The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
October 18, 2013
Lions,Elephants & Giants: Trials,Tragedies,Triumphs
© K EN G EIG ER, NATIONAL G EO G RAP H IC
An Evening with National Geographic Photographer Michael “Nick” Nichols
October 22, 7 pm
$15–$25 / $75 includes signed book
Proceeds benefit African Parks Foundation and education programs at The Lensic
An evening with Michael “Nick” Nichols, longtime photographer for National Geographic and the magazine’s editor-at-large for photography, followed by a signing of his latest book, Earth to Sky: Among Africa’s Elephants, a Species in Crisis.
Tickets: 505-988-1234 www.TicketsSantaFe.org
SERVICE CHA RGES A PPLY AT A LL POINTS OF PURCHA SE
t h e l e n s i c i s a n o n p r o f it, m e m b e r- s u p p o rt e d o rga n i zat i o n
is pleased to announce native Santa Fean, Nicholas Tyson, as Santacafe’s new General Manager. Nick brings wide experience of all facets of restaurant & personnel management, a BBA, as well as a desire to explore new avenues of expansion to broaden the reach of our brand. Come say ‘hi’ to Nick and let’s launch our 30th year and hope for many more! Sincerely, Bobby, Judy & Staff
lunch / dinner / sunday brunch
Happy Hour Special:
Our ‘Classic’ appetizers – 50% off Wines-by-the-glass, ‘Well’ cocktails & House Margarita - $5.00 each (4 – 6 p.m. Mon. thru Fri.) FULL BAR ● FREE WI-FI ● HDTV
505 • 984 • 1788 for ‘instant’ gift certificates, menus, recipes & hours:
www.santacafe.com
231 washington ave santa fe 2
PASATIEMPO I October 18 - 24, 2013
© M IC H AEL N IC H OLS, NATI ONAL G EO G RAP H IC
Lensic Presents
Fall in
Love BIG COAT SALE
New Winter Coats
20% Off
ORIGINS® IS A REGISTERED TRADEMARK USED UNDER LICENSE. ©2013 MARGOLIS, INC. PHOTO BY DAVID GORDON
Maralycee Feree Coats
Origins
®
505-988-2323
originssantafe.com 135 W San Francisco • Santa Fe • info@originssantafe.com
Voted 1 of the 10 Best Ethnic Boutiques in the World - Frommer’s Guide
&
b o t w i n
e y e s DONOVAN CADMAN PETER & DINAH GASPER
The Tradition Continues at
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o p t i c s sa n ta
f e
Luxury Eyewear Cartier Chanel Chrome Hearts Anglo American Anne et Valentin Bevel Dolce&Gabbana Etnia Barcelona FACEaFACE Ronit Furst i.c!berlin Lindberg Oliver Peoples ørgreen RetroSpecs Paul Smith Theo 2.5 Eyephorics…
optometric physicians
Dr. Mark Botwin Dr. Jonathan Botwin Dr. Jeremy Botwin
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Mon-Fri 8:00-6:00, Sat 8:30-12:00 444 St Michaels Drive
5 0 5 . 9 5 4 . 4 4 4 2 BotwinEyeGroup.com PASATIEMPOMAGAZINE.COM
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2013
THE ART AND ARTISTS OF THE
G A L I S T E O
T O U R
A N N I V E R S A R Y
stop #7B
2 6 T H
S T U D I O
W E A V I N G PHOTOGRAPHY F O L K
S A T U R D AY
O I L PA I N T I N G B Y V O N N I E B R E N N O C A M E R O N -
J E W E L R Y
10AM - 5 PM
A R T
P O T T E R Y SCULPTURE P A I N T I N G
S U N D A Y RT 4 1 &
4 2
3 5 A R T IS T S L
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H I S T O R Y
O C T O B E R 19 & 2 0 , 2 013 f
G A L I S T E O S T U D I O T O U R . O R G
Artist Stops - To view artist samples, go to our website. 1 2
fine art photography & clay art
Stanley Perdue
protrait photography, cards, books paintings, drawings & prints lyrictrout@earthlink.net
Arthur Lynn
14
sterling silver & bronze jewelryamysealovejewelry.com hand forged knives
15a
Lorraine Weiss
9
Vonnie Cameron Brenno
oil paintings & giclee prints of Galisteo landscapesvonniebrennocameron.com
archaic animals in native clay, sculpture - priscillahoback.com
16
Barbara Holloway
contemporary handwoven artwear barbaraholloway.com
Gwen Feisst
PASATIEMPO I October 18 - 24, 2013
19
20
21
traditional New Mexico straw appliqué- ”Poor Man’s Gold”
Catherine Ferguson Denice Lynch
. 5 mile
9 Camino Los Abuelos
10 CR42
The
19 Magdalen
18
Chevy Lane
Rt. 41
N
ʻLa Sala de Galisteoʼ Restoration
INFO &MAPS
Via La Puente
11
The Church
Via Si
B
Map Not To Scale
La Otra Vanda
17 The Old Bridge
H il l
The Galisteo Creek
Vicki Snyder
16
C
14
Vieja nida Ave
Julia Cairns
childrens’ books, paintings, prints, cards, fabric juliacairns.com
Elizabeth Rose
23
Janice Wall
“pen”- an installation. Horses & poetry- 24 Evelyne Franceschi denicelynchgalisteo@gmail.com handmade chocolate bars
15a 15b Community Center
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Food Stops A To Stanley, Moriarty & I-40
free-standing ceramic and bronze sculpture for garden & home; wall reliefs
mixed media monoprints janiceruthwall@mac.com
Mileage noted is accurate
Via La Puente
GVFR
12
wood fired functional ceramics slipandsoda.com
22
glass & paintings
retablos, watercolors, oil paintings
Marcellina Lane
.3 mile
8a 8b
Restroom at the church Restroom in the Community Center Lot
20
21
El Tanque Viejo
Jean Anaya Moya
18
hand woven rugs, saddle blankets
the
RANCHITOS de GALISTEO
22
5
Points of Interest
Linda Vista Stables
23
6b 6a
4
Frank & Cynthia Lux
Donna Mitchell
2
7a 7b
Camino Libre
Anna Cárdenas - utilitarian micaceous pottery Freddie Cárdenas- Galisteo oil paintings Rich Fenker - photography Evelyne Franceschi - chocolate bars
Judy Tuwaletstiwa
Camino Cabreros
3
COMMUNITY CENTER
17
. 7 mile
CR42 La Jara
functional, decorative stoneware & porcelain - barbarakingpottery.com
abstract acrylic paintings, stoneware claywork - forbeslux@aol.com
24
.3 mile
Barbara King
Jim Sloan
photography, mixed media art for the soul
4
Priscilla Hoback
designer jewelry--vintage beads, 15b Marilyn ʻPeteʼ Forbes semi-precious stones lorraineweiss@earthlink.net oil landscapes, still life paintings
