case with any tribute album, the contributions that work best are the ones that take some subtle liberties with the source material but capture the original artist’s spirit. A good example of this is Ursula Shwartz’s take on “God’s Away on Business.” With a steady trombone and urgent rhythm, Shwartz’s multitracked vocals sound distant and understated. Meanwhile, Einav Jackson Cohen & Iddo Sternberg offer a tense, minimalist version of “Lie to Me” featuring hand claps, piano, and a slide guitar, while Shany Kedar makes “I Don’t Wanna Grow Up” into a cool singalong. Though she mostly employs acoustic instruments (even ukulele), Kedar seems to draw, spiritually at least, from The Ramones’ cover of this song as well as Waits’ original. Sheila Ferber’s performance of the slow, sad “Time” isn’t really a radical departure from Waits’ original version on Rain Dogs. But her husky voice gives the song a maternal edge. “Dead and Lovely,” performed here by Talya Eliav, suggests a 21st-century Israeli version of “St. James Infirmary.” Aya Korem adds some sex appeal to Waits’ “Tango Till They’re Sore.” Less successful is her earnest rendition of “Falling Down,” making it sound like a Joni Mitchell piano ballad. Yes, there are some disappointments, including “A Little Rain” by Tal CohenShalev and David Blau’s version of “Martha.” I’m prejudiced, because these are not my favorite Waits songs, but neither artist lifts them beyond inoffensive folkie dribble. And poor Ze’ev Tene was up against not only Waits but Waits’ duet partner Keith Richard on the immortal after-hours barroom lament “That Feel.” Tene doesn’t even attempt to sing it, instead choosing to recite it. Though he’s not speaking French, his delivery reminds me of Maurice Chevalier. But see for yourself. You can listen for free to the stream of any or all of the songs from Shirim Meshumashim at https:.music. haoneg.com/album/--6. If you want to download the album, you can name your own price.
Here are other tributes to Waits: ▼ Piosenki Toma Waitsa by Kazik Staszewski. This album by Polish rock star Kazik Staszewski should have become a classic. It’s the first (and only other, as far as I know) foreign-language album of Waits tunes, so if you like Shirim Meshumashim, you definitely should seek this out. As I said when I reviewed this album in 2004, Waits’ music has detectable Eastern European influences. You can hear it in his songs like “Cemetery Polka,” “Innocent When You Dream,” “Underground,” and “I’ll Be Gone” (all of which Staszewski covers on this album) and in the entire album Blood Money, which he wrote for a theater production of the tragic Woyzeck. (Staszewski does three songs from that.) This also has a version of “In the Neighborhood,” which Staszewski turns into an eight-minute odyssey. This record isn’t easy to find, but you can order it for a fairly reasonable price at D&Z House of Books in Chicago. Visit http://tinyurl.com/kazikwaits. ▼ Wicked Grin by Johnny Hammond. This 2001 album by veteran blues interpreter Johnny Hammond captured Waits’ blues spirit. With help by sidemen including keyboardist Augie Meyers, harmonica man Charlie Musselwhite, and Waits bassist Larry Taylor, this album, which Waits produced, has excellent versions of “Heart Attack and Vine,” “Get Behind the Mule,” “Murder in the Red Barn,” and “Big Black Mariah.” The album ends with a gospel tune called “I Know I’ve Been Changed,” which is a rowdy duet between Hammond and Waits himself. (It has never appeared on a proper Waits solo album, but you can find some videos of Waits doing it on Youtube.) ▼ Step Right Up and New Coat of Paint. These collections, both released by Manifesto Records, are fairly typical 1990s-style tribute albums (though Paint was released in 2000) with lots of alternative stars taking a swing at Waits tunes. A large number of the tracks are bland and forgettable, but a few covers are good. Step Right Up — at least later digital versions of the album — includes a jaunty “Heart of Saturday Night” performed by Jonathan Richman and a nice and crazy Giant Sand version of “Invitation to the Blues.”New Coat of Paint’s highlights are Lydia Lunch’s brutal “Heart Attack and Vine,” Screamin’ Jay Hawkins’ “Whistlin’ Past the Graveyard,” and Carla Bozulich’s sad and beautiful “On the Nickel.” ▼ Anywhere I Lay My Head by Scarlett Johansson. OK, even though I have a weird fondness for “Golden Throats” material — songs performed by non-musician celebrities — and even though it was produced by Dave Sitek from TV on the Radio, and even though The Village Voice in 2008 raved “Pretty Good, Actually!” I confess I’ve never been able to bring myself to listen to this album. It’s available on Spotify, but I think I’ll just let the mystery be. ◀
tonight . november 2013 . 5-7pm tonight . april 26,29, 2013 . 5-7pm
l as t Fr i day a r t wal k In Santa Fe’s Vibrant Railyard Arts District LAST
lewallen galleries Michael Roque Collins, Beyond Earth’s Rhythms
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mARkET STATIon
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william siegal gallery Greatest Hits
Experience Design LAB: Next Nest, a juried exhibition featuring inspiring new domestic forms and design concepts. Next Nest merges artistic visions with 21st century sustainable objects and spaces for living, including designs for furniture, lighting, wall treatments, graphic, interior and textile designs.
P RAIlyARD pARkIng gARAgE
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r a i l ya r d pa r k
james kelly contemPorary Ron nagle, Sculpture in Small Scale, Group Show
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zane bennett contemPorary art Dunham Aurelius, Ruminative Figures
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william james david kelly richard siegal charlotte jackson
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WAREHouSE 21
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cAmIno DE lA FAmIlIA
El muSEo culTuRAl
mAnHATTAn
lewallen
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charlotte jackson Fine art Group Show, Fall Crush
tai gallery Tanabe Kochikusai, Flower Bud
david richard gallery Leon Berkowitz, Unity
cAmIno DE lA FAmIlIA
fRiDAy
zane bennett
Image: Herwig Baumgartner and Scott Uria, B + U Frank/Kim Residence, Los Angeles, CA
The Railyard Arts District (RAD) is comprised of seven prominent Railyard area galleries and SITE Santa Fe, a leading contemporary arts venue. RAD seeks to add to the excitement of the new Railyard area through coordinated events like this monthly Art Walk and Free Fridays at SITE, made possible by the Brown Foundation, Inc., of Houston. We invite you to come and experience all we have to offer. PASATIEMPOMAGAZINE.COM
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PASA TEMPOS
album reviews
RENE LOPEZ BRITTEN (Liberation Label) (Hyperion) Benjamin “New York City is such a melting Britten’s A Ceremony of Carols, pot,” Rene Lopez writes in regard to the for high voices and harp, is a mainstay city’s impact on his latest album. “One of Christmas concerts. Stephen Layton of my favorite things to do is to just conducts a finely honed reading in which walk around this city where the people the women of Trinity College Choir, influence me everyday. You go into my Cambridge, render the suite (as expandneighborhood where I have my studio in ed by the composer in 1943) with preWilliamsburg, and all you hear blaring cise clarity, abetted by harpist Sally Pryce. out of the windows is merengue.” The As this is one of Britten’s most-recorded music Lopez has been making for the works, this entry hardly fills an emplast 20 years is its own melting pot. The son of a noted salsa trumty spot on the shelf, yet it is as good as any and better than peter (Rene Lopez Sr.), Lopez is a drummer, singer, and bandleader most. Less familiar is the piece that joins it here: the cantata Saint who combines the merengue he hears in his Brooklyn neighborhood Nicolas, for tenor (Allan Clayton), chorus (here three choirs — two with many other Latin influences as well as funk, rhythm and blues, and made up of adults, the other of boys), and orchestra (the City of London beyond. Let’s Be Strangers Again contains only five songs, but almost all of Sinfonia). We associate jolly old St. Nicholas with Christmas, of course, them pack a punch. Particularly strong is the first track, “Come Along Now,” but this is not a Christmas piece. Instead, it recounts episodes in the life with its floating, wordless vocal line and tight horn arrangements. of this early saint, stressing his role as the patron saint of children. “Never gonna love the rules,” Lopez confesses a few songs later The piece takes on spatial drama when encountered live, with in “Midnight Love,” a mellow ballad that somehow manages the choirs ranged around the hall. That aspect is necessarily to include some sultry disco synth lines. The album closes flattened out in a recording, but this is a vivid experience bEEdEEgEE’s with “Let’s Be Strangers Again,” a song addressed to music nonetheless, invigorated by the urgency of Clayton’s itself. Lopez wants to maintain the magic of novelty in singing and the combination of practicality and ingenuity nearly-eight-minute his music, and as a result, his many established musical that characterizes many of Britten’s choral works — one “Empty Vases” stir-fries an influences come alive in new ways. — Loren Bienvenu of the greatest of which, the War Requiem, is briefly foreshadowed in Saint Nicolas. — James M. Keller acoustic-guitar jangle, robust KENNY GARRETT (Mack Avenue) Kenny Garrett honed his chops in the 1980s with Woody Shaw, Art bEEdEEgEE (4AD) bEEdEEgEE’s name looks annoyingly bass, spaced-out drums, and Blakey and the Jazz Messengers, and Miles Davis. The unwieldy until you try saying it aloud, and then it’s altoist has released nearly 20 albums as a leader. The obvious that there’s nothing particularly difficult about it. upbeat lyrics like “I won’t title of his newest disc relates to the fact that the project Something similar could be said for the album itself, which required an intentional pushing away of distractions. It sidesteps pop conventions at almost every turn yet remains stand around in the opens with the steaming “A Side Order of Hijiki,” featuring easy to digest and full of more memorable hooks than, say, the fleet keywork of Benito Gonzalez and the leader’s spirited the new Arcade Fire album. The surprising thing about this is rain anymore.” sax. There’s a dramatic, storytelling feeling to “Hey, Chick,” that Brian DeGraw spent more than a decade helping to mold an homage to Chick Corea on which Garrett’s improv-rich solo the experimental compositions of Gang Gang Dance before releashas a Middle Eastern edge. “Chucho’s Mambo” is a spicy Latin piece ing this, his first solo album and by far the poppiest thing he’s ever done. brightened by Rudy Bird’s percussion. Vernell Brown takes over on piano Although Gang Gang Dance was starting to lean into the recent trend toward from Gonzalez on several songs, the first a strong showing on “Lincoln modern-day rave music with cheerful dance cuts like 2011’s “Glass Jar,” sunny Center.” Following “J’ouvert,” an upbeat, Caribbean-spirit tribute to Sonny songs like bEEdEEgEE’s nearly-eight-minute ”Empty Vases” — which stirRollins, the band gets into the title track. “I wanted this tune to be powerfries an acoustic-guitar jangle, robust bass, spaced-out drums, and upbeat ful,” Garrett says. “I had the image of Atlas pushing the world and at the lyrics like “I won’t stand around in the rain anymore” — still come as end there was light.” The instrumental a shock. “Flowers” is basically a beautiquintet (with Brown, Bird, drummer ful R&B song, while shorter tracks in Mark Whitfield Jr., and the album’s betweenthebangerswaterdown—butalso bassist, Corcoran Holt) is accented sweeten — dubstep conventions. The only by hypnotic, guttural chanting — the disappointing moment is “Time of Waste leader singing in the Christian vein (F.U.T.D.),” which starts off with a loud, and Vernell in the Buddhist. It is a mix thumpingbeatandthepromiseofthesyrupy that borders on the wild, and Garrett vocals of Hot Chip’s Alexis Taylor before flies beautifully on soprano. An excellent slipping away from anything resembling outing, and 11 of the dozen tunes strong melody. But even there, the are Garrett compositions. joy bursts from every sound. — Paul Weideman — Robert Ker
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PASATIEMPO I November 29 - December 5, 2013
READINGS & CONVERSATIONS brings to Santa Fe a wide range of writers from the literary world of fiction, nonfiction, and poetry to read from and discuss their work.
NOTHING PERSONAL:
THE DARK ROOM COLLECTIVE REUNION TOUR with Natasha Trethewey, Major Jackson, Thomas Sayers Ellis, John Keene, Tisa Bryant and Sharan Strange with saxophonist James Brandon Lewis THURSDAY 12 DECEMBER AT 7PM LENSIC PERFORMING ARTS CENTER
The Dark Room Collective was formed in 1988 in Boston by a group of young African American poets as a means of providing community to both established and emerging writers in the form of a reading series. This 25th Anniversary event with nearly all of the original founding members marks the end of the group’s reunion tour. TICKETS ON SALE NOW
ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID
World AIDS Day
Program & observance Sunday, December 1, 2–6 pm Moderated Panel Discussion. “Cultural Approaches to HIV/AIDS.” Experts from diverse cultural backgrounds address education, advocacy and memorialization in their communities: • Fernando Casados, Southwest CARE Center Santa Fe • Kathy Wan Povi Sanchez, Tewa Women United • Darlene Hunt and Donald Chee, Diné College HIV Initiative Program and HIV Peer Educator Project • Roger Montoya, HIV-positive long-term thriver, co-founder, La Tierra Montessori School of the Arts and Sciences, and Moving Arts Española Candlelight Ceremony and Talking Circle. Make and decorate a commemorative farolito to add to a candlelit AIDS ribbon on Milner Plaza. Interfaith blessings and commemoration. In conjunction with the Gallery of Conscience exhibition Let’s Talk About This: Folk Artists Respond to HIV/AIDS. For more information please call 505-476-1200. By regular museum admission. Sundays are free for New Mexico residents with I.D. Children 16 and under and Foundation members always free. Funding for this event provided by the International Folk Art Foundation. Pictured: diana Moya Lujan, La CuraCión deL Corazón (The heaLing of The hearT), 2012.
International Coalition of
SITES of CONSCIENCE
Video and audio recordings of Lannan events are available at:
www.lannan.org On Museum Hill in Santa Fe · 505-476-1200 · InternationalFolkArt.org PASATIEMPOMAGAZINE.COM
33
Bill Kohlhaase I The New Mexican
jazz is a religion, Charlie “Yardbird” Parker is its messiah. In the dozen or so years before his death at age 34 in 1955, Parker led the movement that changed the music’s old testament into something sleek, modern, and frantic. He was a man of huge appetites — for food, intoxicants, and women — but his largest obsession was with music. Though he granted few interviews, he made more than 1,000 recordings that document the most important thing about him. In one of those rare interviews, published in DownBeat magazine in 1949, Parker explained his sound: “It’s just music. It’s playing clean and looking for the pretty notes.” Parker’s music was clean in the sense that he did away with the commonly used vibrato in an effort to play sharper and much, much faster. That he kept his music “pretty” even as it was played at previously unheard speeds speaks to his invention. No matter how fast he played, his phrasing made sense, resolving in ways that achieved a narrative completeness. Much of the literature on Parker’s life came years after his passing. Recently, there’s been as much interest in Parker’s psychology, his addictions, and the source of his genius as there is in that genius itself. Most of what we know about his life comes second hand, from his mother, from his lovers, and from his fellow musicians. Certain mythologies have sprung up. When he died, the declaration “Bird lives!” heard from hipster poets and scribbled on
isthe livestheof charliewordparker
subway walls suggested something of immortality. The moment of his death, according to Baroness Pannonica de Koenigswarter, who was with him at the time in New York City, was accompanied by “a tremendous clap of thunder.” That clap introduces Chuck Haddix’s Bird: The Life and Music of Charlie Parker,, the most definitive of three recent books that find meaning in the alto saxophonist’s life. Haddix, who teaches local jazz history at the Kansas City Art Institute and is the director of the Marr Sound Archives of the University of Missouri-Kansas City Libraries, has gathered much of what’s been said and documented about Parker’s life — and some that hasn’t — in a slim volume that’s as comprehensive and appreciative as any of the past Parker literature. His emphasis is less on Parker’s music than on the facts of his life. He acknowledges some of Parker’s more sensational exploits, including riding a horse into a Manhattan tavern and showing up naked in a Los Angeles hotel lobby asking for the change to make a phone call. He mostly sticks to the documented narrative of Parker’s life. He frequently cites Ross Russell’s 1973 biography Bird Lives!: The High Life and Hard Times of Charlie (Yardbird) Parker and other of Russell’s manuscripts and articles. He quotes Robert Reisner, a friend of Parker’s who collected a series of interviews from those acquainted with the saxophonist for his 1962 book Bird: The Legend of Charlie Parker: “[Charlie] was one of the most difficult individuals I have ever met. He was suave, cunning, urbane, charming, and generally fiendish — too much.” These personality traits fall between the extremes that Reisner recognized “No one had such a love of life, and no one tried harder to kill himself.” Parker was said to be interested and knowledgeable about nearly everything. Haddix dutifully recounts the story of Parker encountering Albert Einstein on the Princeton campus before a concert and the two discussing the Theory of Relativity over tea. The book makes new contributions to the Parker history by dredging up an obscure 1996 interview with the saxophonist’s first wife, Rebecca Ruffin, published in Kansas City’s Pitch Weekly. That interview gives Ruffin’s account of Parker becoming addicted to drugs at the age of 16 after treatment for injuries suffered in a car crash. From his own research of public records and interviews with relatives, Haddix gives new details on Parker’s forebears’ relocation to Kansas City, Kansas, from the South and their various moves. Stanley Crouch’s Kansas City Lightning: The Rise and Times of Charlie Parker also benefits from its author’s research and interviews, some 30 years of them. 34
PASATIEMPO I ????????? ??-??, 2013
But it takes this information to construct a narrative based on imagination as much as fact. Crouch, who was twice nominated for a National Book Critics Circle Award and is a co-founder and occasional artistic consultant for Jazz at Lincoln Center, has written what reads like a novel. He gets inside Parker’s head and the heads of those around him, fills in dialogue, and takes side trips into historical and cultural events — Francisco Vásquez de Coronado’s entering what is now Kansas in search of the Seven Cities of Cibola in 1541, the all-black cavalry regiment known as the Buffalo Soldiers, the first bout between Joe Louis and Max Schmeling. What he comes up with is entertaining as well as informative. The book covers the first 21 years of Parker’s life, ending well before his influence on the emerging school of bebop was being felt. But as the book begins — with the young saxophonist making inroads into the competitive New York jazz scene as part of fellow Kansas City denizen Jay McShann’s band — we see the promise. Much of this first section, based on interviews Crouch conducted with Lucky Millinder Orchestra drummer Panama Francis, recreates the pre-World War II club scene in Harlem with its dancers and competing bands. Crouch laces the story with hip colloquialism and jazz-insider glimpses, even including details of the band outfits (the McShann ensemble’s “raggedy old uniforms so stiff they could have stood by themselves in the corner,” as described by Millinder). Crouch also excels at describing the music. Here he is on “Cherokee”: “The rhythm section lit out. The band came in and played the song’s ensemble chorus, sixty-four bars of a tune notorious for its complex harmony, all those holes you could break your musical legs in. This was one of those times when the griddle was hot and nothing came up except steam.” What follows that introductory chapter starts at birth and follows with Parker’s poor but pampered childhood, his doting mother downstairs, his young sweetheart and family renting upstairs. Crouch emphatically delivers Parker’s attraction to music and his unrelenting determination to learn it. He doesn’t give undue attention (as does Clint Eastwood’s 1988 film Bird, starring Forest Whitaker as the saxophonist) to the early humiliation Parker suffered at a jam session when drummer Jo Jones tossed a cymbal to the floor as a signal to stop playing and cut out. He does chart in detail the slow evolution of a musician whose desire was to do something different. Since Parker’s death, that difference has inspired artists, especially poets, of all sorts. Yusef Komunyakaa’s Testimony: A Tribute To Charlie Parker With New and Selected Jazz Poems shows just how difficult it can be to capture music with words. Komunyakaa won a Pulitzer Prize for poetry in 1994, and his last collection, The Chameleon Couch, is a marvel of how verse can be written rhythmically. At the center of Testimony is the libretto Komunyakaa wrote for a “jazz opera” with music by Australian composer Sandy Evans. The book contains essays and interviews about the piece as well as two CDs that capture the 19-part composition. Some of the libretto is sung (at one point, by vocalist Kurt Elling) and some is recited by Komunyakaa. Surprisingly, some of the best music here is the least Parker-like, including “Purple Dress,” with its slow walk and electric guitar chords. Much of what’s in the title poem is historical touchstone and name dropping. Its phrasing, characteristically un-Bird like, is often rhythmically dull. But some of it is equal to the task: “Double-hearted instruments breathed/beneath light wood, but no real flesh/&blood moaned into that unbruised/surrender.” The selected jazz poems also rely on names and musical terms to carry them: “Philly Joe/Jones’ brushes reaching for a dusky/backbeat across the high hat.” Or they bypass music entirely: “Charlie, there’s always another story/& this morning I’m searching again/for that photo of you & Einstein.” Maybe we’re expecting too much but shouldn’t poetry about bebop and a musician whose name is sacred have something frantic, holy, and decidedly rhythmic about it? ◀ “Bird: The Life and Music of Charlie Parker” by Chuck Haddix is published by University of Illinois Press. “Kansas City Lighting: The Rise and Times of Charlie Parker” by Stanley Crouch is published by HarperCollins. “Testimony: A Tribute To Charlie Parker With New and Selected Jazz Poems” by Yusef Komunyakaa is published by Wesleyan University Press. All the books were released in 2013.
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PASATIEMPO I November 29 - December 5, 2013
5 0 5 - 4 2 8 - 1 0 0 0
William A. Suys “People and Other Animals” November 29, 2013 5 pm - 7pm
S P E C i A L P U B L i C
P E R F O R M A N C E
SANTA FE Thursday, december 5 & saTurday, december 28, 6 Pm ALBUQUERQUE sunday, december 8, 4 Pm
Faraway Nearest ONe:
A Reading of the Letters of O’Keeffe and Stieglitz at Lake George Paint in the Land of Enchantment | Oil | 11 x 14
Worrell Gallery 103 Washington Ave Santa Fe, NM 87501 505.989.4900 www.worrellgallery.com
Join us for an animated reading of the Lake George correspondence of O’Keeffe and Stieglitz from 1918 through the mid-1930s. While O’Keeffe and Stieglitz spent much time together at Lake George, there were times when they were apart but shared details of their daily lives, as in this selection of letters edited by Sarah Greenougher, senior curator of photography at the National Gallery of Art and editor of My Faraway One: Selected Letters of Georgia O’Keeffe and Alfred Stieglitz, Vol. 1. Hear the intimate words of these seminal American artists, brought to life by actors Debriana Mansini and Liam Lockhart. Directed and narrated by Kent Kirkpatrick, and performed in the galleries of: Georgia O’Keeffe Museum, 217 Johnson Street, Santa Fe Los Poblanos Cultural Center, 48O3 Rio Grande Boulevard NW, Los Ranchos de Albuquerque $25. Members and Business Partners, $2O Reservations: online at okeeffemuseum.org or 5O5.946.1O39
Letter from Georgia O’Keeffe to Alfred Stieglitz, 1933-10-06. Letters to Alfred Stieglitz, Georgia O’Keeffe Museum, RC-2004-003.
N o w
o p e N :
MODeRN NAtuRe: GEORGiA O’KEEFFE AND LAKE GEORGE OcTOber 4, 2O13 – January 26, 2O14 PASATIEMPOMAGAZINE.COM
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THE CASE OF THE CURIOUS COURIER James McGrath Morris I For The New Mexican
Indian Detour Bus, Santa Clara Pueblo, New Mexico, circa 1920; courtesy Palace of the Governors Photo Archives (NMHM/DCA), Negative No. 046940
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PASATIEMPO I November 29 - December 5, 2013
ost books contain a story. But sometimes the book is the story. That is certainly the case with a slim volume that has sat on my shelf for more than 30 years. Clad in red cloth, 6¾ inches wide and 8¾ inches tall, the work is called A Courier in New Mexico and dates back to when “courier” was used to describe someone we would today call a tour guide. In fact, author Mabel Parsons tells readers she worked as a guide for Fred Harvey Southwest Indian Detours in the late 1920s and after that operated her own tour company. But I am getting ahead of the story. If memory is to be trusted, I bought this book at the flea market on the state fairgrounds in Albuquerque in the late 1970s. At the time, the place abounded with literary treasures. For a few cents, for instance, I picked up an edition of The Best Short Stories of 1923, edited by Edward J. O’Brien. It’s a prized acquisition among collectors. Even though the book was dedicated to Ernest Hemingway, his name was so fresh to the literary world that it is misspelled in the table of contents as “Hemenway.” A Courier in New Mexico got my attention, as it gets the attention of everyone who has seen it, because it is a
beautifully assembled and strikingly authentic work of love. One did not have to read a word to know that this was a bibliophilic gem. The text was mimeographed, with hand-colored initial capital letters at the start of each chapter, and each stitched section was divided by hand-colored maps printed on craft paper with a compass rose made from the Zia symbol. Someone or some group of people had gone through an immense amount of trouble to put Parsons’ book together. This year, I set out to find out who Mabel Parsons was and how her little book had come into existence. In short, I would try to discover the story behind this book.
A CRITICAL CLUE
My first stop was the New Mexico History Museum in Santa Fe, where I met with Tom Leech, the curator in charge of the Press at the Palace of the Governors. He had alerted Pamela Smith, who drove in from Abiquiú. Smith had established the museum’s press operation and for three decades had designed and printed limited-edition letterpress books; she was the author of Passions in Print: Private Press Artistry in New Mexico. If there were any two people in the state who might be continued on Page 40
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Ann Nolan Clarke
A Courier in New Mexico, continued from Page 39
able to answer my questions about A Courier in New Mexico, they were assembled in this room. Before our meeting, Leech had gone to the Fogelson Library at the Santa Fe University of Art and Design, which has one of nine copies of the book held in American libraries, according to the WorldCat, a massive network that allows one to search the catalog of almost every English language library. It is maintained by a cooperative called OCLC. (Sometimes one can hear older librarians say they are “checking OCLC” when they help a patron search for a book. It originally stood for the “Ohio College Library Center” when it was launched in 1967 and smoothly became the “Online Computer Library Center” with the advent of the internet. It would have been a harder nomenclatural change had it been, say, the Arizona College Library Center. Score one point for creating an organization in Ohio.) From his reading of A Courier in New Mexico at the Santa Fe University of Art & Design library, Leech judged Parsons to be an engaging writer. But he and Smith were deeply impressed when I placed my pristine and signed copy of the book on the counter in a setting that looked to the uninitiated like a graveyard of century-old printing presses. The dark metal behemoths, however, were anything but dead. “If you are not using a printing press, all you have is an 800-pound doorstop,” Leech quipped. With the book lying in front of them like a corpse, Leech and Smith began a gentle autopsy. “Look at
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PASATIEMPO I November 29 - December 5, 2013
that,” Smith said, as she and Leech opened the book and began to note aloud the style of its stitching, the manner by which the end sheets were glued, and the pencil-drawn Zia. “They show some awareness of book design,” Smith said of its creators. Neither had a clue about its author. The named publisher of the book, “Tesuque Printers,” was especially puzzling to Smith, who had never heard of it despite having completed an exhaustive history of printing in New Mexico. But they both became animated when I mentioned the “Mrs. Clark” that Parsons said in the foreword was her partner in the Tewa Tours company. Searching for information about Tewa Tours in old New Mexico newspapers, I had come across an article in a June 15, 1928, edition of the Las Vegas Optic. In it, the company was described as being run by two “young ladies” who were “experienced drivers” with “accurate knowledge of scenic points, historical points, and the best unsung places of the state.” The article named the two as Miss Mabel Parsons and Miss Anna Nolan Clarke. Leech went to a bookshelf, returning with several large illustrated children’s books. The Anna Nolan Clarke in the article, the two experts explained, was Ann Nolan Clark, one of New Mexico’s more famous authors, whose books Leech put in front of me. Clark published more than 30 children’s books, mostly about Native American culture. Parsons’ friend and business partner, it turned out, was a well-known author. As history’s keepers tend to be kinder to the possessions of the famous, I figured my best bet for learning about Parsons and her book was to follow this lead.
GOLD AMID THE SHELVES
My next stop was the Zimmerman Library on the campus of the University of New Mexico in Albuquerque. Named in honor of James F. Zimmerman, the univer-
sity’s seventh president, the library is one of the state’s great cultural institutions. Frequented for 75 years by generations of students, it houses the state’s best collection of books, provides access to online research materials, and preserves collections of papers that once belonged to political, literary, and artistic New Mexicans. The place is a gorgeous and imaginative Pueblostyle edifice designed by famed architect John Gaw Meem. That alone makes the Zimmerman Library worth a visit even for those who have no interest in books. This is particularly true of its cathedral-like west wing. Among the library’s frequent visitors is Martha Bedard, the dean of the College of University Libraries and Learning Sciences. “It’s impossible for me to walk through this great hall every day, with its hand-carved vigas, lofty ceiling, and quiet echoes of those who spent long hours here, and not think about the emotional effect and aesthetic experience of the building itself, one of the finest examples of SpanishPueblo Revival in the Southwest,” she said. I began in the stacks and located a copy of Clark’s 1969 memoir, Journey to the People, published by Viking Press, and a copy of a Ph.D. dissertation on Clark’s early life written by Jeanne Carolyn Whitehouse. Armed with a cup of Starbucks coffee (yes, most major university libraries now have Starbucks), I sat down to read about Clark’s life. To my embarrassment, as one who likes to think he knows a bit about our state’s history, I had entirely missed learning about Clark until this moment. Born Ann Marie Nolan in 1896 in Las Vegas, New Mexico, Clark graduated from New Mexico Normal University, now New Mexico Highlands University. Shortly thereafter she ended up in Gallup, married to Thomas Patrick Clark, a member of the city’s semi-professional baseball team, one of several that had sprung up around the state, especially in mining
camps. The marriage didn’t take, but it produced a boy named Thomas Patrick Jr., whom she always called Tommie. In need of work, Ann Nolan Clark got a job teaching at a Gallup school. The principal, who carried a walking stick and sported a stiff, round hat and wrist-length white gloves, was Mabel Parsons. Fifteen years Clark’s senior, Parsons took the single mother under her wings and infected her with enthusiasm for the ideas of John Dewey, under whom Parsons had studied at Columbia University’s Teachers College in her native New York. “She was a despot; still she made us believe in her way of teaching — at least I did,” Clark recalled years later in her memoir.
when he gleefully jumped from the door of their cottage, which bore a sign marking the 9,000-foot elevation of the camp. (The sign, however, more likely read 7,000 feet, the 2,000 feet added in the retelling.) Parsons and Clark expanded their educational partnership and growing friendship into a business venture by launching Tewa Tours. Parsons, who suggested the idea, had worked previously as a tour guide for the Fred Harvey Company, but Clark had no experience. For three summers, dressed in Western garb and hats, the two women took tourists around Northern New Mexico in a large black touring car nicknamed “Sitting Bull” because of its occasional
For three summers, dressed in Western garb and hats, Mabel Parsons and Ann Nolan Clark took tourists around Northern New Mexico in a large black touring car nicknamed “Sitting Bull” because of its occasional refusal to start. In the late 1920s, Parsons received an invitation from the American Metals Company to open a school for the miners at the Terrero lead and zinc mine, located along the Pecos River about 14 miles up N.M. 63 from the village of Pecos. The mine had been a sleepy operation since its inception in 1882. But, according to Upper Pecos Watershed Restoration Action Strategy, a 2007 history of the watershed written by La Calandria Associates, the American Metals Company took over the mine in 1925 and greatly expanded it, leading to the need for a school. The offer from the mine company encouraged Parsons to bring along one or two teachers from Gallup. Thus Parsons and Clark moved high into the Sangre de Cristo Mountains. Clark later told stories of Tommie, then 8 years old, exclaiming, “Look how high I am!”
refusal to start. When the car complied, their favorite route for their clients was to visit the pueblos of Tesuque, San Ildefonso, Santa Clara, San Juan (now Ohkay Owingeh), and Nambé before returning to Santa Fe via Santa Cruz and Chimayó. Concerned with finding secure work necessary to raise her child, Clark took teaching positions with the Bureau of Indian Affairs at a Zuni boarding school, the Santa Fe Indian School, and in 1933 in the BIA’s one-room school at Tesuque Pueblo, where she had worked as a substitute teacher a decade earlier. Her widowed mother, son Tommie, and friend Parsons all made the move with her. It was here that my book came to life. continued on Page 42
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A Courier in New Mexico,
continued from Page 41
TEACHABLE MOMENT
To put the final pieces of the story together, I called on the author of the dissertation I had read at Zimmerman. In a cozy house not far from UNM, Whitehouse was eager to discuss Clark and Parsons, as most scholars are when asked about their work. Life in the school was hard on the women, she said. At first there was no water in the kitchen or bathroom. There was only one salary, a small one at that, which went to Clark as the teacher. Parsons worked as a volunteer in the school teaching woodworking and helping out where she could, while occasional but futile efforts were made to find a salary for her. It did not diminish the pair’s ardor for their work. A visitor found Clark and Parsons had “thrown themselves into their work with no reserve.” It was challenging work. For the pupils, English was a second language, so teaching reading was doubly hard. “At the time,” Clark recalled in her memoir, “we teachers thought our lot heartbreaking because of the almost impossible task that faced us each day.” In 1935, Clark was working on getting the four boys and one girl in her third grade to read books. Unlike today, the children were quite isolated from the world outside the pueblo. They considered books as alien objects of Anglo culture and wanted little to do with them. Clark hit upon the idea of having the children make a book, particularly one filled with the things the children knew and loved, as a means of interesting them in books. Clark had a small letterpress that the Pecos mine school had procured for her. But it wasn’t suited to running off the quantity of pages needed for a book. For that she required a mimeograph machine. The BIA budget was tight and, after buying toilet paper and cleaning supplies, little was left for paper, pencils, chalk, and other classroom supplies. Finding the money necessary for a printing machine during the Depression seemed impossible. But Parsons offered a solution. She reminded Clark of the book she had written about New Mexico sites that she used to brush up on the facts before taking tourists out on the Tewa Tours she and Clark used to run. “The manuscript was in a box somewhere; if she could find it, we could have it,” Clark wrote in Journey to the People. One night Parsons located her work. “Ideas came tumbling one over the other,” Clark said. They decided to publish and sell copies of the book and raise the needed funds. Using Clark’s monthly grocery allowance, they purchased a mimeograph machine. “We would sell Mabel’s
book for a dollar a copy to pay me back for what I had spent,” she said. “Mother was our bookkeeper; the expense came to thirty dollars.” The third-grade children were enlisted. Stencils were cut for the 88 pages of Parsons’ text, and the newly acquired mimeograph machine began churning out pages. It was not long before the classroom was festooned with inked pages of text drying on clotheslines. Meanwhile the children colored the initial capital letters at the beginning of each chapter and the maps, printed across two pages of craft paper. Second-graders were given the privileged role of applying beeswax to the sewing thread used to hold the pages together. When the pages were dry and the maps complete, Parsons and the third-graders bound them behind a title page printed on the letter press. “The book-hating third-graders with ceremony and pomp were henceforth the Tesuque Printers,” Clark said. In all, 30 copies were printed and sold for $1 each, paying back the loan from the grocery fund. “The Tesuque Printers now knew that books were only sentences made by people and put on pieces of paper and sewed together,” Clark wrote. But Clark was not done yet. Now with a mimeograph machine at the school’s disposal, the children turned to making a new book about life in Tesuque Pueblo. Clark encouraged her pupils to explore pueblo life, what she called “collaborative adventures.” When they returned
to the classroom, Clark had them describe in detail what they had seen. In turn, she wrote it all down as poems, using, she said, “the rhythms and patterns of their speech.” The resulting 29 poems were run off on the mimeograph machine and bound in calico that one of the mothers supplied. It was called Third Grade Home Geography. “It was our book,” Clark said. “The children had seen it written. It was about things they knew, and they could read it.” In all, seven copies were made, and one of them ended up at the Washington, D.C., office of the BIA. From there it made its way to Viking Press. In 1941 the New York publisher released the book under the name In My Mother’s House, illustrated by Zia Pueblo artist Velino Herrera. It was an instant hit, was selected as a Caldecott Honor Book in 1942, and remains in print to this day. Clark and Parsons stayed at the Tesuque Day School for four and a half years. During the following two decades the BIA published 15 of Clark’s books, and she traveled on behalf of the Institute for InterAmerican Affairs through Mexico, Guatemala, and South American countries. She was awarded the Newbery Medal in 1953 for Secret of the Andes, a book set in Peru. And for three decades she regularly contributed articles to New Mexico Magazine. Clark and her son made plans to build a house in the village of Tesuque. In the summers, he took odd jobs to learn construction. When World War II broke out, he became a pilot in the Army Air Forces. “So just as soon as he came from the war, two things were to happen,” Clark told Whitehouse in an interview. “I was to meet the plane with an Irish setter dog, and then the next day he was to start the house. But he didn’t come back.” Tommie had been killed in combat when his plane was shot down. Following Tommie’s death, Clark and Parsons built the small adobe house. Transporting cement bricks in a Chevrolet station wagon, the two, with the help of a pair of boys, erected the small house that still stands in Tesuque. It became the focus of Clark’s life and provided a reason to go on, Whitehouse said. “That home in Santa Fe,” noted a houseguest, “was the warmest, most cheering and relaxing home away from home any visitor could find.” The two women, who dressed alike in blue jeans and 10-gallon hats, raised cocker spaniels and called their home Red Dog Ranch. Clark worked long hours on her books, and Parsons typed her manuscripts. The partnership sustained Clark and permitted her to pursue her flourishing writing career. “If she hadn’t had Mabel as a companion,” Whitehouse said, “she wouldn’t have been able to do it.” Parsons died in Santa Fe in 1964. Clark died in Tucson, Arizona, in 1995, where she had moved to spend the final years of her life.