buckeye paintings 8b
acrylic abstract paintings, modern furniture
INFO & MAPS at ʻLa Sala de Galisteoʼ
Ave . Vie ja
b&w photography of the SW sloanvictor@mac.com
6b
8a
13
Sam Sloan
Amy Sealove Lynn
7b
12
Vernon Wilson
6a
7a
11
Nicholas Similie
T O U R
ga La Ve
5
Barbara Seiler
10
S T U D I O
To Rt. 285, Santa Fe & I-25
A
Camino San Cristobal
4
encaustic landscape paintings
1
McKee Road
Camino Los Angelitos
3
Janet Pfeiffer
To Rt. 14: Madrid, Cerrillos & San Marcos
G A L I S T E O
the PBJ Ranch Café Pulled pork sandwiches with coleslaw, Cuban black bean soup & corn bread, assortʼt of bars, coffee, tea & water
B
Galisteo Beach Club Fresh & tasty treats from the grill! Local organic ingredients -- plenty of vegetarian and gluten-free items. Also baked goods & beverages
C
La Cocina de Mela Homemade Spanish foods - tacos, burritos, beans, posole, Melasʼ Red Chile, sopapillas, drinks & LOTS more!
New Sweaters Jackets Linen & Shawls
Larger Sizes Too
EUROPEAN CONTEMPORARY STYLING
More Choice.
Comfortable and smart, not massive. Omnia® Furniture... personalizing comfort: 100 styles. 120 leather colors and fabrics. Sectionals to sleepers, all made in America.
223 Galisteo between Water & Alameda • 505.983.6331 • Mon-Sat 10-6, Sun 11-5
Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room
•
Bedroom
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•
Lighting
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Accessories
Featuring Attractive Handcrafted Furniture Southwestern Style • One-of-a-kind Pieces
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
October 18 - 24, 2013
www.pasatiempomagazine.com
On the cOver 46 Ambassador of bad taste Author and filmmaker John Waters says a lot has changed since his monologue This Filthy World was filmed in 2006. But not him. Always principled, always outrageous, the man behind Hairspray and Pink Flamingos shares twisted wit and wisdom when he performs his one-man show at the Lensic Performing Arts Center on Saturday, Oct. 19, as part of the Santa Fe Independent Film Festival. On the cover is a portrait of the style icon taken by Greg Gorman.
BOOKS
MOvIng IMAgeS
14 In Other Words James Purdy’s stories 30 Oh, the horrors Museum curiosities
50 51 52 53 54
MuSIc And PerFOrMAnce 16 18 20 22 24 26 27 29
Listen up Stage hands the sun will come out Troy Skinner Sound Waves Earwaves music fest Jazz, the distaff side ACS trio cashing in Serenata of Santa Fe Pasa tempos CD Reviews terrell’s tune-up Willie Nelson Onstage Steve Vai
cALendAr 60 Pasa Week
And 10 Mixed Media 13 Star codes 58 restaurant review: Santa Fe Bite
Art And ArchItecture 38 Art of Space History and histrionics 42 Single chromatics Blue
AdvertISIng: 505-995-3819 santafenewmexican.com Ad deadline 5 p.m. Monday
Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 e. Marcy St. Santa Fe, nM 87501. editorial: 505-986-3019. Fax: 505-820-0803. e-mail: pasa@sfnewmexican.com PASAtIeMPO edItOr — KrIStInA MeLcher 986-3044, kmelcher@sfnewmexican.com
Still from Night of the Living Dead
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Art director — Marcella Sandoval 986-3025, msandoval@sfnewmexican.com
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Assistant editor — Madeleine nicklin 986-3096, mnicklin@sfnewmexican.com
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chief copy editor/Website editor — Jeff Acker 986-3014, jcacker@sfnewmexican.com
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Associate Art director — Lori Johnson 986-3046, ljohnson@sfnewmexican.com
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calendar editor — Pamela Beach 986-3019, pambeach@sfnewmexican.com
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StAFF WrIterS Michael Abatemarco 986-3048, mabatemarco@sfnewmexican.com James M. Keller 986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 986-3039, billk@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com
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cOntrIButOrS Loren Bienvenu, Laurel gladden, Peg goldstein, robert Ker, Jennifer Levin, robert nott, Adele Oliveira, Jonathan richards, heather roan-robbins, casey Sanchez, roger Snodgrass, Steve terrell, Khristaan d. villela
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PrOductIOn dan gomez Pre-Press Manager
The Santa Fe New Mexican
© 2013 The Santa Fe New Mexican
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Robin Martin Owner
www.pasatiempomagazine.com
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Night of the Living Dead Birth of the Living Dead The Cherokee Word for Water Shepard & Dark Pasa Pics
Ginny Sohn Publisher
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AdvertISIng dIrectOr Tamara Hand 986-3007
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MArKetIng dIrectOr Monica Taylor 995-3824
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grAPhIc deSIgnerS Rick Artiaga, Dale Deforest, Elspeth Hilbert
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AdvertISIng SALeS Julee clear 995-3825 Mike Flores 995-3840 Laura harding 995-3841 Wendy Ortega 995-3892 vince torres 995-3830 Art trujillo 995-3852
Ray Rivera editor
Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet
“Holding your hand through the entire process” • Over 20 Years Experience
Expert Personalized | Service & Instruction
In Pursuit of Cultural Freedom
• No “Geek Speak”
Home or Office | Onsite Repairs
A lecture series on political, economic, environmental, and human rights issues featuring social justice activists, writers, journalists, and scholars discussing critical topics of our day.