Parsons and Clark’s favorite route for their clients was to visit the pueblos of Tesuque, San Ildefonso, Santa Clara, San Juan (now Ohkay Owingeh), and Nambé before returning to Santa Fe via Santa Cruz and Chimayó.
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PASATIEMPO I November 29 - December 5, 2013
AREA TRAVELED BY TEWA TOURS
HOMAGE AT LAST
In 1966, Spud Johnson, who wrote the “Santa Fe Gadfly” column in The New Mexican, told his readers he had found a copy of A Courier in New Mexico at a church sale. He asked if anyone knew anything about the Tesuque Printers. A few weeks later, Santa Fe photographer Laura Gilpin wrote Johnson to tell him that Parsons had died and Clark lived in Arizona. Johnson mailed a clipping of his column to Clark, who put it in a stack of items labeled “Answer Immediately.” There it remained until a few years later, when she ran across it while working on her memoir. “This clipping brought back memories of my first bout with reluctant readers,” Clark wrote in her memoir. For years, Clark wrote, she kept track of her Tesuque Printers. They had all gone on to the Santa Fe Indian School, which was then run by the federal government. Afterward the boys attended the Haskell Institute in Oklahoma, and the one girl, Veronica, moved to Riverside, California. Later, Clark added, she heard that one boy went to college in California and another became an accomplished Santa Fe artist. Now that the story of the book’s origins was complete, I decided to make the Tesuque Pueblo my final stop. Principal Corine Salazar welcomed me to Tesuque Pueblo Day School, also known as the Te Tsu Geh Oweenge Day School, tucked in at the end of a circular drive behind a stand of large cottonwoods on the southern side of the pueblo’s center. The main building looks much as it did in the 1930s, when Clark taught and Parsons worked as her assistant. Light brown stucco, with a twostory belltower-like entrance, the quintessential schoolhouse now houses the administrative offices, a library, and a room that the pueblo hopes will become a computer center. Marita Hinds, the principal’s administrative assistant, joined me while I explained to Salazar how I had come across A Courier in New Mexico and what I had learned about the book. The two knew about Clark’s tenure at the school. In fact, her books were displayed on the shelf of the main room. But neither had heard of the Parsons book and that it been published by the schoolchildren. When I mentioned the student named Veronica cited in Clark’s memoir, Hinds wondered if it might be her aunt Ronnie Vigil. A few weeks later, Claudia Lente at the pueblo’s senior citizen center invited me to stop in at breakfast time to meet Veronica “Ronnie” Vigil. She had been a pupil at the school in the 1930s and remembered Clark and Parsons fondly; Clark had become her godmother. But she wasn’t the Veronica who was Clark’s student; she had attended the school in a different year than when A Courier in New Mexico and Third Grade Home Geography were published. With that I closed my notebook. Perhaps some of the students from that class are still alive. Maybe when this story is published, some of them might see themselves in it. In the end, the little red book that had occupied my shelf all these years had its own story. It had been the work of third-graders almost 80 years ago that funded a mimeograph machine and launched the career of one of New Mexico’s most accomplished writers. I thought I was done, but I wasn’t. I had one more stop to make. Doing an internet search of gravesites, I found that Parsons had been buried in Memorial Gardens cemetery on Rodeo Road. The receptionist located her grave in the cemetery records and gave me a map. Under a blue sky of a crisp fall day I walked out to her unassuming grave marker. Imbedded in the grass, with three dry tan leaves resting on it, the marker simply reads, “Mabel I. Parsons, 1883-1964.” Thirty years after buying her book, I had a private moment to pay homage, one author to another. Parsons, like so many who have come to New Mexico, revered her adopted state. On the final pages of her book, Parsons writes about San Mateo Valley, where she said tourists almost never go. “But it is a lovely place, and I want to end my book with a bit of tribute to the old-time native New Mexicans who have been so kind to me these years I have lived in their New Mexico.” The place and its people, she said, taught her again of things she had forgotten. “New Mexico is not just a place, you know,” she writes. “It is a place and its people to be respected and loved because of the beauty of kinder ways of living here.” ◀
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Tell Us a Story in Poetry or Prose Prose:
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 per entrant. submissions cannot be returned.
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Mail to: 2013 Writing Contest, c/o The New Mexican, 202 e. Marcy st., santa Fe, N.M. 87501 PASATIEMPOMAGAZINE.COM
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PASATIEMPO I ????????? ??-??, 2013
Michael Abatemarco I The New Mexican
Things that go rump in the night Wild Rumpus at Pop Gallery
Hermia: I would my father look’d but with my eyes. Theseus: Rather your eyes must with his judgment look. — from A Midsummer Night’s Dream aurice Sendak’s 1963 children’s book Where the Wild Things Are has endured because it speaks to the imagination and frustrations of youth. It’s a story about a child learning his lesson in his own way, tempering his emotions and embracing them at the same time. A young boy named Max is sent to his room without supper by his mother after he throws a tantrum. In his room, he escapes into a fantasy where he sails to the land of the wild things, a coterie of monstrous beasts who entice him with their feral displays of savagery. Max leads them on a “wild rumpus” and shows them he is king of the wild things. Wild Rumpus, a group exhibition of art inspired by Sendak’s tale, with work by Paul Barnes, Marcus C. Farris, self-described “cartoon folk” artist Miss Mindy,
and others, proves that there’s a little bit of Max in all of us. Many of the artists represented in the show have created works that stand as tributes to Sendak’s vision. Max is here, and so are the other wild things, envisioned through sculpture, paintings, and mixed media. The work of illustrator David Ho is darkly comic, but there’s sadness and longing expressed in Missing You, in which his wild thing gazes at a small gold crown in his hand. It is a lament for childhood, for a time when kids were kings and queens of their own universe. Miss Mindy’s Rambunctious is celebratory, and her Max-like figure has a knowing wink as she exuberantly raises her scepter into the air. Included in the exhibition is a Sendak original, King Max, which is clearly the image from which Miss Mindy took her cue. Other works express a deeper connection to Sendak’s tale, notably Alicia Stewart’s In Max’s Room as the Forest Grew. Stewart, a 14-year-old Santa Fe artist, heard about the show and asked to be included. Her work shows maturity and talent on a par with,
and in some cases exceeding, that of the other artists, many of whom are trained professionals. In Stewart’s painting, a child in Max’s wild-thing costume gazes at a small tree in the palm of her hand. A woman, perhaps the child’s older self or a visiting spirit, dangles the moon and stars from strings on her fingers in front of the child. It’s a scene of magic, just like the transformation of Max’s room in the story. Some of the artists in Wild Rumpus dare to venture into a troubling, dark side of youthful innocence. Children can get into trouble when they’re rambunctious, but their play is often real to them, and in their excitement, the rest of the world falls away. Adults may forget what that time was like. Sendak, who died in 2012, is the author of In the Night Kitchen, Higglety, Pigglety, Pop!, and many other children’s tales. He brought brevity to his stories, relying on his talent as an illustrator to convey childhood continued on Page 46
Above, Arturo: Wild Rumpus, 2013, mixed media on paper; opposite page, Paul Barnes: The Dreamer, 2013, acrylic on plaster and canvas
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Wild Rumpus, continued from Page 45
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PASATIEMPO I November 29 - December 5, 2013
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Maurice Sendak: King Max, circa 1990, ink on canvas
wonder through his images. Sendak based the monsters in Where the Wild Things Are on his own relatives, and his Max is a character to whom most children could relate. Children, like Max, often defy their parents’ wishes, incurring their wrath; and many parents are faced with the pain of punishing the ones they love. It is no wonder that the artists in Wild Rumpus depict their protagonists in fantastical landscapes, filled with strange sights and creatures offering an escape from the growing pains of reality. Upon its initial publication, Where the Wild Things Are was met with controversy, although it is difficult today to see how this could be. Perhaps school librarians felt it was inappropriate to tell a tale to children in which the main character openly defies his mother. In her book The Art of Maurice Sendak, author Selma G. Lanes writes that Sendak received letters from librarians and parents who felt the imagery would frighten small children. Lanes suggests that the book’s detractors saw themselves as “guardians of childhood innocence.” Sendak, whose parents were Polish immigrants living in Brooklyn and who had family members that died in the Holocaust, saw childhood as an often confusing, confounding, and frightening stage of life. Max’s journey speaks to that condition, whether readers are boys or girls. Many of the works in Wild Rumpus depict girls in the role of Max — C.J. Metzger’s Sail Away, Miss Mindy’s Rambunctious, Barnes’ The Dreamer, and Stewart’s In Max’s Room as the Forest Grew among them. Most of the works celebrate the spirit of the original story and remind us that Where the Wild Things Are is a tale with a happy ending. Arturo’s Wild Rumpus is a childlike menagerie of fanciful, whimsical creatures. The story is all about play, it tells us. Even for Sendak’s young hero, it’s all about envisioning a world where anything is possible. So, to quote Max, “Let the wild rumpus start.” ◀
details ▼ Wild Rumpus ▼ Opens Friday, Nov. 29; reception 5 p.m. Dec. 6; exhibit through December ▼ Pop Gallery, 142 Lincoln Ave., Suite 102, 505-820-0788
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Shop For The Holidays Singer Rankin presents her fabulous WorldWomenWork Collection with proceeds funding projects. Jewelry belts, bags, clothing, all inspired by Africa, Morocco, and Turkey. Saturday November 30th | 10am – 4pm
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PASATIEMPO I November 29 - December 5, 2013
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Bill Kohlhaase I The New Mexican
Jennifer Hitchcock
author pat conroy exorcises his demons
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PASATIEMPO I November 29 - December 5, 2013
At the end of his new nonfiction memoir, The Death of Santini: The Story of a Father and His Son, Pat Conroy addresses his mother and father — and readers as well. “I’ve written about my family more than any writer in American history, and I take great pride in that. But your spirits deserve a rest, and I’m going to grant you a long one, one that lasts forever.” Even Conroy, as he suggested in a phone call from Florida, where he was attending the Miami Book Fair International, doesn’t know if this will turn out to be true. Over some 40 years, Conroy has written several novels and memoirs that have established him as an early pioneer of a particular genre of contemporary fiction that focuses on the dysfunctional family. Other writers have followed — Jonathan Franzen with The Corrections, Lionel Shriver’s We Need To Talk About Kevin, Aimee Bender’s The Particular Sadness of Lemon Cake, Alison Bechdel’s graphic novel Fun Home. But Conroy, borrowing heavily from his own life, set the tone in the 1970s with his raw and discomforting novel of a strange, physically abusive fighter-pilot father in The Great Santini. His other books center on characters suggested by his siblings or accounts of his own experiences as a military brat, military academy student, and schoolteacher. The Great Santini goes right to the heart of his family with its raw, disturbing accounts of a cruel and violent father. The Death of Santini — an encompassing memoir published in October by Nan A. Talese/ Doubleday — clarifies and updates the Conroy family story. It’s a book about change. Don Conroy, Pat’s father and the model for The Great Santini’s “Bull” Meecham, portrayed by Robert Duvall in the 1979 film adaptation, eventually becomes his son’s ally, rather than his antagonist. Their always difficult association soured further after publication of The Great Santini. But over the years, Don Conroy grew to appreciate and even cherish the son who had portrayed him so harshly, albeit honestly. The new book also deals with Conroy’s misunderstood mother as well as his six siblings and other relatives. Neither mea culpa nor a softening of his earlier, brutal fictional portrayals, The Death of Santini is both back story and sequel to the fictional account that established the writer’s fame. “I think I returned to the story to put the whole thing to bed,” Conroy explained. “I had confused so many
people, including my family, with what I’d written fictionally, that I wanted to write what I really thought had happened, to write the things I had not made up. I needed to account for what happened to my father after the novel came out. He changed, much to my amazement, and became a much better man.” As outlined in the book, a number of things came together beginning in 1973 — Don’s retirement from the service, the separation from his wife, Pat’s move to Atlanta. “It was all timed and happening in about the same period; all that was kicking up. It didn’t happen all at once. My father was a blunt instrument existing in a one-cell animal. It took years for all this to get through that reptilian brain of his that he could not control.” One of the more revealing sections of the book comes after the family views The Great Santini at its premiere in their hometown of Beaufort, South Carolina, where much of the movie was filmed. Conroy’s brother Jim suggests that reality was far worse than the fiction on screen. “Bambi. Duvall is like Bambi beating up on his family,” Jim says. “Dad should’ve shown him how to take a family apart. This guy’s Bambi.” The explanation for Meecham’s quick temper and endless frustration, in the book and the film, both set just ahead of the America’s involvement in Vietnam, is that he was a warrior without a war. Don Conroy, a Korean War veteran, eventually made two tours of Vietnam, but they left him more frustrated than not. “The first time he led a squadron and flew jets,” Conroy explained. “But in 1970 they sent him back to a desk job, and no one hated that worse than he did.” The targets of their father’s abuse, Conroy’s brothers and sisters are mostly portrayed sympathetically in the book — and right from the beginning. In the book’s dedication he lists all six, using words like “kindest,” “brightest,” and “sweetest.” Carol is “the great explainer of it all”; Kathy is “the azalea crafted with iron”; and Mike is “the keystone, the calm in the midst of the family storm.” Tom, who committed suicide in the ’90s, was their “lost boy” who reminds them “how bad it really was.” “Most of my brothers and sisters turned out terrific despite what they went through,” Conroy said. “They had the gift of denial. One brother, Mike, decided to forget everything in childhood so he’d have a happy adulthood. That’s the way he got through life. He feels sorry for me because I remember everything.”
When you fictionalize a person, you can make them nicer than they were. That’s a great freedom for the writer. You can introduce forces and stories you’ve made up or only heard about. Fiction to me has been the great freeing up from the imprisonment of my family. — Pat Conroy
The memoir gives equal space to Conroy’s mother. As portrayed by Blythe Danner in the film, she’s loving and protective of her children while capable of standing up to her husband, even if it earns her a beating. In real life, she, too, seemed to come apart after separating from her husband — a function, Conroy suggested, of her living a lie. “Mom always hid from me the fact that she came from the poor South; she hid it from us all,” he said. “Because she married a Marine, she played the game of being a Marine Corps member’s wife and described herself as a Southern belle from Atlanta. That’s the last thing she was. My mother was raised so hardscrabble in the rural South that she became dependent on her ability to get out, she became obsessed with it. And then she hid [her background]. We barely knew our relatives in Alabama — grew up not knowing them at all. I think Mom did that on purpose. She tried to change our history before we discovered it. She didn’t want us to share it.” Conroy, as always, reveals parts of himself in the memoir. Much like the son in The Great Santini, he often counters insult and abusive comments with snide remarks or insults of his own. He displays what comes across as coldness toward family matters. When his brother Mike calls him in Rome to tell him about their mother’s impending death, Pat breaks out in laughter. The reason? Years before, their mother had told the family she was dying of leukemia and would probably be dead in two weeks. The story — and it was a story — was probably conceived to cover up an affair she was having with a local priest. Still, Conroy’s laughter seems cruel. “Every one of the kids reacted the same way you did, Pat,” Mike says in the book. “Exactly the same way. What a [messed] up family we come from.” Pulling fictional characters and settings from his life has given the writer both license and grief. “When you fictionalize a person, you can make them nicer than they were. That’s a great freedom for the writer. You can introduce forces and stories you’ve made up or only heard about. Fiction to me has been the great freeing up from the imprisonment of my family. On the other hand, I can’t imagine while I’m writing how my stories will affect the people who inspired them. These books are like messages in a bottle that I’ve sent out. I don’t know who’s going to read them.” When he started out as a writer, it was different than it is now, Conroy said. “The things that weren’t talked about when I was a child, now they’re on television constantly. My editors thought that The Great Santini was a very sophisticated book but refused to believe that I had a father like that. I had to soften him up. When I wrote The Water Is Wide [about Conroy’s teaching experience in South Carolina], I almost had to leave town. I’ve gotten used to ducking. Now that I’m older, I don’t care as much about what people think.” ◀
details ▼ Pat Conroy interview & signing of The Death of Santini ▼ 7 p.m., Monday, Dec. 2 ▼ Jean Cocteau Cinema, 418 Montezuma Ave.; 505-466-5528 ▼ Free with purchase of hardcover book, $5 with paperback purchase
Santa Fe Waldorf School
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Sat, Dec. 7tH 10am-3pm
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movIng Images film reviews
Buying time Jonathan Richards I For The New Mexican Dallas Buyers Club, drama, rated R, Regal Stadium 14, 3 chiles There’s nothing remotely heroic about the Ron Woodroof we meet at the outset of this story. He’s banging a couple of rodeo groupies in the wings of a small-time Texas rodeo arena, snorting cocaine, and swilling booze. He has a vacant look in his eyes, and it’s a jolt to recognize that those eyes and the emaciated face they’re sunk in belong to actor Matthew McConaughey. Woodroof is walking, talking trash. He’s a homophobe, he’s an addict on as many fronts as you can think of, he’s a lowlife, and it would never enter your mind that there was a brain inside that skull capable of anything more complex than a grifter’s scheming hustle. And then he lands in the hospital and finds out that he’s HIV-positive, and the doctors estimate he has about 30 days to live. The prognosis shocks him, but what really riles him is being told he has the “gay disease,” and he storms out of the hospital in denial and rage. A redneck homophobe in mid-’80s Texas isn’t a hard character to imagine. But Woodroof is not going to turn out to be the villain of this piece. In fact, with his abbreviated existence turning on the fulcrum of this life-changing event, he will grow in ways that he could not have imagined before it happened. The big villain of the piece, of course, is the disease that was beginning to swing its deadly scythe through the gay and IV drug-using populations with a vengeance in 1985, when this movie begins. But the human face of villainy falls to the pharmaceutical industry, and to Dr. Sevard (Denis O’Hare), the
Matthew McConaughey and Jennifer Garner
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PASATIEMPO I November 29 - December 5, 2013
Transvested interests: Jared Leto and Matthew McConaughey
hospital doctor who breaks the bad news to Woodroof and who is playing ball with Big Pharma, running a double-blind test of AZT to help fasttrack the drug for FDA approval. It’s no surprise that Woodroof works out a scam to get hold of a supply of AZT for himself. What is totally unexpected is the zeal and intelligence with which he throws himself into researching the disease and the experimental treatments that are not winning the profit-oriented favor of Big Pharma and the FDA. This, remember, is in the days before the internet put that kind of research at our fingertips, and Woodroof starts haunting libraries and research facilities the way he used to haunt bars and brothels. When his supply of AZT dries up and he discovers that it may have been making him sicker
anyway, Woodroof takes matters into his own hands. He goes to a clinic in Mexico run by an expatriate American doctor (Griffin Dunne) who warns him about the deleterious effects of the AZT dosage he was on and puts him on a cocktail of megadoses of vitamins and various other remedies that have not been approved in the States. But it is when Woodroof begins to discover the potential profits of making these experimental treatments available to a growing and increasingly desperate pool of AIDS victims that the movie enters its sweet spot. He teams up with a transvestite he’s met in the hospital, a sweet thing named Rayon, played with extraordinary femininity and sensitivity by Jared Leto (Mr. Nobody). It’s a relationship that grows from Woodroof’s initial homophobic repulsion into a truly moving friendship and respect. In a scene where Woodroof defends Rayon’s honor against a sneering former friend of his, the look of feminine admiration and gratitude that comes over Leto’s face is something to see. Leto and McConaughey are both going to be contenders in the awards season, and deservedly so. Oscar always looks with favor on quirky characters, and losing something like 40 pounds for a role, as McConaughey has done here, is likely to catch the eye of the Academy. But there’s a lot more to the actor’s performance than Jenny Craig. In the recent career renaissance that has shattered his former lightweight image with films like Magic Mike, Mud, and The Paperboy, he’s shown unexpected depths of talent. As Woodroof, he plunges fearlessly into the cocky swagger of a sex-, booze-, and drug-centric loser whose main tool of eloquence is an extended middle finger, and makes him compulsively watchable. ◀
“Robert Redford deserves, what has never come to him before, an Oscar for best actor.” – David Thomson, The New Republic
A FILM BY J. C. CHANDOR
CRITIC’S PICK. AMAZING...ROBERT REDFORD GIVES THE PERFORMANCE OF HIS LIFE. A.O. Scott, The New York Times
Fri and Sat at 11:15, 1:30, 3:45 and 6:00 Sun at 3:45 Mon through Wed at 1:30, 3:45 and 6:00 • Thurs at 1:30 and 3:45
WE ARE WHAT WE ARE
“This refreshingly mature genre entry serves up chilling contemporary American Gothic that slowly crescendos into an unexpected burst of gloriously pulpy Grand Guignol.” – The Hollywood Reporter Fri and Sat at 8:15 Sun at 6:15 Mon through Wed at 8:15 Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®
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“SCARY, SUSPENSEFUL AND SHOCKINGLY INTENSE. IT’S QUITE A SPECTACLE, WATCHING LANCE ARMSTRONG LIE HIS ASS OFF.”
The Broken Circle Breakdown, musical melodrama, not rated, in Flemish with subtitles, Jean Cocteau Cinema, 3.5 chiles
THE ARMSTRONG LIE WRITTEN AND DIRECTED BY ALEX GIBNEY
WWW.SONYCLASSICS.COM
“A GROUNDBREAKING FILM! WINNING, DEFTLY CRAFTED, SUPERBLY ACTED FILM AND WONDERFULLY MOVING!” -Claudia Puig, USA TODAY
WA D J DA
OFFICIAL SAUDI ARABIA ENTRY • BEST FOREIGN LANGUAGE FILM ACADEMY AWARDS®
WRITTEN AND DIRECTED BY HAIFAA AL-MANSOUR
ONE OF THE BEST MOVIES ABOUT LOVE I’VE EVER SEEN.”
WWW.SONYCLASSICS.COM
GO FOR SISTERS A new film by John Sayles
~Karen Durbin
EROTICALLY-CHARGED
“
How far would you go for a friend?
AND EMOTIONALLY DARING.” ~Peter Travers
STEVEN SPIELBERG
MAGNIFICENT.
“
r ecto h dir A wit g 5:30p & Q e in kyp ow Live S ayles foll show! S 0 John at, Nov 3 S
We were under the spell of the film and its wonderful actresses.” ~
Cannes Jury President
STUNNING’’.
“
~A.M. Homes
BLUEISTHEWARMESTCOLORMOVIE.COM
ATOMIC SURPLUS FILM SERIES! Presented by
, featuring
The Uranium Film Festival 7:30p Saturday, November 30 +
French Film Salon following 2:00p Sunday, Dec 1 show!
NUCLEAR SAVAGE
11:30a Sunday, December 1 +
THE ATOMIC CAFE w/ Lois Rudnick 7:00p Tuesday, December 3
FIRE IN THE BLOOD
11:00a Sun, December 1 - FREE screening to honor World AIDS Day
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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PASATIEMPO I November 29 - December 5, 2013
Lonesome lowlands Laurel Gladden I For The New Mexican
-Peter Travers, ROLLING STONE
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movIng Images
When you see the place where bearded banjo player Didier ( Johan Heldenbergh) lives, you’ll have to remind yourself that it’s not in rural Appalachia, and Didier’s not a hipster homesteader from Brooklyn. Sure, he’s refurbishing an old church and keeps his big red pickup, a couple of dogs, a horse, and some chickens out front. But this little slice of paradise is in Ghent, Belgium. The Broken Circle Breakdown might seem like a funky little film with artful cinematography and a fantastic bluegrass soundtrack. But be sure to bring your hankies to the theater. By the time you get a glimpse of Didier’s habitat, you already know that he and the heavily tattooed blonde (Veerie Baetens) he has brought home with him will stay together, that they’ll have a daughter named Maybelle (the adorable Nell Cattrysse), and that Maybelle will become gravely ill. Director Felix Van Groeningen tells this story of love and loss by throwing time in a blender, whirring around from the middle to the beginning and back again. As the movie unfolds, we watch Didier and Elise fall in love, in and out of bed, usually enveloped in a golden sunlight or caressed by silvery moonlight. Ruben Impens’ exquisite cinematography draws you into their practically palpable world. We learn that Didier is obsessed with American culture (he calls the U.S. “the best place on Earth”) and bluegrass music in particular (he dubs Bill Monroe “the greatest musician in the whole world”). Elise is a tattoo artist who will inscribe a new boyfriend’s name on her body and then, when things don’t work out, simply cover it up with a different design. Didier is a pragmatist and staunch atheist, while Elise is more open-minded. The choppy structure and strong, committed performances save this story about estranged parents with a very sick child from being like a Lifetime movie of the week. Scenes that reveal an outcome before we know the cause provide momentum and suspense. This is particularly helpful in the final third, when things start to drag and you just want to put Didier and Elise out of their misery. Editor Nico Leunen deserves praise for the smooth transitions. Interspersed are scenes of Didier, Elise, and their band performing standards like “Will the Circle Be Unbroken,” to which the title refers. But the music isn’t just a soundtrack — the tunes are as essential to the story as any of the dialogue. Didier is an outspoken atheist but is obsessed with spiritually infused songs with refrains like “There’s a better home a-waitin’ in the sky, Lord, in the sky.” You wonder if he even listens to the lyrics he sings. Tragedy and suffering emphasize Didier’s and Elise’s ideological differences. She finds solace in the idea that the dead can communicate with us. He, meanwhile, rants about religious fundamentalism and stem-cell research. In those moments, the film veers dangerously close to being preachy, which could spoil a movie as emotionally raw and touching as this. But are these tirades unnecessary or totally believable? Maybe lashing out is just Didier’s way of dealing with loss. Ultimately, the film becomes a meditation on some of life’s heaviest questions: Is there life after death? Is religion for suckers? How do we cope with loss? What can we believe in? For Elise and Didier, the answer is music, which is why the songs play such a large part in their story and this film. You might feel a hint of dread as, early on, they look at each other and sing, “You’ll rue the day that you were born.” And as you watch the devastated pair sing Townes Van Zandt’s “If I Needed You,” you’ll recognize them making one last faint attempt to cope. You’ll feel like you’ve been punched in the gut, and you’ll understand that while music can ease someone’s grief, it can only help so much. ◀
MONROE GALLERY of photography
THE LIFE PHOTOGRAPHERS
On the 6:25 from Grand Central to Stamford, November 23, 1963 Carl Mydans ©Time Inc.
Opening reception and book signing with renowned LIFE editor Richard Stolley of the new book: The Day Kennedy Died: Fifty Years Later LIFE Remembers the Man and the Moment • Friday, November 29 5 – 7 112 don gaspar santa fe nm 87501 505.992.0800 f: 505.992.0810 e: info@monroegallery.com
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LOOK WHO’S COMING TO TOWN!
DON’T MISS IN THE MIDNIGHT HOUR with Voasis produced by Deke Sharon, Music Producer of NBC’s The Sing-off and Music Director of the hit comedy, Pitch Perfect Warehouse 21 – Santa Fe Dec 28, 29 4pm, Dec 28, 29, 30, 31 8pm
THE SANTA FE DESERT CHORALE Joshua Habermann, Music Director Winter Festival | DEC 14 - 31
Deke Sharon
Carols and Lullabies
Cathedral Basilica of St Francis – Santa Fe Dec 14, 19, 20, 21, 23 8pm Immanuel Presbyterian – Albuquerque Dec 22 4pm
The BIG Holiday Sing
S a n t a Fe
DESERT CHORALE
Cristo Rey Church – Santa Fe Dec 15 4pm
The Lighter Side of Christmas
LewAllen Galleries Downtown – Santa Fe General Admission Dec 17 6pm
Voasis
FOR SFDC WINTER FESTIVAL DETAILS AND TICKETS VISIT: desertchorale.org or call 505.988.2282. Winter Festival 2013 is made possible, in part, by the National Endowment for the Arts; New Mexico Arts, a division of the Department of Cultural Affairs; and the City of Santa Fe Arts Commission and 1% Lodgers’ Tax.
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movIng Images film reviews
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Breaking a cycle James M. Keller I The New Mexican The Armstrong Lie, documentary, not rated, Center for Contemporary Arts, 3 chiles Lance Armstrong broke the boundary of the sport of competitive cycling to achieve widespread celebrity and, for a while, admiration. He was already emerging as a cycling powerhouse when he was diagnosed with cancer in 1996. The disease invaded his body, from testicles to lungs to brain — at least so he says in Alex Gibney’s documentary The Armstrong Lie, which charts the athlete’s rise through the ranks of stardom and his eventual fall when he could no longer conceal his involvement with performanceenhancing drugs. A fighter to the core, he conquered his cancer, rehabilitated himself as a cyclist, and won the Tour de France an astonishing seven times in a row, from 1999 through 2005. When Armstrong returned for another try at the Tour de France in 2009, Gibney turned on his camera, not anticipating that the simmering drug scandal was about to reach the boiling point. In retrospect, it seems incredible that Armstrong would risk re-entering high-stakes cycling. He had his seven victories and the mythic athletic reputation that went with them. He had grown rich through high-profile product endorsements. His Livestrong Foundation had raised more than $350 million to support cancer patients. (Today the figure flirts with $500 million.) But his personal drive prevented him from leaving well enough alone. Author Daniel Coyle, one of the talking heads in this documentary, explains: “The gift that he has that gets overlooked is his gift as a storyteller, his gift as a manager of his own story line. ... A guy at death’s door comes back to win the toughest event on the planet. The story brought more money, brought more attention, brought more sponsorship, brought more inspiration. Lance became this international cultural icon, and he had to keep the story going.” Armstrong comes across as arrogant, intimidating, and vindictive, less reputable than even the shady characters who lurk in the background of his career. He appears to have grown so accustomed to the morally bereft territory he inhabits that he has ceased to comprehend that his behavior is anything less than stellar. When the international cycling federation (UCI) finally strips him of all his Tour de France laurels, he responds by tweeting a photograph in which he lounges on a couch beneath his seven yellow jerseys of victory, framed and hanging on his wall. “The definition of ‘cheat,’ ” he observes, “is to gain an advantage on a rival or foe that they don’t have. I didn’t do that.” That’s true; almost everybody in the sport was on drugs. Of course, there are other definitions of “cheat.” ◀ 56
PASATIEMPO I November 29 - December 5, 2013
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What kind of holiday gift are you looking for this year? United Church of Santa Fe offers gifts that are tangible expressions of love for this world. By purchasing one of the following gifts you will offer God’s gift of love while supporting United’s ongoing commitment to reach out to the wider community and all around the world. Gifts available for purchase include: • • • • • • • •
An overnight backpack for a child at Solace Crisis Center .....................$25 A gas card for a client at Esperanza Shelter for Battered Families .........$15 A disaster relief blanket through Church World Service.......................$ 5 Support for a guest at St. Elizabeth Shelter ..............................................$50 A Scholarship for the Youth Service Trip....................................................$25 A book for an elementary student in Santa Fe ........................................$10 A share to support the Creation Care Garden .......................................$10 The book Animal Companions,Animal People to support.........................$10 the Pastoral Counseling Center • Equal Exchange coffee and chocolate also available
Sundays, December 1, 8, & 15 (9:45 am and 12 pm) Contributions also accepted online
United Church of Santa Fe 1804 Arroyo Chamiso
(505)-988-3295 unitedchurchofsantafe.org PASATIEMPOMAGAZINE.COM
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movIng Images film reviews
Jennifer Lawrence and Josh Hutcherson
Enfants ignitable Laurel Gladden I For The New Mexican The Hunger Games: Catching Fire, dystopian adventure drama, rated PG-13, Regal Stadium 14, 3.5 chiles
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UPCOMING ADMISSIONS DATES Early Admission Deadline:
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Saturdays, Dec. 7 & Jan. 25 Serving Grades 7 – 12 Tuition Assistance Available Please call to schedule a visit day for your child or to arrange a guided tour of our campus. Mike Multari, Director of Admissions 505 795 7512 mmultari@sfprep.org Learn more at sfprep.org
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PASATIEMPO I November 29 - December 5, 2013
Nearly every time a beloved book or series is adapted for the silver screen, someone you know is bound to say, “The movie was good, but the book is so much better.” Catching Fire, the second installment in the adaptation of Suzanne Collins’ mega-popular young-adult trilogy, is a rare example of a movie that’s just as good as — possibly better than — the book on which it’s based. Like its predecessor, Catching Fire takes place in Panem, Collins’ dystopian vision of a future North America where a totalitarian government punishes its citizens for their rebellion by forcing children (called “tributes”) to compete in an annual televised battle to the death. It picks up where the last film left off, with Katniss Everdeen (Oscar winner Jennifer Lawrence) and her pseudo-beau Peeta Mellark ( Josh Hutcherson) having defied Hunger Games rules to become the first-ever co-victors. As they take their required post-Games tour of Panem, they discover that their insubordination has inspired unrest in many districts. Hoping to put an end to Katniss’ revolutionary image — and maybe Katniss herself — sinister President Snow (Donald Sutherland) and his new head gamemaker Plutarch Heavensbee (the always-welcome Philip Seymour Hoffman) devise a twist to the 75th anniversary Hunger Games — known as a Quarter Quell. They will select veterans of previous games, including Katniss and Peeta, and force them back into the arena. The silly-looking costumes, flat sets, and clumsy camerawork of the first film are long gone, thanks to a bigger budget (reportedly double that of the first film) and a better director (Francis Lawrence of Water for Elephants and I Am Legend). Don’t be surprised if Trish Summerville’s couture-worthy costumes get a nod come Oscar season. Most of the first film’s exceptional cast returns: Sutherland, Lawrence, and Woody Harrelson, who’s less, um, wooden than before as the unkempt alcoholic Haymitch Abernathy. Stanley Tucci takes schmoozy cheese to a new level and injects some welcome humor. Even Elizabeth Banks’ Effie Trinket becomes less cartoonish, showing glimpses of real emotion. The casting of new characters — Plutarch, Johanna Mason ( Jena Malone), Wiress (Amanda Plummer), Beetee ( Jeffrey Wright), and Finnick Odair (Sam Claflin) — is spot-on. The pacing is nearly perfect. The script, by Simon Beaufoy and Michael Arndt (billed as Michael deBruyn) distills all the critical elements and keeps you glued to the screen (the only exceptions being when Katniss broods about which boy she really loves). New characters are surprisingly well developed in a handful of short scenes. Action in the arena starts out gripping and stays that way, and some of the obstacles the tributes encounter — the poisonous fog and vicious baboons — are ominous and truly scary. Even at the end of 146 minutes, if the theater had offered to show the next installment, I would eagerly have stayed in my seat. ◀
GALA GALAEVENT EVENT
“El Presente” “El Pasado PasadoEsta Esta Presente” Fiesta de Santa Fe is the oldest community celebration in the United States history La Conquistadora is cause Fiestaand de the Santa Febehind is the Fiesta oldestand community celebration in the United for an even deeper appreciation of the honorand and La gratitude celebrated is cause States and the history behind Fiesta Conquistadora by the city of Holy Faith.