• Same Day Service
PC or Mac | iPhones & iPads
JEREMY SCHAHILL with TOM
ENGELHARDT
WEDNESDAY 30 OCTOBER AT 7PM LENSIC PERFORMING ARTS CENTER At his inauguration in January 2013, Obama employed the rhetoric of internationalism. “We will defend our people and uphold our values through strength of arms and rule of law. We will show the courage to try and resolve our differences with other nations peacefully—not because we are naïve about the dangers we face, but because engagement can more durably lift suspicion and fear,” the president declared… The drone strike in Yemen the day Obama was sworn in served as a potent symbol of a reality that had been clearly established during his first four years in office: US unilateralism and exceptionalism were not only bipartisan principles in Washington, but a permanent American institution. As large-scale military deployments wound down, the United States had simultaneously escalated its use of drones, cruise missiles and Special Ops raids in an unprecedented number of countries. The
IMS
internal
MEDICINE SPECIALISTS
Taking New Patients and Same Day Appointments!
war on terror had become a self-fulfilling prophecy.
The question all Americans must ask themselves lingers painfully: How does a war like this ever end? — from Dirty Wars: The World is a Battlefield by Jeremy Scahill © 2013 Jeremy Scahill is National Security Correspondent for The Nation magazine and a Puffin Foundation Writing Fellow at The Nation Institute. The author of the international bestseller Blackwater: The Rise of the World’s Most Powerful Mercenary Army, he has reported from Afghanistan, Iraq, Somalia, Yemen, the former Yugoslavia and elsewhere across the globe. Dirty Wars: The World Is a Battlefield is Scahill’s latest book, and he is also a writer and producer of the film Dirty Wars, which premiered at the 2013 Sundance Film Festival. TICKETS ON SALE NOW
ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID Video and audio recordings of Lannan events are available at:
www.lannan.org
Mark Seredowych MD PC
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.
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Santa Fe, NM 87505 PASATIEMPOMAGAZINE.COM
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PASATIEMPO I October 18 - 24, 2013
HUGE STOREWIDE PIANO
CLEARANCE At PianoWerkes Albuquerque
OPEN TO THE PUBLIC
O
Fri & Sat, Oct 25-26 10am-5pm
ur winter inventory is arriving and we have run out of showroom space.To solve this problem we are conducting a huge Clearance Sale where all overstocks, trade-ins and duplicate models of our world famous pianos are being sold at unusually large discounts.
PAYNE’S Fall is for Planting Sale NURSERIES Payne’s South 715 St. Michael’s 988-9626 Payne’s North 304 Camino Alire 988-8011 Fall Hours
Mon - Sat 9 to 5 Closed Sunday Payne’s Organic Soil Yard 6037 Agua Fria 424-0336 Mon - Fri 8 to 4 Closed Weekends
SAVE up to 50% Our SALE continues! Fall is the perfect time to PLANT and SAVE! Stop by and take advantage of the great selections below!
30% OFF All 1 gallon Perennials
30% OFF All 1 gallon & 5 gallon Vines, Trees and Shrubs
• Grands, baby grands & uprights • Clavinova Digitals • Disklavier Player Pianos
• Avant Grands & Silent Pianos • Overstocks & Duplicates • New, Used & Discontinued Models
40% OFF All 15 gallon & B & B* Deciduous Trees
New Yamaha, BÖseNdorfer, schimmel, estoNia, hailuN UsEd stEiNwAy, BostoN, sAMick, BAldwiN, yAMAhA
SPECIAL PRIVATE INVITATION DAY: thursdaY octoBer 24
*balled & burlapped trees
reserVe a PriVate adVaNce aPPoiNtmeNt BY calliNG 505.884.5605 4640 Menaul Blvd. NE, Albuquerque www.pianowerkes.com
Additional savings at both stores.
www.paynes.com
Sale ends 11/2/13 and limited to stock on hand, while supplies last.
PASATIEMPOMAGAZINE.COM
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Manitou Galleries Art Fair Featuring Regional Guest Artists
Sunday, November 17 4–7 pm Museum Auditorium & La Fonda on the Plaza
See the new film The Harvey Girls: Opportunity Bound in the museum auditorium, then enjoy a Harvey House–inspired reception at La Fonda on the Plaza. A fund raiser for the museum, with KNME-TV and La Fonda. Tickets; $80/$100 reserved seating. Call 505-982-9543.