Santa Fe
Fiesta,
for an even deeper appreciation of the honor and gratitude celebrated by the city of Holy Faith.
Inc.
Saturday, December 28, 2013 Saturday, December 28, 2013 Santa Fe Convention Center Santa Fe Convention Sweeney Ballroom Center
1712 - 2013 P.O. BOX 4516 Santa Fe, N.M. 87502 (505) 913-1517
Sweeney Ballroom
Cocktails 5:30 pm Dinner/Silent Auction 6:30 pm Cocktails8:00 5:30pm pm Entertainment
Darren Cordova
Dinner/Silent Auction 6:30 pm Entertainment 8:00 pm NUMBER OF TICKETS___________ TABLEOF OFTICKETS_________________ 10 $750.00 NUMBER SINGLE q TABLE OF 10 $100.00 $750.00 q SINGLE $100.00 DEADLINE: DECEMBER 16, 2013 DEADLINE: DECEMBER 16, 2013
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New Works, November 29 – 30, 2013 in Santa Fe Artist Recption: Fiday, November 29th from 5 – 7 pm
707 E. Palace # 30
Open Sat. 1-4 Beautifully maintained condo in the desirable La Vereda compound with wonderful views of Sun, Moon and Jemez mountains. Three bedroom, 3 baths, 2 fireplaces and a 2 car garage. New stucco and roof with a warranty. Walk to the Plaza and Canyon Road. MLS#: 201204036
Directions:
East on Palace Avenue past La Verada entrance to La Vereda Norte. #30 is on the third left at the end of the cul-de-sac.
$745,000
130 Lincoln Avenue, Suite C, Santa Fe, NM 87501 505.954.9902 | www.blueraingallery.com Saint Gregory the Great, carved wood, gesso, watercolor, and beeswax, 12" h x 12.5" w x 2.5" d
Ann BeAlle ReAl estAte Co. (505) 470-6300 • (505) 988-9525 Annbealle@aol.com 16 Columbine Lane, Santa Fe, NM
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MOVING IMAGES pasa pics
— compiled by Robert Ker
disability is calculated and maudlin, The Great Santini is still worthy as a forerunner of other films in the now omnipresent dysfunctional-family genre. Rated PG. 115 minutes. Jean Cocteau Cinema, Santa Fe. (Bill Kohlhaase) 35MM ARCHIVAL FILM SERIES The first weekend of a new film series offers four classics in projectedfilm, rather than digital, versions. 20,000 Leagues Under the Sea (1954) shows at 2 p.m. Friday, Nov. 29; The Band Wagon (1953) follows at 7 p.m. On Saturday, Nov. 30, Hatari! (1962) screens at 2 p.m., and North by Northwest (1959) shows at 7 p.m. Television and film director Tim Hunter and Lensic Performing Arts Center director Robert Martin, co-producers of the series, with the help of the Academy Film Archive, hunted down original prints from around the country. Ratings and running times vary. Lensic Performing Arts Center, Santa Fe. (Paul Weideman)
LisaGay Hamilton, Edward James Olmos, and Yolonda Ross in Go for Sisters, at Center for Contemporary Arts in Santa Fe
opening this week BERLIN Lou Reed’s 1973 album Berlin, a brilliant and bleak song cycle about a doomed couple, drug addiction, and the kids caught in the middle, was a commercial failure on release. Time has been kind to the album, however, and Reed revisited it with a string of 2007 performances, shot with style and flair by Julian Schnabel and turned into this concert film. In the weeks after his death, this performance reminds us of the aggressive, icily cool rock Reed is famous for as well as his empathy as a writer and his capacity to perform in a delicate, heartfelt fashion when the material calls for it. Not rated. 81 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) BROKEN CIRCLE BREAKDOWN Be sure to bring your hankies to the theater — this Belgian film with artful cinematography and a fantastic bluegrass soundtrack is a real weepie. Didier ( Johan Heldenbergh) and Elise (Veerie Baetens) fall in love, have a baby, and perform in a band until tragedy strikes. Director Felix Van Groeningen throws time in a blender, whirring around from the middle to the beginning and back. This structure, committed performances, and the sometimes soulful, sometimes toe-tapping 60
PASATIEMPO I November 29 - December 5, 2013
tunes save the story from being like a Lifetime movie of the week. Ultimately, it becomes a meditation on life’s heaviest questions. Not rated. 111 minutes. In Flemish with subtitles. Jean Cocteau Cinema, Santa Fe. (Laurel Gladden) See review, Page 54. GO FOR SISTERS John Sayles was one of the toasts of indie cinema in the 1980s and ’90s, but over the last decades his films have either been underseen by audiences or undercooked by Sayles himself. Go for Sisters — with a setting and subject matter similar to those of Sayles’ 1996 gem Lone Star — stars LisaGay Hamilton as Bernice, a woman who enlists her parole officer (Yolonda Ross) and a down-on-his-luck cop (Edward James Olmos) to find her missing brother along the U.S.-Mexico border. Not rated. 123 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) THE GREAT SANTINI Robert Duvall is Bull Meecham, a Marine fighter pilot and warrior without a war who abuses his wife and children in director Lewis John Carlino’s 1979 adaptation of Pat Conroy’s semi-autobiographical novel. Blythe Danner as Meecham’s wife and Duvall are wonderful in their anger, denial, and repressed affection. Michael O’Keefe, as Meecham’s eldest son, seems less convincing when asked to get emotional. Conroy’s hometown of Beaufort, South Carolina, takes center stage, and some of its citizens are naturals in supporting roles. While a subplot involving an African-American friend of the family with a speech
THE UMBRELLAS OF CHERBOURG Catherine Deneuve’s got charm for the ages, and director Jacques Demy’s magnificent colors are a delight in this “musical” that isn’t a musical. West Side Story meets 1960s French youth culture in the story of Guy (Nino Castelnuovo), a mechanic who’s called off to fight in the Algerian war, leaving his girlfriend Genevieve (Deneuve) to wait, eventually become disillusioned, and marry someone else. Demy’s sentimental devices are so strong that when he suddenly turns to bitterness, the shift is biting. Not rated. 91 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) WE ARE WHAT WE ARE Here’s something unusual for the local arthouse scene: a gothic thriller about a creepy family that hides many secrets in its large home. Bill Sage plays the patriarch, whose struggle to uphold the macabre traditions of his forefathers goes awry when his young daughters must assume heavy responsibility as ceaseless rain begins to flood the town. Rated R. 100 minutes. The Screen, Santa Fe. (Not reviewed)
now in theaters ABOUT TIME British filmmaker Richard Curtis wrote and directed this movie 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)
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) 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 ARMSTRONG LIE Director Alex Gibney began his documentary in 2009 thinking he was just observing Lance Armstrong’s bid to win his eighth Tour de France. Then simmering allegations that the cyclist was deep into performance-enhancing drugs reached the boiling point, and Armstrong’s empire came tumbling down. Interviews with managers and teammates paint a highly unflattering picture, not just of Armstrong but of the sport in general, which was clearly riddled with drug abuse, backroom deals, and conspiratorial justification. Even if you followed the story through the years, confronting the whole tawdry mess laid out succinctly in the space of two hours is likely to disgust you anew. Not rated. 122 minutes. Center for Contemporary Arts, Santa Fe. ( James M. Keller) See review, Page 56. 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) 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, and Tyrese Gibson in prominent roles. Rated PG. 93 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) BLUE IS THE WARMEST COLOR Abdellatif Kechiche’s emotionally rich drama tells the story of Adèle (Adèle Exarchopoulos), a high school student whose burgeoning sexuality leads her on a journey of selfdiscovery after she meets Emma (Léa Seydoux), a lesbian whose openness brings Adèle out of her shell. Raw passion ignites the screen, and despite its graphic sex scenes, Blue Is the Warmest Color never strays into gimmicks or sentimentality. It’s as honest a film as you are likely to see this year. Rated NC-17. 179 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) THE BOOK THIEF 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. Rated PG-13. 131 minutes. Regal DeVargas, Santa Fe. (Not reviewed) 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) 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, angeltouched, miracle-giving candle got major American distribution. The subject is odd and the actors littleknown — but holiday-album mega-seller Susan Boyle makes her big-screen debut in it, so maybe that was the miracle the movie needed. Rated PG. 100 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) CLOUDY WITH A CHANCE OF MEATBALLS 2 Who would have thought that Judi and Ronald Barrett’s children’s book would yield not one feature film but two? This sequel pits Flint (voiced by Bill Hader) against food-animal hybrids (tacodiles, etc.). The jokes are extremely lame — expect corny puns and puns about corn — but the movie is colorful and imaginative, and it even sneaks in some satire about our technologyobsessed culture. Rated PG. 95 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) DALLAS BUYERS CLUB In 1985, a cocky homophobic sex-, booze-, and drug-addicted Texas redneck named
Ron Woodroof was diagnosed as HIV-positive, then known almost exclusively as “the gay disease.” His reaction to the diagnosis, and his battle against the big-hospital/big-pharma/FDA cartel that put profit ahead of patients, is the basis for this remarkable story. Taking it to the next level are the terrific performances of Matthew McConaughey as Woodroof and Jared Leto (Mr. Nobody) as his sweet but steely transvestite sidekick Rayon. Rated R. 117 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards) See review, Page 52. DELIVERY MAN You’re not going to believe this, but in Vince Vaughn’s latest film, he plays a smartalecky 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 earlier. Now he has to make up for lost daddy time. Rated PG-13. 103 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) ENDER’S GAME The 1985 Hugo Award-winning magnum opus by science fiction writer and notorious homophobe 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 for adult audiences should embrace this charmer about two divorced empty-nesters ( Julia Louis-Dreyfus and, in his final performance, James Gandolfini) who fall for each other and then find that middle-age relationships come fraught with baggage and defense mechanisms. Louis-Dreyfus shows more depth and Gandolfini more softness than either one’s iconic TV roles would suggest; the two head a terrific cast 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) 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) continued on Page 62
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FROZEN In this year’s animated Thanksgiving-week family film, two children team up with a silly snowman to save the world from eternal winter. Kristen Bell and Alan Tudyk head the voice cast. Rated PG. 108 minutes. Screens in 3-D and 2-D 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 only at Regal Stadium 14, Santa Fe. (Robert Ker) 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. Rated R. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE HUNGER GAMES: CATCHING FIRE This is a rare case of a movie that’s just as good as — possibly better than — the book on which it’s based. Defiant Katniss ( Jennifer Lawrence) has unwittingly inspired unrest in Panem, a dystopian nation where a totalitarian government punishes its citizens for their rebellion by forcing children to compete in an annual televised battle to the death. To dampen Katniss’ fire, sinister President Snow (Donald Sutherland) and new head gamemaker Plutarch Heavensbee (the always-welcome Philip Seymour Hoffman) force her back into the arena. The phony-looking costumes and clumsy camerawork of the first film are long gone, thanks to a bigger budget and a better director (Francis Lawrence of I Am Legend). The casting of Hoffman, Jena Malone,
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PASATIEMPO I November 29 - December 5, 2013
Amanda Plummer, Jeffrey Wright, and Sam Claflin as new characters is spot-on. Rated PG-13. 146 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Laurel Gladden) JACKASS PRESENTS: BAD GRANDPA Johnny Knoxville dons an old-man costume to go out in public and act like a jerk. Once a jackass, always a jackass, apparently. Rated R. 92 minutes. 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) 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 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) PHILOMENA If you aren’t getting your daily requirement of charm, this film is for you. Steve Coogan plays a U.K. journalist who takes on a human interest story by taking 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. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. (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, 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-year-old: 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 by a Saudi woman (writer-director Haifaa Al-Mansour) — offers Western audiences a glimpse of day-to-day life there and subtly points out cultural differences. 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, this documentary describes the impact that Tibetan Buddhism’s core teachings has had on the lives of participants’ in the U.S., allowing them to maintain a measure of peace and relief from the trials and demands of contemporary life. Historic footage of the Chinese takeover of Tibet 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 7:30 p.m. Saturday, Nov. 30: Highlights from the Uranium Film Festival. Part of the Atomic Surplus series. Presented by Santa Fe Art Institute. 11 a.m. Sunday, Dec. 1: Fire In the Blood. Free screening in conjunction with World AIDS Day. 11:30 a.m. Sunday, Dec. 1: Nuclear Savage. Part of the Atomic Surplus series. 7 p.m. Tuesday, Dec. 3: The Atomic Café. Presented by Lois Rudnick. Part of the Atomic Surplus series. Jean Cocteau Cinema 6:20 p.m. Wednesday, Dec. 4: Babette’s Feast. ◀
“One Of The BesT MOvies Of The Year”. Richard Roeper, CHICAGO SUN-TIMES
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) Fri. 3:30 p.m., 6 p.m. Sat. 12:30 p.m., 3 p.m. Sun. 3:30 p.m., 6 p.m. Mon. to Thurs. 3 p.m., 5:30 p.m. The Atomic Cafe (NR) Tue. 7 p.m. Blue Is the Warmest Color (NC-17) Fri. 4 p.m., 7:30 p.m. Sat. 4 p.m. Sun. 4 p.m., 7:30 p.m. Mon. 3:45 p.m., 7:15 p.m. Tue. 3:15 p.m. Wed. and Thurs. 3:45 p.m., 7:15 p.m. Fire in the Blood (NR) Sun. 11 a.m. Go for Sisters (NR) Fri. 1 p.m., 8:30 p.m. Sat. 5:30 p.m., 8:30 p.m. Sun. 1 p.m., 8:30 p.m. Mon. to Thurs. 8 p.m. Nuclear Savage:The Islands of Secret Project 4.1 (NR) Sun. 11:30 a.m. The Umbrellas of Cherbourg (NR) Fri. and Sat.
2 p.m. Sun. 2 p.m. Mon. 1:45 p.m. Tue. 1:30 p.m. Wed. and Thurs. 1:45 p.m. Uranium Film Festival Highlights Sat. 7:30 p.m. Wadjda (PG) Fri. and Sat. 12 p.m. Mon. to Thurs. 1 p.m. JeAn CoCteAu CinemA
418 Montezuma, 505-466-5528 A.C.O.D. (R) Fri. to Sun. 8:30 p.m. Tue. 8:30 p.m. Thurs. 8:30 p.m. Babette’s Feast (G) Wed. 6:20 p.m. The Broken Circle Breakdown (NR) Fri. to Sun. 6:20 p.m. Tue. 6:20 p.m. Wed. 4:15 p.m. Thurs. 6:20 p.m. The Great Santini Fri. to Sun. 1:45 p.m. Wed. 1:45 p.m. Lou Reed’s Berlin (PG-13) Fri. and Sat. 11 p.m. Thurs. 2 p.m. When the Iron Bird Flies (NR) Fri. to Sun. 4:15 p.m. Thurs. 4:15 p.m. regAl deVArgAS
562 N. Guadalupe St., 505-988-2775, www.fandango.com 12 Years a Slave (R) Fri. and Sat. 12:50 p.m., 3:50 p.m., 6:50 p.m., 9:45 p.m. Sun. to Thurs. 12:50 p.m., 3:50 p.m., 6:50 p.m. About Time (R) Fri. to Thurs. 1:10 p.m., 7 p.m. The BookThief (PG-13) Fri. and Sat. 12:30 p.m., 3:30 p.m., 6:30 p.m., 9:25 p.m. Sun. to Thurs. 12:30 p.m., 3:30 p.m., 6:30 p.m. Captain Phillips (PG-13) Fri. and Sat. 12:40 p.m., 3:40 p.m., 6:40 p.m., 9:35 p.m. Sun. to Thurs. 12:40 p.m., 3:40 p.m., 6:40 p.m. Enough Said (PG-13) Fri. and Sat. 1:30 p.m., 4:15 p.m., 7:30 p.m., 9:55 p.m. Sun. to Thurs. 1:30 p.m., 4:15 p.m., 7:30 p.m. Kill Your Darlings (R) Fri. and Sat. 4 p.m., 9:50 p.m. Sun. to Thurs. 4 p.m. Philomena (PG-13) Fri. and Sat. 1 p.m., 3:15 p.m., 5:30 p.m., 7:45 p.m., 10 p.m. Sun. to Thurs. 1 p.m., 3:15 p.m., 5:30 p.m., 7:45 p.m. regAl StAdium 14
3474 Zafarano Drive, 505-424-6296, www.fandango.com The Best Man Holiday (R) Fri. to Thurs. 4:15 p.m., 9:40 p.m. Black Nativity (PG) Fri. to Sun. 10:05 a.m., 12:25 p.m., 2:50 p.m., 5:15 p.m., 7:45 p.m., 10:20 p.m. Mon. to Thurs. 12:25 p.m., 2:50 p.m., 5:15 p.m., 7:45 p.m., 10:20 p.m. The Christmas Candle (PG) Fri. to Thurs. 10:20 p.m. Cloudy With a Chance of Meatballs 2 (PG) Fri. to Thurs. 12:10 p.m. Dallas Buyers Club (R) Fri. to Sun. 10:45 a.m., 1:35 p.m., 4:25 p.m., 7:20 p.m., 10:05 p.m. Mon. to Thurs. 1:35 p.m., 4:25 p.m., 7:20 p.m., 10:05 p.m.
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. to Thurs. 1:25 p.m., 4:10 p.m., 7:35 p.m., 10:10 p.m. Ender’s Game (PG-13) Fri. to Thurs. 7:35 p.m., 10:30 p.m. Free Birds (PG) Fri. to Sun. 10:05 a.m., 12:20 p.m., 2:40 p.m., 5:05 p.m. Mon. to Thurs. 12:20 p.m., 2:40 p.m., 5:05 p.m. Frozen 3D (PG) Fri. to Sun. 10:15 a.m., 1:10 p.m., 4:05 p.m., 7:15 p.m., 10:15 p.m. Mon. to Thurs. 1:10 p.m., 4:05 p.m., 7:15 p.m., 10:15 p.m. Frozen (PG) Fri. to Sun. 10:30 a.m., 10:50 a.m., 1:20 p.m., 1:40 p.m., 4:15 p.m., 4:35 p.m., 7:30 p.m., 7:40 p.m., 10:25 p.m. Mon. to Thurs. 12 p.m., 1:20 p.m., 1:40 p.m., 4:15 p.m., 4:35 p.m., 7:30 p.m., 7:40 p.m., 10:25 p.m. Gravity 3D (PG-13) Fri. to Thurs. 2:35 p.m., 4:55 p.m., 7:10 p.m., 9:50 p.m. Homefront (R) Fri. to Sun. 10:55 a.m., 1:45 p.m., 4:30 p.m., 7:50 p.m., 10:40 p.m. Mon. to Thurs. 1:45 p.m., 4:30 p.m., 7:50 p.m., 10:25 p.m. The Hunger Games: Catching Fire (PG-13) Fri. to Sun. 10 a.m., 11 a.m., 12 p.m., 12:30 p.m., 2:30 p.m., 3:30 p.m., 4 p.m., 6 p.m., 7 p.m., 7:30 p.m., 9:30 p.m., 10:30 p.m., 11 p.m. Mon. to Thurs. 12 p.m., 12:30 p.m., 2:30 p.m., 3:30 p.m., 4 p.m., 6 p.m., 7 p.m., 7:30 p.m., 9:30 p.m., 10:30 p.m. Last Vegas (PG-13) Fri. to Thurs. 1:20 p.m., 7:10 p.m. Thor:The Dark World 3D (PG-13) Fri. to Thurs. 10:25 p.m. Thor:The Dark World (PG-13) Fri. to Sun. 10:30 a.m., 1:30 p.m., 4:20 p.m., 7:25 p.m. Mon. to Thurs. 1:30 p.m., 4:20 p.m., 7:25 p.m.
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“SCARY, SUSPENSEFUL AND SHOCKINGLY INTENSE. IT’S QUITE A SPECTACLE, WATCHING LANCE ARMSTRONG LIE HIS ASS OFF.” -Peter Travers, ROLLING STONE
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Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com All Is Lost (PG-13) Fri. and Sat. 11:15 a.m., 1:30 p.m., 3:45 p.m., 6 p.m. Sun. 11:15 a.m., 1:30 p.m., 3:45 p.m. Mon. to Thurs. 1:30 p.m., 3:45 p.m., 6 p.m. We Are What We Are (R) Fri. and Sat. 8:15 p.m. Sun. 6:15 p.m. Mon. to Thurs. 8:15 p.m. mitChell dreAmCAtCher CinemA (eSpAñolA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com 12 Years a Slave (R) Fri. to Sun. 1:50 p.m., 4:40 p.m., 7:30 p.m. Mon. to Thurs. 4:40 p.m., 7:30 p.m. Delivery Man (PG-13) Fri. and Sat. 2:25 p.m., 4:55 p.m., 7:15 p.m., 9:55 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:15 p.m. Mon. to Thurs. 4:55 p.m., 7:15 p.m. Free Birds (PG) Fri. to Sun. 2:10 p.m., 4:45 p.m. Mon. to Thurs. 4:45 p.m. Frozen 3D (PG) Fri. and Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Frozen (PG) Fri. and Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Homefront (R) Fri. and Sat. 2:20 p.m., 4:50 p.m., 7:20 p.m., 9:45 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:20 p.m. Mon. to Thurs. 4:50 p.m., 7:20 p.m. The Hunger Games: Catching Fire (PG-13) Fri. and Sat. 2:30 p.m., 4:25 p.m., 6:50 p.m., 8 p.m., 9:55 p.m. Sun. 2:30 p.m., 4:25 p.m., 6:50 p.m. Mon. to Thurs. 4:25 p.m., 6:50 p.m. Jackass Presents: Bad Grandpa (R) Fri. and Sat. 7:35 p.m., 9:40 p.m. Sun. to Thurs. 7:35 p.m. Last Vegas (PG-13) Fri. and Sat. 2:15 p.m., 5 p.m., 7:25 p.m., 9:50 p.m. Sun. 2:15 p.m., 5 p.m., 7:25 p.m. Mon. to Thurs. 5 p.m., 7:25 p.m. Thor:The Dark World (PG-13) Fri. and 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. to Thurs. 4:35 p.m., 7:05 p.m.
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RESTAURANT REVIEW Bill Kohlhaase I The New Mexican
Chile reception
Tomasita’s Restaurant
550 S. Guadalupe St., 505-983-5721 11 a.m.-9 p.m. Mondays-Thursdays; 11 a.m.-10 p.m. Fridays-Saturdays; closed Sundays Takeout available Handicapped-accessible Vegetarian options Patio dining in season Noise level: moderate to loud Full bar Credit cards, no checks
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The Short Order Located near the railroad tracks in a brick building that was formerly a depot on the old Chili Line, a branch of the Denver & Río Grande Western Railroad, Tomasita’s Restaurant is an attractive stop for quick meals seasoned with a bit of history. An ample menu of decent, if not exceptional, New Mexican preparations offers the expected tacos, burritos, flat-style enchiladas, tamales, and combination plates as well as burgers, steaks, and a chicken-wing appetizer. The menu warns of its chile’s spiciness, and it might just be warm enough to light up your palate. But the chopped green is a bit soupy, and the red lacks complexity. The house margarita is just OK; you can always step up to one made with Herradura Silver and Cointreau for a price. Recommended: chile rellenos, stacked chicken or cheese enchiladas, “Randy Travis” grilled pork chops, posole, sopaipillas, and flan.
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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In a town that judges its regional cooking based on chile — red and green — I’ve always found the chile relleno to be a good measure of a kitchen’s competence. A stuffed chile requires technique as well as fine ingredients. The rellenos at Tomasita’s Restaurant are made of decent peppers, roasted and peeled. They’re stuffed with Monterey Jack cheese, gently battered in the Northern New Mexico style with flour and cornmeal, and then evenly and completely fried so that the color is consistent, the cheese is melted, and the batter is just a bit crisp. One of a few exceptional things the kitchen turns out — posole is another — those rellenos are among the best in town; that is, until they’re smothered in a less-than-exceptional green chile. You might say that sauce dampens our enthusiasm. Fresh New Mexico green chile is a seasonal delicacy, brilliantly flavored during the late summer and fall, less so when it comes frozen or from a can the rest of the year. What you’ll get out of season at Tomasita’s (and at a lot of other places) carries little of the roasted flavor that brings out the chiles’ natural goodness. It has plenty of the expected warmth, but it’s a bit soupy, which is fine on top of a bowl of posole but not so good for rellenos’ chewy, slightly gritty coat. While the menu says the rellenos come with green, I recommend you request red. Not only is the red thick and better flavored, but it’s also less likely to dampen the rellenos’ contrasting textures. Chiles are central to Tomasita’s story. The brick building dates to 1904 and was the Santa Fe stop for the Chili Line, a branch of the Denver & Río Grande Western Railroad. The big central dining room has something of the crowded feel of a bustling railroad depot, and its central location in the Railyard (along with its parking lot) makes it a good spot to bring visitors. The place is always crowded, the bar lively and inviting with historic pictures on the walls, and one or two vendors are usually selling jewelry in the waiting room. The sound of the arriving or departing Rail Runner seems to fit right in. A recent meal here reflected the inconsistencies of what’s brought from the kitchen. Guacamole, coming almost as soon as it was ordered, was thick, fresh, and served with crisp blue-corn chips. The house margarita, a nice on-the-rocks balance of tangy, sweet, and salty, was decent, if undistinguished. The Tuesday “Deluxe Blue Plate Special” — this was Saturday, but three of the six daily specials are served every day — featured a delicious rolled chicken enchilada under red chile, one of those fine rellenos with just a touch of green on top, a barely spiced ground-beef taco, stiff refritos, and rice that needed some livening up. The Randy Travis Plate — the menu claims the country singer likes it — had two nicely grilled, juicy pork chops covered in green chile and served with refritos and plump, toothsome posole that carried just a hint of mineral flavor. Fat, airy sopaipillas
PASATIEMPO I November 29 - December 5, 2013
arrived hot, and the flan, with what our server told us was an amaretto sauce, made for a sweet finish. On other visits, the food didn’t live up to our expectations. A “Big Bowl” ordered with that wonderful posole and chicken seemed like a good idea but was mostly green chile and little posole — a side of posole is a much better idea, and a bargain at $1.65. Flat-style enchiladas with cheese and plenty of onions or chicken are OK, and yes, you can get an egg on top. But these and any combination of decent tamales, rellenos, and tacos are tempered by the pedestrian beans and rice. Green-chile cheese fries? Not so great. Finally, the red sauce is just acceptable. Though better than the green and warm enough to make us happy, it lacks the complexity and toasted flavor that marks the best reds around town. The Friday special, carne adovada, the meat perfectly tender, could have been something really special if the red it was prepared with had just had more soul. Part of the bustle here is due to the abundant staff. A handful of hostesses stand ready to take you into the main room, where servers, busers, and drink jockeys keep things moving. The atmosphere is less active and quieter on the enclosed porch, with its view to the tracks and trains. I was impressed with the staff’s prompt attention, even when I was offered someone else’s food. Tomasita’s is a worthy whistle-stop for visitors and those in a hurry. Sophisticated New Mexican palates, local or otherwise, should look elsewhere for truly exceptional chile. ◀
Check, please Dinner for two at Tomasita’s Restaurant: Guacamole and blue-corn chips........................... $ 6.50 Tuesday Deluxe Blue Plate Special (taco, chicken enchilada, chile relleno)...................................... $13.50 “Randy Travis” grilled pork chop plate.................$14.95 Side, two sopaipillas..............................................$ 1.20 House margarita....................................................$ 6.00 Flan.......................................................................$ 3.50 TOTAL ..................................................................$45.65 (before tax and tip) Lunch for two, another visit: Chile relleno plate.................................................$10.50 Big Bowl with green chile, chicken, posole........... $ 6.95 Green chile cheese fries.........................................$ 4.95 TOTAL ..................................................................$22.40
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PASATIEMPOMAGAZINE.COM
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Yamaha Factory
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Tuesday thru Saturday 11:00 – 5:30 Closed Sunday & Monday For Information Call:
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4640 Menaul Blvd. NE ABQ
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
1510 Bishop’s Lodge Road
Tesuque, NM 87574 505.988.2165 tesuqueglassworks@gmail.com 66
PASATIEMPO I November 29 - December 5, 2013
pasa week Friday, Nov. 29
Ward Russell Photography 102 W. San Francisco St., second floor, 505-231-1035. Down Mexico Way, work by Russell, reception 5-7 p.m., through Jan. 4. Waxlander Gallery 622 Canyon Rd., 505-984-2202. Group show, reception 5-7 p.m., through Jan. 1. Worrell Gallery 103 Washington Ave., 505-989-4900. Willam Suys: People and Other Animals, reception 5-7 p.m.
GALLERY/MUSEUM OPENINGS
A Sea Gallery 407 S. Guadalupe St., 505-988-9140. Paintings and photographer by David Lee Warren, reception 5-7 p.m., through Jan. 5. Abbate Fine Art 713 Canyon Rd., 505-438-8881. Visual Reports From the Digital Universe, paintings by David Rudolph, reception 5-8 p.m., through Dec. 13. Alexandra Stevens Fine Art 820 Canyon Rd., 505-988-1311. Small Treasures, group show; Intimate Encounters With Photoshop, painting demonstration by George Griffith; 1-6 p.m., through Saturday. American Indian Photo Encaustic Studio 1036 Canyon Rd., 505-819-1103. Anasazi: Stone & Bone, new work by Angel Wynn, open studio 10 a.m.-4 p.m. Axle Contemporary 505-670-7612 or 505-670-5854. Descanso for the Pine Forest, mixed-media installation by Robert Gaylor, reception 5-7 p.m., look for the mobile van at Railyard Plaza, visit axleart.com for locations through December. Blue Rain Gallery 130-C Lincoln Ave., 505-954-9902. New Works by Gustavo Victor Goler, reception 5-7 p.m., through Saturday. Café Balam 1406 Third St., 505-316-4913. Work by Astrea Paz, reception 5-9 p.m. Chiaroscuro Contemporary Art 702½ Canyon Rd., 505-992-0711. Holiday group show, through Jan. 4. Convergence Gallery 219 W. San Francisco St., 505-986-1245. Above and Below, paintings by San Merideth, reception 5-7 p.m., through Dec. 20. Gebert Contemporary 558 Canyon Rd., 505-992-1100. Colin Cochran: Matter and Spirit, reception 2-4 p.m., through Jan. 4. Heidi Loewen Porcelain Gallery 315 Johnson St., 505-988-2225. A Slice of Red and Gold, new thrown works by Loewen, reception 5 p.m. Intrigue Gallery 238 Delgado St., 505-820-9265. Black Friday at Intrigue, reception 5 p.m., through Sunday. Java Joe’s 2801 Rodeo Rd., 505-474-5282. Moments Captured, watercolors by Teena Robinson, closing party 5-7 p.m. Legends Santa Fe 125 Lincoln Ave., 505-983-5639. Language of Light, paintings by Bette Ridgeway, reception 5-7 p.m., through Jan. 2. Little Bird at Loretto 211 Old Santa Fe Trail, 505-820-7413. Works by Native American jewelers Michael Horse, Ray Tracey, and David McElroy, reception and artist demonstrations 3-7 p.m.
Pasa’s Little Black Book......... 68 Elsewhere............................ 71 People Who Need People..... 71 Under 21............................. 71 Pasa Kids............................ 71
compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
CLASSICAL MUSIC
TGIF recital Music of Franceschini, Wold, and Manfredin performed by trumpeters Jan McDonald and Jim Toevs and organist Linda Raney, 5:30 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations accepted.
EVENTS
Arts and crafts for kids Hosted by the Main Branch of the Santa Fe Public Library, 2-4 p.m. Fridays through Dec. 20, 145 Washington Ave., no charge, all adults must be accompanied by a child, call 505-955-6837 for more information. Holiday tree lighting on the Plaza Festivities begin at 3:30 p.m., lighting is set for 6 p.m. 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. Thanksgiving Weekend Gift Fair The Santa Fe Woman’s Club hosts its seventh annual sale featuring books, handmade goods and more, 10 a.m.-5 p.m., 1616 Old Pecos Trail, 505-466-2497.
NIGHTLIFE
Good ’n’ Plenty, by Ellen Tuchman, Turner Carroll Gallery, 725 Canyon Rd.