During the Canyon Road Paint Out Friday Oct. 18 -- Sunday Oct. 20
MANITOUGALLERIES 225 Canyon Rd, Santa Fe, NM 87501 ManitouGalleries.com
The Old Santa Fe Association invites you to its
2013 Annual Meeting Please join us to hear Dr. James Brooks, past president, School for Advanced Research, speak on the importance of historic preservation and Enjoy archival film footage from the New Mexico State Archives
Thursday, October 24, 2013 5:30—7:30 pm La Terraza Room La Fonda Hotel Open to the Public—Free Admission Refreshments will be served
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PASATIEMPO I October 18 - 24, 2013
505.986.9833
MIXED MEDIA Lunch Specials Tuesday
NM Green Chile Chicken Enchiladas with the Fixings.
Tantalize your taste buds with our new fall dinner menu.
Just $6
Wednesday
Agave Ale Battered Fish-n-Chips, Hand-Cut Fries, Coleslaw, Tartar Sauce, Malt Vinegar.
$9.95, 2nd order 1/2 price!
Friday
Green Chile Cheeseburgers with Hand-Cut Fries.
Only $5
October Drink Specials
Pumpkin Patch, Pumpkin Pie, and Trick or Treat!
Experience the wonder of the Oktoberfest tradition with sumptuous German foods at The Old House. October 20-27, 5:30-10pm.
Daily Happy Hour 4-7pm For more information 505.995.4530 Stills from The Guild
Located at Eldorado Hotel & Spa 309 W. San Francisco Street EldoradoHotel.com
Fall Special - All Injectibles. Call Us! What can sound do for your skin? Excelsior!
In the fanatical world of online gaming, fantasy and reality collide as gamers take on the personas of characters they’ve developed, getting so caught up in their alternative realities that the cyber world becomes as real as this one. At least, that’s the premise of The Guild, writer Felicia Day’s web-based comedy series. Since 2007, it has been entertaining gamers with its hysterical take on their esoteric world. The series, which premiered on YouTube, follows the misadaventures of Day as the character Cyd Sherman, aka Codex, whose brethren, the Knights of Good, are an online guild obsessed with a game called simply The Game. When rival guild the Axis of Anarchy shows up in the third season, it could be the beginning of the end for the Knights. Most of the webisodes are just a few minutes long and stand alone, so you don’t have to start with the first season in order to enjoy The Guild. If you want to catch all six seasons from beginning to end, now is your chance. The Jean Cocteau Cinema (418 Montezuma St.) screens the series in its entirety, starting with the first two seasons on Monday, Oct. 21. The screening includes a Skype Q & A session with series performers Jeff Lewis (Vork) and Sandeep Parikh (Zaboo). The third season follows on Tuesday, Oct. 22, and includes a Skype session with Amy Okuda (Tinkerballa) and Robin Thorsen (Clara). Season four screens on Wednesday, Oct. 23, with a Skype session with director Sean Becker and actor Vincent Caso (Bladezz). The series concludes with seasons five and six on Thursday, Oct. 24, and a Skype Q & A with series creator Day. All showings begin at 6:20 p.m. Tickets for each screening are $10, and discounts are available. Call 505-466-5528. — Michael Abatemarco
It can lift and tighten sagging skin on the brow, under the chin and on the neck!
Ask us about Ultherapy. The only FDA-approved non-invasive treatment for lifting skin on the face and neck.
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Katie Broyles ‘15
Tim Jag Dualities Series Through October 26
An Archaeology of Tibetan Buddhism
A lecture by SAR President’s Council Mark Aldenderfer (Univ. Calif., Medved)
Azur del Mar, 2013, Acrylic on canvas, 60 x 66
c h i a r o s c u r o 702 1/2
&
708 CANYON RD
AT
GYPSY ALLEY, SANTA FE, NM
505-992-0711
www.chiaroscurosantafe.com Untitled, 2013, Oil on linen, 48 x 48
Thurs., Oct. 24, 6:30 pm New Mexico History Museum Auditorium (use Washington Ave. entrance)
Mike Stack Distances Through October 26
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PASATIEMPO I October 18 - 24, 2013
Free for SAR Members $10 for nonmembers 954-7203 • sarweb.org 1st National Bank of Santa Fe and Flora Crichton Lecture Fund Sponsored by SAR President’s Council Lecture Series sponsored by Thornburg Investment Management and Betty and Luke Vortman Endowment Fund No reservations or advance ticket sales
STAR CODES
Heather Roan Robbins
The weekend starts with a bang under a full moon in Aries. Our inner adolescence may want to run amok, and we need to find a safe place to express it or act out. We don’t have to swear or stomp off; we just need to passionately engage with our world — whatever that means to us. The moon shifts out of this feistiness and into Taurus over the weekend, inspiring us to make love, not war, or to engage in other Venusian occupations that encourage us to be comfortable, cozy, and creative. As Mars opposes Neptune over the weekend it helps us let go of old anger or outdated goals but can bring in a fog bank of confusion. It may stir up the weather or bring moisture damage to working situations, so let’s watch where we put the coffee cup. Luckily Venus in Sagittarius helps us be frank and honest if not terribly open. We may forgive even if we don’t forget with Mercury now conjuncting Saturn in deep-thinking, private Scorpio. Mercury, the mythical messenger of the gods and purveyor of all things communicative, turns retrograde on Monday and for the next three weeks. When Mercury retrogrades, it’s time to review our lessons, consolidate our gains, correct our mistakes, and clear up loose ends. But we need to watch out for misplaced keys or papers, confirm reservations and plans, and read the fine print. Friday, Oct. 18: The mood is generally positive though easily frustrated. A lazy spell may really be rebellion against other people’s priorities. This is the last business day before Mercury stations, so stay on track. Find a safe place to howl under tonight’s full moon. Saturday, Oct. 19: A sybaritic Saturday calls us to sleep late, catch up with ourselves, cuddle one another, and savor our food. Slow down and let the heart listen beyond words. Mars opposes Neptune and helps us let go of old anger but can leave us wondering what’s next.