LoneDog NoiseCat 241 Delgado St., 505-412-1797. Giving Thanks, Honoring the Elders, group show, open house 10 a.m., through Dec. 25. Lost Cowboy Tattoo 411-B W. Water St., The Rare, the Cheap, and the Unreleased, work by painter Michael Andryc, reception 5-9 p.m., through Dec. 28. Marigold Arts 424 Canyon Rd., 505-982-4142. Group show of textiles by New Mexico weavers, reception 5-7 p.m., through Jan. 2. Monroe Gallery of Photography 112 Don Gaspar Ave., 505-992-0800.
The Life Photographers, 5-7 p.m. reception and book signing with Richard Stolley, contributor to The Day Kennedy Died: Fifty Years Later Life Remembers the Man and the Moment, through Jan. 26. Pop Gallery 142 Lincoln Ave., 505-820-0788. Wild Rumpus, 50th-anniversary tribute to author and illustrator Maurice Sendak, through December (see story, Page 44). Tina Davila Pottery 933 Nicole Place, 505-986-9856. Holiday open house, 10 a.m.-5 p.m. today and Dec. 6.
(See Page 68 for addresses) Café Café Los Primos Trio, traditional Latin tunes, 6-9 p.m., no charge. Chispa! at El Mesón Three Faces of Jazz, 7:30 p.m., no cover. El Farol Sean Healen, classic rock, 9 p.m., call for cover. Hotel Santa Fe Guitarist/flutist Ronald Roybal, 7-9 p.m., no cover. La Fiesta Lounge at La Fonda Syd Masters, classic country, 8-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Nacha Mendez Trio, pan-Latin rhythms, 6:30-9:30 p.m., no cover. Pranzo Italian Grill Geist Cabaret with pianist David Geist, 6-9 p.m., call for cover. ▶▶▶▶▶▶▶▶
At the Galleries.................... 72 Libraries............................. 72 Museums & Art Spaces........ 72 Exhibitionism...................... 73 In the Wings....................... 74
calendar guidelines Please submit information and listings for Pasa Week
no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter. PASATIEMPOMAGAZINE.COM
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Talking Heads
Vanessie Doug Montgomery, piano and vocals; Bob Finnie, Great American Songbook and pop standards, 6-11 p.m., call for cover.
30 Saturday GALLERY/MUSEUM OPENINGS
Indies First Saturday, Nov. 30, from 8 a.m. to 8 p.m., Collected Works Bookstore hosts a new nationwide initiative pairing authors with independent bookstores; local authors, including William DeBuys, Michael McGarrity, Carmella Padilla, and Joe Hayes, share their favorite books and holiday gift ideas, 202 Galisteo St., 505-988-4226. Second Street Brewery Local singer/songwriter Eryn Bent, 6-9 p.m., no cover. Second Street Brewery at the Railyard Banjo and cello duo Littlest Birds, 7 p.m., no cover. Tiny’s J.J. & The Hooligans, classic rock, 8:30 p.m., no cover.
317 Aztec 20-0150 317 Aztec St., 505-8 e Inn th at Agoyo Lounge E. Alameda St., 3 30 a ed am Al e on th 505-984-2121 nt Anasazi Restaura Anasazi, Rosewood Inn of the 505-988-3030 e., 113 Washington Av e ffe Co ay rd tte Be 505-555-1234 905 W. Alameda St., nch Resort Bishop’s Lodge Ra Lodge Rd., ps ho Bis & Spa 1297 505-983-6377 Café Café 5-466-1391 500 Sandoval St., 50 Casa Chimayó 5-428-0391 409 W. Water St., 50 ón ¡Chispa! at El Mes 505-983-6756 e., 213 Washington Av Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. Café te yo The Den at Co 83-1615 5-9 50 , St. r ate W . 132 W Duel Brewing 5-474-5301 1228 Parkway Dr., 50 lton El Cañon at the Hi 88-2811 5-9 50 , St. 100 Sandoval
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American Indian Photo Encaustic Studio 1036 Canyon Rd., 505-819-1103. Anasazi: Stone & Bone, new work by Angel Wynn, open studio 10 a.m.-4 p.m. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Pl., 505-988-8900. Gathering of the Dolls, group show of contemporary and traditional dolls, reception and fundraiser 3-6 p.m. Santa Fe University of Art & Design Fine Arts Gallery Thaw Art History Center, Room 503, 1600 St. Michael’s Drive, 505-473-6011. Useless Things & Other Stuff, video and sculpture installations by bachelor of fine arts student Sandra Halpin, reception 5-7 p.m., through Dec. 14. Tansey Contemporary 652 Canyon Rd., 505-995-8513. Small Scale, Big Ideas, group show, reception 1-4 p.m., talk by Charla Khanna 2-3 p.m., through Jan. 13.
BOOKS/TALKS
Indies First Collected Works Bookstore hosts a new nationwide initiative pairing authors with independent bookstores; local authors, including William DeBuys, Michael McGarrity,
Pasa’s little black book Spa Eldorado Hotel & St., 505-988-4455 o isc nc Fra n Sa . W 309 El Farol 5-983-9912 808 Canyon Rd., 50 ill El Paseo Bar & Gr 92-2848 5-9 208 Galisteo St., 50 Evangelo’s o St., 505-982-9014 200 W. San Francisc erging Arts High Mayhem Em -2047 38 2811 Siler Ln., 505-4 Hotel Santa Fe ta, 505-982-1200 1501 Paseo de Peral asters Iconik Coffee Ro -0996 28 5-4 50 , 1600 Lena St. La Boca 5-982-3433 72 W. Marcy St., 50 ina nt Ca La Casa Sena 505-988-9232 e., Av e lac Pa E. 5 12 at La Fonda La Fiesta Lounge , 505-982-5511 St. o isc nc Fra n Sa 100 E. a Fe Resort nt Sa de da sa La Po Ave., 505-986-0000 e lac Pa E. 0 and Spa 33 g Arts Center Lensic Performin St., 505-988-1234 o isc nc 211 W. San Fra e Lodge Th at ge Lodge Loun Francis Dr., St. at Santa Fe 750 N. 00 -58 505-992
PASATIEMPO I November 29-December 5, 2013
Carmella Padilla, and Joe Hayes, share their favorite books and holiday gift ideas, 8 a.m.8 p.m., 202 Galisteo St., 505-988-4226.
EVENTS
Case Trading Post artist demonstration Nambe Pueblo potter Robert Vigil shows how he works with micaceous clay, 10 a.m.-2 p.m., Wheelwright Museum of the American Indian, 704 Camino Lejo, Museum Hill, no charge. Eighth Annual SWAIA Winter Indian Market More than 200 participants; artist demonstrations, fashion show, and silent art auction, 9 a.m.-5 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., $10 per day, $15 weekend pass, tickets available at the door only, swaia.org. Poeh Center’s 25th Anniversary Gala Cocktails, hors d’oeuvres, dinner, and silent and live art auctions, 5:30-9 p.m., Poeh Museum, 78 Cities of Gold Rd., $150, table of 10 discounts available, call 505-455-3334 for details. Pueblo of Tesuque Flea Market Friday-Sunday through the year, 9 a.m.4 p.m., 15 Flea Market Rd., no charge, pueblooftesuquefleamarket.com. Santa Fe Artists Market 8 a.m.-1 p.m., Railyard Plaza and Farmers Market Pavilion, 1607 Paseo de Peralta, no charge, 505-310-1555. Thanksgiving Weekend Gift Fair The Santa Fe Woman’s Club hosts its seventh annual sale featuring handmade goods and books, 10 a.m.-5 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, 505-466-2497.
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
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 68 for addresses) Anasazi Restaurant & Bar Guitarist Jesus Bas, 7-10 p.m., no cover. Chispa! at El Mesón Tierra Soniquete, jazz and flamenco with J.Q. Whitcomb on trumpet and Joaquin Gallegos on guitar, 7:30 p.m., no cover. Cowgirl BBQ Rock cover band Hartless, 8:30 p.m., call for cover. Hotel Santa Fe Guitarist/flutist Ronald Roybal, 7-9 p.m., no cover. La Fiesta Lounge at La Fonda Syd Masters, classic country, 8-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Pat Malone Trio with Jon Gagan on bass and Dave Anderson on alto flute and sax, 6-9 p.m., no cover. Pranzo Italian Grill Pianist David Geist with Leslie Livingston, 6-9 p.m., call for cover. Second Street Brewery Bill Hearne Trio, 6-9 p.m., no cover. Second Street Brewery at the Railyard Catahoula Curse, southern gothic Ameritronica, 7 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
IN CONCERT
Sweetwater Harvest Kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover. The Underground at Evangelo’s Benefit concert for the family of the late DJ Classico, 3 p.m.-2 a.m., call for cover. Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m., no cover. Vanessie Doug Montgomery, piano and vocals; Bob Finnie, Great American Songbook and pop standards, 6-11 p.m., call for cover.
Drummin’ Man Gene Krupa tribute with percussionist John Trentacosta and vocalist Catherine Donavon, 6 p.m., La Casa Sena Cantina, 125 E. Palace Ave., $25, 505-988-9232. Leahy Family: A Celtic Holiday Music, dance, and song, 7:30 p.m., the Lensic, $20-$55, 505-984-8759 or ticketssantafe.org, 505-988-1234.
BOOKS/TALKS
The Artists’ Century Public lecture series hosted by the New Mexico Museum of Art; Artists for Art’s Sake, 10 a.m.-11:30 a.m., St. Francis Auditorium, 107 W. Palace Ave., $5 requested donation, 505-476-5072. Breakfast With O’Keeffe Gallery talk with Brother Christian Leisy of Christ in the Desert Monastery, 8:309:45 a.m., Georgia O’Keeffe Museum, 217 Johnson St., by museum admission. Pat Conroy The novelist in conversation with George R.R. Martin, followed by a signing of Conroy’s book The Death of Santini, 7 p.m., Jean Cocteau Cinema, 418 Montezuma Ave.,call 505-466-5528 for ticket information (see story, Page 50). The Amazing Saga of Albert Einstein’s Brain: Truth Is Stranger Than Fiction A Southwest Seminars lecture with Dean Falk, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, call 505-466-2775 for series details.
1 Sunday GALLERY/MUSEUM OPENINGS
Winterowd Fine Art 701 Canyon Rd., 505-992-8878. Artists Inspired, group show, introducing Brian Coffin, Melissa Melero, and Ryon Rich, through January.
CLASSICAL MUSIC
New Mexico Bach Society Third Annual Winter Solstice Concert with music of the season by Bach, Handel, Monteverdi, and Palestrina, 4 p.m., Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., for tickets visit ihmretreat.com.
IN CONCERT
Drummin’ Man Gene Krupa tribute with percussionistJohn Trentacosta and vocalist Catherine Donavon, 6 p.m., La Csa Sena Cantina, 125 E. Palace Ave., $25, 505-988-9232, Monday encore.
EVENTS
Radius Books sale Art books for the holidays, 10 a.m.-5 p.m., 227 E. Palace Ave., held daily through Dec. 14, 505-983-4068. Weekly all-ages informal swing dances Lessons 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance only $3, lesson and dance $8, 505-473-0955.
BOOKS/TALKS
Cultural Approaches to HIV/AIDS Panel discussion, Q & A, and candlelight ceremony commemorating World AIDS Day, 2-6 p.m., in conjunction with the exhibit Let’s Talk About This: Folk Artists Respond to HIV/AIDS, Museum of International Folk Art, 706 Camino Lejo, Museum Hill, by museum admission. Reese Taylor The poet reads from and signs copies of Leaves, 2 p.m., Garcia Street Books, 376 Garcia St., 505-986-0151. Wayne Lee The local poet celebrates the launch of his third collection, The Underside of Light, visit teatroparaguas.org for more information, 5 p.m., Teatro Paraguas Studio, 3205 Calle Marie, no charge (see Subtexts, Page 18).
EVENTS
Eighth Annual SWAIA Winter Indian Market More than 200 participants; artist demonstrations, fashion show, and silent art auction, 9 a.m.-5 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., $10 per day, $15 weekend pass, tickets available at the door only, swaia.org. Israeli folk dancing Weekly on Sundays, 8 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5 donation at the door, call 505-466-2920 for details. Pueblo of Tesuque Flea Market Friday-Sunday through the year, 9 a.m.4 p.m., 15 Flea Market Rd., no charge, pueblooftesuquefleamarket.com.
NIGHTLIFE
Eight Modern shows work by Rebecca Shore, 231 Delgado St.
Railyard Artisan Market 10 a.m.-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, no charge. Thanksgiving Weekend Gift Fair The Santa Fe Woman’s Club hosts its seventh annual sale featuring handmade goods and books, 10 a.m.-5 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, 505-466-2497. Trader Walt’s Southwestern & International Marketplace More than 100 vendor booths with antiques, folk and fine art, books, jewelry, and snacks, 9 a.m.4 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, no charge.
NIGHTLIFE
(See Page 68 for addresses) 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. Iconik Coffee Roasters Singer/songwriter David Berkely with guitarist Ben Wright, 7 p.m., call for cover. La Casa Sena Cantina Arlen Asher Trio, straight-up jazz, 11:30 a.m., no cover. La Fiesta Lounge at La Fonda Weekly classic movie night, 6-10 p.m., no cover. La Posada de Santa Fe Resort and Spa Singer/guitarist Wiley Jim, 7 p.m., no cover.
2 Monday GALLERY/MUSEUM OPENINGS
Santa Fe Art Institute 1600 St. Michael’s Dr., 505-424-5050. The Unfolding Center, poetry and diptychs by Arthur Sze and Susan York, reception and talk 6-7 p.m., through Jan. 3.
(See Page 68 for addresses) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, weekly, 8 p.m., no cover. Duel Brewing James T. Baker and Raven Redfox, Delta blues, 6-8 p.m., no cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.
3 Tuesday BOOKS/TALKS
Gov. Bill Richardson The former New Mexico governor signs copies of his book How to Sweet Talk a Shark: Strategies and Stories From a Master Negotiator, 6 p.m., Collected Works Bookstore, 202 Galisteo St., call 505-988-4226 for details.
EVENTS
Holiday Figures An Art & Leadership for Adults program; materials supplied, 6-8 p.m., Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., no charge, call 505-946-1039 for more information. ▶▶▶▶▶▶▶▶
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5 Thursday GALLERY/MUSEUM OPENINGS
Immaculate Heart of Mary Retreat and Conference Center 50 Mount Carmel Rd., 505-984-8353. An exhibit of ancient and sacred relics of the historical Buddha Shakyamuni and other Buddhist masters from India, Tibet, Korea, and China, opening ceremony 6-7 p.m., through Dec. 8.
IN CONCERT
SFUAD Contemporary Music Program Balkan/Mideast Ensemble, 7 p.m., O’Shaughnessy Performance Space, Benildus Hall, SFUAD, 1600 St. Michael’s Dr., no charge.
THEATER/DANCE
A Christmas Carol sneak preview Santa Fe Playhouse presents Charles Dickens’ classic adapted by Doris Baizley, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $10, santafeplayhouse.org, 505-988-4262, continues Thursday-Sunday through Dec. 22.
BOOKS/TALKS
Douglas Preston The author reads from and signs copies of his latest thriller White Fire, 6 p.m., Collected Works Bookstore, 202 Galisteo St., call 505-988-4226 for details (see story, Page 20).
EVENTS
A Roswell Sojourn/A Prairie Return, by Jerry West, Phil Space, 1410 Second St.
International folk dances Weekly on Tuesdays, dance 8 p.m., lessons 7 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5 donation at the door, 505-501-5081 or 505-466-2920. Radius Books sale Art books for the holidays, 10 a.m.-5 p.m., Radius Books, 227 E. Palace Ave., held daily through Dec. 14, 505-983-4068. Santa Fe Farmers Market 8 a.m.-1 p.m., Railyard Plaza and Farmers Market Pavilion, 1607 Paseo de Peralta, santafefarmersmarket.com.
NIGHTLIFE
(See Page 68 for addresses) Cowgirl BBQ Kevin & Faith, folk and roots music, 8 p.m., no cover. Vanessie Doug Montgomery, piano and vocals; Bob Finnie, Great American Songbook and pop standards, 6-11 p.m., call for cover.
4 Wednesday IN CONCERT
SFUAD Contemporary Music Program African Drum Ensemble, 7 p.m., O’Shaughnessy Performance Space, Benildus Hall, SFUAD, 1600 St. Michael’s Dr., no charge.
BOOKS/TALKS
Photography and Community A discussion with local photographer Carlan Tapp, in conjunction with the Atrium Gallery of the Marion Center for Photographic Arts exhibit In/Visible Borders, 6 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., no charge.
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Places of Protocol: Memory, Archaeology, and Colonial Legacies on the Columbia River A presentation by anthropologist Jon Daehnke, noon-1 p.m., School for Advanced Research, 660 Garcia St., call 505-954-7203 for details. Rohatsu dharma talk Presented by Roshi Pat Enkyo O’Hara, 5:30-6:30 p.m., Upaya Zen Center, 1404 Cerro Gordo Rd., donations appreciated. Verdifying Shakespeare: Exploring Verdi’s Operatic Treatments of Shakespeare Themes Illustrated discussion with Joe Illick and John Andrews, 5:30 p.m., Unitarian Univeralist Congregation of Santa Fe, 107 E. Barcelona Rd., $10 at the door, for more information call 505-629-1410, Ext. 102.
EVENTS
Glow: A Winter Lights Event Preview party for the event running weekends through Jan. 4; including an exhibit of work by ceramic sculptor Christy Hengst, 5-8 p.m., Santa Fe Botanical Garden, 725 Camino Lejo, party $25; ages 12 and under no charge; glow admission $8, santafebotanicalgarden.org, 505-471-9103. Radius Books sale Art books for the holidays, held daily through Dec. 14, 10 a.m.-5 p.m., Radius Books, 227 E. Palace Ave., 505-983-4068. SFCC Clay Club Fifth Annual Ceramics Sale More than 40 Clay Club members sell functional and sculptural works in porcelain, earthenware, stoneware, and micaceous clays; sale accompanied by a silent auction, 9:30 a.m.-7 p.m., Santa Fe Community College, 6401 Richards Ave., no charge. Writing class Author Theo Pauline Nestor leads a class based on exercises in her book Writing Is My Drink:
PASATIEMPO I November 29-December 5, 2013
A Writer’s Story of Finding Her Voice (and a Guide to How You Can Too), 6 p.m., Collected Works Bookstore, 202 Galisteo St., no charge (see story, Page 22).
NIGHTLIFE
(See Page 68 for addresses) El Farol Nacha Mendez with Santastico, 8 p.m., no cover. La Posada de Santa Fe Resort and Spa Omar Villanueva, Latin fusion, 7 p.m., 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.
Radius Books sale Art books for the holidays, held daily through Dec. 14, 10 a.m.-5 p.m., Radius Books, 227 E. Palace Ave., 505-983-4068. SFCC Clay Club Fifth Annual Ceramics Sale More than 40 Clay Club members sell functional and sculptural works in porcelain, earthenware, stoneware, and micaceous clays; sale accompanied by a silent auction, 9:30 a.m.5 p.m., Santa Fe Community College, 6401 Richards Avenue, no charge.
NIGHTLIFE
(See Page 68 for addresses) La Boca Pan-Latin chanteuse Nacha Mendez, 7 p.m., no cover. Low ‘n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe Gerry Carthy, tenor guitar and flute, 9 p.m., call for cover. Omira Bar & Grill Equinox, jazz with Joseph Salack on bass and Lou Levin on keyboard, 6-8 p.m.
La Cienega Studio Tour The community situated just east of Santa Fe celebrates the 40th La Cienega Studio Tour from 10 a.m. to 5 p.m. Saturday and Sunday, Nov. 30-Dec. 1. This compact tour offers a wide variety of work by local artists. For links to artists’ websites visit lacienegastudiotour.com. Maps are available at artists’ studios; just follow the signs. Call Lee Manning for more information, 505-699-6788. Landscape by Sonni Cooper
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
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. Holocaust and Intolerance Museum of New Mexico 616 Central Ave. S.W., 505-247-0606. Disturbing, but Necessary, Lesson, scale model of a WWII prisoner transport to Auschwitz • Hidden Treasures, 158-year-old German-Jewish heirloom dollhouse belonging to a family that fled to the U.S. and settled in New Mexico. Open 11 a.m.-3:30 p.m. Tuesday-Saturday, donations accepted. National Hispanic Cultural Center 1701 Fourth St. S.W., 505-724-4771. En la Cocina With San Pascual, works by New Mexico artists • Stitching Resistance: The History of Chilean Arpilleras, through January. Open 10 a.m.-5 p.m. Tuesday-Sunday. no charge. New Mexico Museum of Natural History & Science 1801 Mountain Rd. N.W., 505-841-2804. Open 9 a.m.-5 p.m. daily; adults $7, seniors $6, under 12 $4; NM seniors no charge on Wednesdays. Maxwell Museum of Anthropology UNM campus, 505-277-4405. Prehistoric pottery, hands-on activities for children, and exhibits showcasing early Southwestern peoples. Open 10 a.m.-4 p.m. Tuesday-Saturday; closed Sundays and Mondays; 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
Chatter Sunday Pianist Conor Hanick, music of Schumann, Bach, and Kurtag, poetry reading by Levi Romero follows, 10:30 a.m. Sunday, Dec. 1, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterchamber.org. Traditional Winter Spanish Market Artisans carrying on the work of 17th- and 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 Grande Blvd. N.W., $6; $10 for couples; children 12 and under free, spanishcolonial.org, 505-982-2226.
CorrAlEs
Sixth Annual Holiday Art Fest Held 10 a.m.-5 p.m. Friday and Saturday, 10 a.m.-4 p.m. Sunday, Nov. 29-Dec. 1, at the Corrales Recreational Center soccer field, visit corralesartists.org or call 505-898-6224 for details.
Arpillera in the exhibit Stitching Resistance: The History of Chilean Arpilleras (detail), National Hispanic Cultural Center, Albuquerque
EspAnolA
Bond House Museum 706 Bond St., 505-747-8535. Visions of the Heart, Images of the Road: Three Views From El Rito, works by Susan Guevara, Nicholas Herrera, and David Michael Kennedy, through Dec. 20. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Open noon-3:30 p.m. MondayWednesday, noon-4 p.m., no charge.
lA CiEnEgA
40th Annual La Cienega Studio Tour 10 a.m.-5 p.m. Saturday and Sunday, Nov. 30-Dec. 1; visit lacienegastudiotour.com for links to artists’ websites; maps available at artists’ studios; follow the signs, call Lee Manning for further information, 505-699-6788.
los AlAmos
Bradbury Science Museum 1350 Central Ave., 505-667-4444. Open 10 a.m.-5 p.m. Tuesday-Saturday, 1-5 p.m. Sunday-Monday; no charge. Pajarito Environmental Education Center 3540 Orange St., 505-662-0460. Exhibits of flora and fauna of the Pajarito Plateau; herbarium, live amphibians, and butterfly and xeric gardens. Open noon-4 p.m. Tuesday-Friday, 10 a.m.-1 p.m. Saturday, visit pajaritoeec.org for events schedule, no charge.Madrid
mAdrid
Madrid Christmas & holiday festivities Weekends through December; Christmas parade 4 p.m. Saturday, Dec. 7; Town of Lights display; mule/stagecoach rides; screening of Madrid’s Famous Christmas Town of Lights and Toyland Saturdays and Sundays, details available online at visitmadrid.com.
TAos
Harwood Museum of Art 238 Ledoux St., 575-758-9826. The Harwoods: Burt Harwood • Historic Photographs • Highlights From the Taos Municipal Schools Historic Art Collection;
visit harwoodmuseum.org for full schedule of ancillary events. Open 10 a.m.-5 p.m. TuesdaySaturday, noon-5 p.m. Sunday; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday. Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 10 a.m.-5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Open 10 a.m.- 5 p.m. Tuesday-Sunday NM residents $5; nonresidents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents
▶ people who need people Actors/Filmmakers/Musicians
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, santafeplayhouse.org. Reel New Mexico Independent Film Series New Mexico filmmakers may submit shorts, narrative and documentary features, student films, and works-in-progress through 2013; for more information or to submit a film, contact reelnewmexico@gmail.com.
Artists
MasterWorks of New Mexico 2014 Open to all New Mexico artists; accepting miniatures, pastels, watercolors, and oil/acrylic; digital entries deadline Jan. 31; miniatures must
be shipped by March 15 or hand-delivered by March 22; for prospectus and information visit www.masterworksnm.org.
Donations/Volunteers
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. 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. Smith’s Food & Drug Stores Now through Dec. 28, customers can add a donation of $1, $5, or $10 to their grocery purchases; all contributions will be converted to Smith’s gift cards and given to The Food Depot; call 505-471-1633, Ext. 10 for details. Spanish Colonial Arts Society Office and grounds workers; plus, docents needed all year long at the Museum of Spanish Colonial Art, contact Linda Muzio, 505-982-2226, Ext. 121, or email education@spanishcolonial.org.
▶ under 21 Warehouse 21 hip-hop concert Little Criminal and Wicked Royalty Entertainment. Warehouse 21, 1614 Paseo de Peralta. $5 at the door, 505-989-4423.
▶ pasa Kids Paige Grant The author reads from Kitten Caboodle, 3 p.m. Sunday, Dec. 1, Op. Cit. Books, 500 Montezuma Ave., Suite 101, 505-428-0321. Preschooler’s Story Hour Weekly on Thursday at 10:45 a.m., Collected Works Bookstore, 202 Galisteo St., no charge. ◀
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AT THE GALLERIES Andrew Smith Gallery 122 Grant Ave., 505-984-1234. Mannequin, Lee Friedlander’s photographic series, through Jan. 5. Art Exchange Gallery 60 E. San Francisco St., 505-603-4485. Rivers and Other Places, paintings by Jeff Tabor, through Dec. 12. Back Street Bistro 513 Camino de los Marquez, 505-982-3500. Paintings, prints, and clocks by Hillary Vermont, through Jan. 4. David Richard Gallery 544 S. Guadalupe St., 505-983-9555. Life Support: Art, Design, Sustenance, international group show of functional and interior designs, through Saturday, Nov. 30. Eight Modern 231 Delgado St., 505-995-0231. Part and Parcel, paintings by Rebecca Shore, through Jan. 11. Ellsworth Gallery 215 E. Palace Ave., 505-989-7900. Kathryn Stedham: Alluvium, gestural abstract paintings, through Jan. 4. Gerald Peters Gallery 1011 Paseo de Peralta, 505-954-5700. Presence, Place, and Perspecitve: Don Coen, Buff Elting, Karen Kitchel, and Don Stinson, through Saturday, Nov. 30. Phil Space 1410 Second St., 505-983-7945. A Roswell Sojourn/A Prairie Return, paintings by Jerry West, through December. Rock Paper Scissor Salonspa Sanbusco Market Center. 500 Monezuma Ave., 505-955-8500. Sailing Taos, work by painter/ metalsmith Thom Wheeler; Meditations, photographs by Patti Zolnick; through December. Zane Bennett Contemporary Art 435 S. Guadalupe St., 505-982-8111. Ruminative Figures, sculpture by Dunham Aurelius, reception 5-7 p.m., through Dec. 27.
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.
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Double Negative at Night, by Don Stinson, Gerald peters Gallery, 1011 paseo de peralta
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. 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.
PASATIEMPO I November 29-December 5, 2013
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 Pl., 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, Museum Hill, 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, Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 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 August 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, Museum Hill, 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, Peru’s ambassador to the U.S. (1944-45), through May 27 • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19thcentury Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late colonial period re-creation. Open 10 a.m.-5 p.m. TuesdaySunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 505-476-5200. Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9 • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe. Open 10 a.m.5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge on Wednesdays for NM residents over 60; NM residents no charge on Sundays; 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 Pl., 505-988-8900. Open 10 a.m.-5 p.m. TuesdaySunday. $10 admission. Poeh Museum Poeh Center Complex, Pueblo of Pojoaque, 78 Cities of Gold Rd., 505-455-3334. Fashion designs by Patricia Michaels, through Saturday, Nov. 30. 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, Museum Hill, 505-982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13. Open 10 a.m.-5 p.m., daily, donations accepted.
exhibitionism
A peek at what’s showing around town
Robert Gaylor: Ips Paraconfusus, 2013, white pencil on paper. Axle Contemporary presents Descanso for the Pine Forest, an installation by Robert Gaylor with sound by David Dunn, which explores the effects of natural and man-made catastrophes on regional forests. Gaylor looks at how the lumber trade, global warming, and other situations affect native trees and pine bark beetle populations. The show opens Friday, Nov. 29, with a 5 p.m. reception. Axle’s mobile gallery is parked is near the Santa Fe Farmers Market (1607 Paseo de Peralta) in the Railyard for the opening reception. Visit www.axleart.com for the gallery’s daily schedule or call 505-670-7612.
ed Clark (1911-2000): Senator John F. Kennedy with Caroline in her nursery, Washington, DC, 1958, gelatin silver print; image © time inc. Monroe Gallery of Photography presents The Life Photographers, an exhibition of work by Margaret Bourke-White, Ed Clark, Alfred Eisenstaedt, and others who documented events throughout the 20th century. The show coincides with the recent publication of The Day Kennedy Died: Fifty Years Later Life Remembers the Man & the Moment. The exhibit opens with a reception and book signing by former Life editor Richard Stolley at 5 p.m. Friday, Nov. 29. The gallery is at 112 Don Gaspar Ave. Call 505-992-0800.
Colin Cochran: Striding Chicken, 2013, mixed media with oil on archival paper. Birds are a common subject for Colin Cochran, whose technique of painting with oils over mixed media creates a textured surface that brings the works to life. Matter and Spirit, an exhibition of recent paintings by the artist, opens Friday, Nov. 29, with a 2 p.m. reception at Gebert Contemporary (558 Canyon Road). Call 505-992-1100.
Gugger Petter: Spectators #2, 2013, newspaper and mixed media. Small Scale, Big Ideas, an exhibition of small works at Tansey Contemporary (652 Canyon Road), includes pieces by Charla Khanna, Rachel Bess, Geoffrey Gorman, Mark Bowles, and other artists working in the mediums of painting, sculpture, photography, and mixed media. The exhibit opens Saturday, Nov. 30, with a reception at 1 p.m. and includes a talk with Khanna at 2 p.m. Call 505-995-8513.
Ward Russell: Downtown Tarahumara, 2007, archival pigment ink print. Ward Russell Photography (102 W. San Francisco St., upstairs) presents Down Mexico Way, documenting five years of Russell’s travels. “As I reviewed the images I selected for my Down Mexico Way show, it became obvious that I enjoyed sharing images of the human condition and man’s relationship with his surroundings,” Russell writes. The exhibit opens Friday, Nov. 29 ,with a 5 p.m. reception. Call 505-231-1035.
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In the wings Ringing in the holidays
st. nicholas Bazaar Preview party, 4:30-6:30 p.m. Friday, Dec. 6; bazaar 10 a.m.-2 p.m. Saturday, Dec. 7, call 505-988-1513 for details, Church of the Holy Faith, 311 E. Palace Ave. holiday music from 17th- and 18thcentury europe Performers include soprano Ellen Hargis, violinist Carla Moore, and harpsichordist Jillon Stoppels Dupree, 7:30 p.m. Friday, Dec. 6, Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge. 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 Pl., $20-$55. 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. 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. santa Fe Concert Band holiday Concert Robert Foster’s Rhapsody on Spanish Carols, Leroy Anderson’s Sleigh Ride, Irving Berlin’s White Christmas, and more; and a live auction to conduct the band on the Fourth of July, 7 p.m. Tuesday, Dec. 10, the Lensic, no charge. 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. 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. Arias, Carols, and Songs Holiday selections performed by former Santa Fe Opera apprentices, soprano Sara Heaton and tenors Joshua Dennis and Joseph Dennis, accompanied by pianist Kirt Pavitt, 5:30 p.m. Friday, Dec. 13, First Presbyterian Church of Santa Fe, 208 Grant Ave., no charge. Christmas at the Palace Live music, crafts projects, refreshments, and quality time with Santa and Mrs. Claus, visit museumofnewmexico.org for details, 5:30-8 p.m. Friday, Dec. 13, New Mexico Museum/Palace of the Governors, 113 Lincoln Ave., no charge. new Mexico gay Men’s Chorus My Winter Song to You, 7 p.m. Friday, Dec 13, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $20, purchase tickets at nmgmc.org. a 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.
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santa Fe Women’s ensemble Winter Festival of Song, choral music; Friday and Saturday, Dec. 13-14, Thursday and Saturday, Dec. 19 and 21, venues vary, visit sfwe.org for details, tickets available at the Lensic box office, 505-988-1234, ticketssantfe.org. Twelfth Night Presented St. John’s College students, 7:30 p.m. Friday and Saturday, 3 p.m. Sunday, Dec. 13-15, Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, no charge. holiday ice show Destination Sochi: To Russia With Love, 4 p.m. Saturday, 1 p.m. Sunday, Dec. 14-15, Genoveva Chavez Community Center, 3221 Rodeo Rd., $12, ages 2-11 $7, tickets available in advance at santafeskatingclub.org and at the door. 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 Pl., $15-$65; student discounts available. Christmas treasures Pre-concert lecture at 3 p.m., concert 4 p.m. Sunday, Dec. 15, the Lensic, $20-$70, ticketssantafe.org, 505-988-1234. Música antigua de albuquerque The ensemble presents Marvel Not, Joseph, a program of Christmas music from the
Upcoming events Middle Ages and Renaissance, 4:30 p.m. Sunday, Dec. 15, Christ Lutheran Church, 1701 Arroyo Chamiso, $16, discounts available, 505-842-9613. Concordia santa Fe The jazz ensemble in The Nutcracker (Swing)!, Duke Ellington’s version of Tchaikovsky’s Nutcracker Suite, 7 p.m. Thursday, Dec. 19, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $35, students $20, 505-988-1234, ticketssantafe.org. 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, 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. Christmas eve with the santa Fe Concert association orchestra and Caroline goulding Music of Beethoven, 5 p.m. Tuesday, Dec. 24, the Lensic, $25-$95, 505-988-1234, ticketssantafe.org.
MUsiC
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 opera 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. Voasis Contemporary a capella ensemble, In the Midnight Hour, 4 and 8 p.m. Saturday and Sunday, Dec. 28-29, 8 p.m. Monday and Tuesday, Dec. 30-31, Warehouse 21, 1614 Paseo de Peralta, $15-$100 in advance at desertchorale.org, 505-988-2282. 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 one-man show, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, Dec. 6-8, Teatro Paraguas Studio, 3205 Calle Marie, $16, $12 seniors and students, 505-424-1601. the second City Comedy-theater troupe, 7 p.m. Saturday, Dec. 7, the Lensic, $27-$44, ticketssantafe.org, 505-988-1234. 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
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. 35mm archival Film series The Lensic and the Academy Film Archive present the 1954 musical White Christmas at 2 p.m. and the 1962 film Lawrence of Arabia at 7 p.m. Friday, Dec. 27, the Lensic, $7, 505-988-1234, ticketssantafe.org. 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 santa Fe Desert chorale’s Winter Festival opens Dec. 14.
PASATIEMPO I November 29-December 5, 2013