Legendary Poet Gary Snyder and Santa Fe Living Treasure Jack Loeffler Wednesday, November 13th, 2013 Embassy Suites, Albuquerque Two Fantastic Events on One Night Intimate Dinner with Gary & Jack
A fundraiser for Quivira Coalition * Includes Public Talk Limited to 25 people
Tuesday, Oct. 22: Let’s dance with our relationships; if we analyze them too much they get more confused as the Gemini moon opposes Venus. The afternoon can bring an unsettled, self-indulgent, funny, and emotionally reactive time. Gossip and assumptions cause trouble; say less and love more. Wednesday, Oct. 23: An issue that’s been a thorn in our side needs work; be productive, not belligerent. We may wrestle with our personal best as the sun enters moody, focused Scorpio and Mars challenges Jupiter. Thursday, Oct. 24: Domestic issues need attention. The mood turns inward as the moon enters deep-feeling Cancer and forms a grand trine with the sun and Neptune in intuitive, emotional water signs. We pick up on one another’s feelings but may not be conscious of it. Take care without being overly defensive; rely on the strength of spine, not armor. ◀ www.roanrobbins.com
7:30pm - $30 / person
5:30pm - $250 / person
Visit QuiviraCoalition.org for tickets and information. 505-820-2544
Implant Dentistry of the Southwest If you are missing one
Sunday, Oct. 20: Let’s be slow and careful about what we do or say while Mercury appears stationary. Communication breaks down easily, particularly if we insist that we be understood before we’re willing to listen. Our thoughts may chase a misunderstanding into an alternate universe. All may be well when we stay present, remain practical, and keep our hearts open. Monday, Oct. 21: Mercury turns retrograde early this morning as the moon enters nervy Gemini, which could make for a technically challenging Monday. Use Mercury retrograde skills, assess the situation, confirm information, and keep a sense of humor. Be careful to avoid transportation accidents around suppertime as the moon squares Mars and Neptune.
Public Talk with Gary & Jack
A fundraiser for Quivira Coalition
If you are missing one or more teeth, or more teeth, whywhy not not be a consider a Dental Implant? part of a study or clinical research? They maythem be your bestmoney. solution. Replace and save
Dr.Burt BurtMelton Melton Dr.
2 Locations Albuquerque 7520 Montgomery Blvd. Suite D-3 Mon - Thurs 505-883-7744
Santa Fe 141 Paseo de Peralta, Suite C Mon Wed -- Fri Fri 505-983-2909
IndIvIdual and famIly counselIng Therapeutic services includes • Adults (Men and Women) • Children and Teens between the ages of 4-18 • Grief and Loss • Marital Problems • Parent-Child relationship issues • Depression • Anxiety • Post Traumatic Stress • Military, veterans and their families • Addictions • Anger and conflict The couples class will be Saturday November 16th from 11-2 at Together Strong (3212 Richards Lane) . Lunch is provided. Couples will learn how to “fight” more productively while living with a solution toward a happier and healthier marriage. Space is limited to 10 couples. Price is 65.00 per couple. RSVP at my office-982-0191
Angela Ortiz-Flores LISW 2074 Galisteo St., Suite B-5 Santa Fe, NM 87505
505-982-0191 Fax 505-983-6402
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In Other wOrds book reviews The Complete Short Stories of James Purdy, Liveright Publishing/W.W. Norton, 784 pages In his introduction to The Complete Short Stories of James Purdy, John Waters describes the late author’s provocative tales as “poison chocolates.” What does it say about the book that Waters, whose early films celebrate sleaze, trash, and perversity, introduces it? It places Purdy on the twisted fringe of American storytelling, yes, but might suggest to some that the stories contain inyour-face depravity. Such a conclusion — I admit to drawing it before reading the book — reflects a mischaracterization of Purdy’s and Waters’ work. “Randomly select a perfectly perverted Purdy story and read it before you go to sleep and savor the hilarious moral damage and beautiful decay that will certainly follow you in your dreams,” Waters writes. The perfect perversion that Waters suggests isn’t necessarily X-rated or even reality-show material. It’s vague, closeted, confused. Seen from another era, it’s barely visible at all. What is apparent and timeless in these disturbing, bittersweet stories is the loneliness, poverty, and desperation from which perversion springs. “Longing is an agony you can’t avoid in Purdy’s world,” Waters writes. Longing takes many forms in these stories and is often manifested in obsession. In “Everything Under the Sun,” two young men, one a war veteran, the other the 15-year-old brother of a man who saved the other’s life, have a lover’s quarrel without ever admitting their physical dependence on each other. In “How I Became a Shadow,” a man’s devotion to a rooster drives him to murder. In “Summer’s Tidings,” a Jamaican gardener barely represses his casual attraction to the blond children who gather at his employer’s mansion. Few of the characters admit or even understand what is driving them. And when they do, the circumstances leave the reader with a slight unease. In “Rapture,” the 30-year-old half-brother of a dying woman arrives to meet his 16-year-old nephew. After the woman passes on, the two realize their mutual longing. Born in Hicksville, Ohio — a town whose name seems appropriate for the back-road setting of several of his tales — Purdy published his first short story in 1939. But it wasn’t until much later that his work gained a measure of attention. Edward Albee 14
PASATIEMPO I October 18 -24, 2013
adapted Purdy’s 1959 novel, Malcolm, for the stage; it opened on Broadway in 1966. Reviewing Purdy’s controversial 1965 novel Cabot Wright Begins, Susan Sontag called it “a bravura work of satire” and said that Purdy was “indisputably one of the half dozen or so living American writers worth taking seriously.” That kind of regard didn’t last. Purdy made nasty jabs at the New York literary scene. That and his often-sordid subject matter pushed him to the margins of the literary world. The 49 stories here, the last dated 2003, are of various styles, another reason Purdy found acceptance hard to come by. He wasn’t easily categorized. His work recalls that of Nelson Algren, Leonard Michaels, and Charles Bukowski, sometimes all at once. Many of his tales are character studies of innocence and ignorance, people not only suffering at the lower rung of society but also unable to make a meaningful connection with someone — anyone — around them. Representative is “Daddy Wolf,” the story of a man, recently abandoned by his wife and child, who lives in a rat-infested apartment. He calls a number chosen at random from the phone book to discuss his plight and then spends days trying to reconnect with the woman he spoke to. A series of stories set in small towns reflects Purdy’s upbringing. The same themes found in the tenement-housed urban tales — longing, distrust, insidiousness — animate these stories. Then there are stories of pure fantasy. In “Kitty Blue,” talking cats express resentment and jealousy, even in enviable circumstances. In “ A Little Variety, Please,” a green dragon returns to a small town to frighten small girls. “Oh, Draggie, why can’t you be satisfied?” asks one of the town’s older women. The symbolism in these tales is never well disguised. Sometimes fantasy and reality collide. In “Sleep Tight,” a young boy is convinced it’s the Sandman who’s just crawled through his bedroom window. At times Purdy’s language can sound dated, even tired. “Why don’t you give little Judd then some of your sand?” the little boy in “Sleep Tight” asks. “Mrs. Zeller opposed her son’s beard,” are the opening words of “Cutting Edge.” Purdy is sympathetic to the predicaments of women but not especially kind in his treatments of them. Depictions of blacks and ethnic groups, even when meant as parody, can seem gratuitous. Purdy is at his best when he writes about the festering desperation of his characters. “Sound of Talking” is about a woman with a wheelchair-bound, painracked husband. They have a tense early-morning conversation about her desire to purchase a raven so she will have someone to talk to. The story’s last line, “and their long day together had begun,” is as sad and hopeless as anything here. Yet as Waters suggests, it’s delicious. — Bill Kohlhaase
SubtextS Like finches around a feeder “Style, soul, is power through which matter is formed,” writes Mei-mei Berssenbrugge in the poem “A Placebo” from her new collection Hello, the Roses (New Directions). Author of 12 books of poetry, Berssenbrugge splits her time between New York and Northern New Mexico. Her style is one of declaration and observation. Many of the poems here unfold as a series of long-line proclamations that explore memory and suffering, matter and phenomenology. The second section (of three) is particularly arresting. The poems combine natural portraiture with sensory experience and reflection. Each establishes a distinct mood: “We stand in a vernal marsh surrounded by spring peepers so loud I feel like a tuning fork vibrating” (“DJ Frogs”); “It’s quiet in the pine woods, pine cones falling on pine needles” (“Green”); “A wood violet has bloomed, when I come back from my walk in early spring./I stop and welcome it, cooing” (“Glitter”); “I’ve been sitting looking at a plant, without feeling time at all, and my breathing is calm” (“Slow Down, Now”); and closing this section is “Hello, the Roses,” which transitions from the close scrutiny of a rose to an extended metaphysical awakening: “Experience is revelation, because plants and people have in their cells particles of light that can become coherent, that radiate out physically and also with the creativity of a metaphor, as in a beam of light holographically, i.e., by intuition, in which I inhale the perfume of the Bourbon rose, then try to separate what is scent, sense, and what you call memory, what is emotion, where in a dialogue like touching is it so vibratory and so absorbent of my attention and longing, with impressions like fingerprints all over.” This run-on outburst, the longest in the collection, has the forcefulness of an epiphany in the process of cohering; at the same time, it belies the careful considerations of wording and rhythm evident in all of Berssenbrugge’s work. She reads from Hello, the Roses at Collected Works Bookstore (202 Galisteo St., 505-988-4226), on Sunday, Oct. 20, at 4 p.m. — Loren Bienvenu
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Milk and Filth by Carmen Giménez Smith, University of Arizona Press, 68 pages The poetry collection Milk and Filth was published this month in the University of Arizona Press’ Camino del Sol: A Latina and Latino literary series. Its author, Carmen Giménez Smith, teaches English at New Mexico State University, where she serves as editor-in-chief of Puerto del Sol, the school’s journal of new literature. In Milk and Filth, she often relies on short unrhymed lines that twist unnervingly from humor to sorrow and back. She uses words like a blade — to skewer and dissect. Opening the collection’s first section, Gender Fables, is a poem called “Malinché,” which reimagines the figure of La Malinche, sometimes labeled a traitor for her role as Hernán Cortés’ interpreter (and lover) during the Spanish conquest of Mexico. In Giménez Smith’s portrait, La Malinche is portrayed as an ambitious woman who embraces translation as a tool that may grant her power over the intruders: “She wants to be lord.” A similar subversion of a villainized Latina figure occurs in the poem “Llorana’s Soliloquy,” in which the so-called Wailing Woman of folklore thinks with bitterness about her position as a scapegoat: “they make me a reason/for beatings.” (Traditional folk legends paint La Llorona as a crazed ghost-woman who roams the riverbanks after dark in search of children to replace the ones she drowned.) The poet continues challenging gender myths throughout the section, addressing Phaedra, Guadalupe, and the “Lolita Archetype,” among others. In the middle section, Giménez Smith invokes the model of poetry as confessional. “Parts of an Autobiography” combines the epigram with the manifesto in a series of 111 reflections. Some speak to her personal background: “[My mother’s] life was difficult because she was a brown woman. This was and is indisputable (No. 2).” Others speak to her aspirations: “What I will do with power might terrify (No. 32),” and, “I’ll write screeds, manifestos and epilogues on the merits of female domination (No. 99).” But the majority focus on the poetic craft, often in terms of aesthetic and influence: “I love beauty in all its forms, innocence and decay, filth and jewels (No. 45).” She is drawn to poems that speak in husky tones, “like Joni Mitchell’s cigarette-ruined voice (No 84),” and wants her own work “to smell like I had forgotten my deodorant (No. 21).” One of the final poems in the collection, “A Devil Inside Me,” evokes through its simplicity the Mexican poet and Nobel laureate Octavio Paz (who also wrote a famous essay exploring the myth of La Malinche in his book El laberinto de la soledad). Giménez Smith writes: “Inside the thicket, the tree./ Inside the tree, heart./ Inside heart,/ the water.” Paz’s poem ‘Wind and Water and Stone” creates a similar inventory of the natural world. “The water hollowed the stone,/ the wind dispersed the water,/ the stone stopped the wind.” However, the act of recording nature’s simplicities is not enough for Giménez Smith — soon after she explores the idea that natural materials can be used to entrap the female body. “Water encloses/the body’s vestige/in sticks,” she writes, and in the wind and in stone, “she is found embedded, heart exuded…[an] implacable corpse/ in the aesthetic mortuary.” By dissecting different phenomena rather than just documenting them, she is able to transfer her message from art to activism. — Loren Bienvenu
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15
LISTEN UP
James M. Keller
Stage hands
A
chilly autumn breeze had Santa Feans walking briskly on their way to the Lensic Performing Arts Center on the evening of Oct. 10, but the weather proved almost balmy compared to what awaited inside: a recital by the pianist Yuja Wang, who encased even the fervent outpourings of Chopin in a block of ice. Her appearance, made possible by the Santa Fe Concert Association, was much anticipated. She is one of the most assiduously marketed pianists of her generation — she was born in 1987— and her delight in projecting a provocative persona supplies her managers and recording company (Deutsche Grammophon) with plenty of fuel to stoke the flames of publicity. Her technical facility is remarkable by any accounting. She is attracted to works that make daunting demands of virtuosity, and she characteristically renders them fleetly, accurately, and transparently. So it was that she etched Chopin’s Sonata No. 3 with bright hyper-clarity. This is sometimes cited as the most technically challenging of all his works. Wang had no trouble leaping its hurdles even in the demanding last movement, which unrolls when, for some pianists, stamina may be fading. Chopin marked that finale Presto non tanto (very fast, not too much so), and to her credit, Wang did not overstep his directive even though her facility surely would have enabled her to whistle like the wind. Her interpretation moved at what seemed just the right pace, and she avoided the galumphing, unintentionally comical quality that many pianists allow to overtake the movement’s principal theme. One could admire how deftly she put every note in its place and yet remain unmoved by a score that, in other hands, may seem a torrent of 16
PASATIEMPO I October 18 -24, 2013
anguish, terror, or panic that finally resolves in giddiness. Of the Sonata’s four movements, the most successful was the scherzo, in which Wang’s fingerwork navigated the fountains of leaping and falling figuration while respecting the composer’s instruction to play leggiero (lightly). Whether she played the movement’s trio section at the notated dynamic of piano (soft) is another question. Gradations of dynamics are subjective, but I did not hear in her whole recital more than a precious few notes I would have guessed to be piano or quieter still than that. On the other hand, Wang does not bang at the keyboard. She cultivates a tone that is bright but not harsh and that she appears to generate mostly from her lower arms and from the muscular attack of her wrists and hands, which she positions a touch on the low side, almost parallel to the keyboard.
T
wo other Chopin works hewed to a similar mold. His Nocturne in C Minor (op. 48, no. 1) received a lucid reading. Its chromatic runs in double octaves were spot on, coiling up from within the texture, and one greatly admired her finely balanced voicings in the left hand. By the end, however, a listener felt not transformed by the journey but rather entertained by a display of imposing capability. The Third Ballade merely wafted past, the victim of agility. Concertgoers have often heard Chopin drowned in a quicksand of exaggerated expressivity, rendered spongy by Romantic abandon. But respecting Chopin’s classicizing streak does not necessarily require sanitizing his music of what must surely be a core of palpable emotion, which is what happened here. Wang opened her recital with Prokofiev’s Sonata No. 3, a short, tightly contrived, highly energetic work in which Romanticism meets the machine age.
© Ian Douglas
Yuja Wang
Here, it was all highly mechanized. The sparkling machinery ran flawlessly, but one sensed no depth to the interpretation, no impression that the piece was about anything apart from playing the piano with dazzling ability. She gave an impeccable rendition of the Variations for Piano (op. 41) by Nikolai Kapustin, a Ukrainian-Russian composer who uses jazz vocabulary to build pieces in classical structures. He became a pianistic flavor-of-the-month five or six years ago, and this piece annoyed me less than others of his works I have encountered since then. Its idiom recalls fast-fingered Art Tatum except for a smarmy middle section, which seemed like something Rachmaninoff might have composed in an idle hour but then destroyed so people wouldn’t think less of him. Stravinsky’s Three Movements From Petrushka stood at the end of the program, and as the concert wore on and Wang’s musical character became confirmed, one assumed it would be the highlight of the evening. To a large degree it was. Particularly in the opening “Russian Dance” she illuminated the score with more vibrant pianistic color than had crept into the concert up to that point, and in repeated chords her wrist action was splendid. More’s the pity that the final movement, “The Shrovetide Fair,” veered off course. To her great credit, she did not crash and burn. She piloted on through to the end, but the going was pretty rough for a while. For a pianist of this sort, however, there is no room for technical missteps. In this concert, Wang essentially presented herself as an athlete rather than as an artist; and for all the technical points she racked up, she ended her routine like a gymnast gyrating to keep from tumbling off a balance beam. Needless to say, she was rewarded with a standing ovation. She responded with a couple of encores: Tatum’s setting of Vincent Youmans’ “Tea for Two” and, if I am not mistaken, Vladimir Horowitz’s “Carmen Variations,” neither of which can have changed anybody’s opinion of anything.
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he pianist shared the stage with not only her Steinway but also a camera positioned some distance behind her left elbow. Suspended above was a very large screen, by far the most imposing part of the stage setup, on which was broadcast the camera’s unvarying perspective on her hands. It’s no surprise that Wang would choose to steer the audience’s attention toward her hands in this inflated way; digital dexterity is her strong suit, after all. Unfortunately, what reached the screen lagged behind the actual performance by something more than a nanosecond — a slight gap, but enough to prove disconcerting since one constantly heard a note just a shade before seeing the hand attack it on the screen. There are some situations in which a projection of this sort would be a boon in a live event. For example, a screen is sometimes installed in a church chancel during organ recitals so audiences can watch a closed-circuit telecast of the soloist, who otherwise would be invisible up in the loft far behind them. It makes good sense for images to be displayed in such a way at sporting events in arenas — or at concerts held in such surroundings — where the sheer size of the venue places many attendees at a considerable distance from the action. But this was not a Yuja Wang extravaganza at Yankee Stadium or the Baths of Caracalla; it was her recital at the intimate Lensic, which has only 821 seats. Perhaps we have grown so accustomed to experiencing cultural events through the filter of electronic media that simply seeing them happen without enhancement has begun to seem paltry and disappointing. On the whole, though, I found the effect to be objectifying and ultimately dehumanizing. After concentrating on the screen for even a brief while, I had the strange sensation that the recital was being given by just a pair of hands rather than by an actual person. Then again, I had pretty much the same feeling when I closed my eyes and let my ears do all the work: this musicmaking was an exceptional demonstration of dexterity, but it did not reach to the heart. ◀
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17
Michael Wade Simpson I For The New Mexican
Stephen Muller
the sun will come out
here are singing nuns, gondoliers, and cowboys, but Troy Skinner may be one of the few singing weathermen. A part-time resident of Santa Fe, he makes his local cabaret debut on Sunday, Oct. 20, at La Casa Sena Cantina, accompanied by Charles Tichenor. Skinner comes here from Palm Springs, where he spent several years singing at watering holes in town and showing up on television screens every weekend as a part-time weatherman for an NBC affiliate. “I got in the door because I was the personal assistant for a woman who would do a society segment. And I was a weather geek as a kid. My dad built me my own weather station in the backyard,” he told Pasatiempo. “How many ways can you say hot and sunny? It was a great gig, and I loved it But the challenging thing was that the weather there rarely changes.” For a while, Skinner was allowed to pretape his weather segments because of this lack of variety. “One night, I was invited to a dinner party, so I taped it. It turned out to be a night with crazy weather. Out of nowhere, there was a huge thunderstorm, and then winds carried in smoke from forest fires in Mexico. Everyone thought the world was ending. Those were the days before cellphones, and when I got home, there were about two dozen messages from my producer. Thanks to me, they no longer tape weather segments. It’s my gift to the Palm Springs media.” Skinner grew up in Sterling, Colorado, where his church choir director gave voice lessons and helped him get a music scholarship to college. He majored in voice and journalism at the University of Northern Colorado. After a student-teaching job at an elementary school, he gave up any thoughts of becoming a music teacher. Instead, he left music and worked for high-end retailers in Denver. A job managing a cosmetics store took him to San Francisco, where he met his partner, James Jensen, an artist with whom he has shared the last 18 years. It was only after moving to Palm Springs that music came back into his life. “There were a lot of opportunities there. There was a Rodgers and Hammerstein
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PASATIEMPO I ????????? ??-??, 2013
revue being cast, and I thought, Why not go audition?” Fifteen years later, his résumé includes performances in Side by Side by Sondheim as well as several oneman engagements. His new show is called My Time Has Come. Skinner teaches at Buddha Fitness Club in the Railyard. “No one in Santa Fe knows I’m a singer. They see me at the gym or take my spin class. In Santa Fe, we celebrate music, food, and art. My show is about those kinds of passions. The words from the song “Being Alive,” from [Sondheim’s musical] Company, are my daily mantra. It’s about enjoying where you are, being in the moment. And the James Taylor song, ‘Secret o’ Life,’ which says, ‘The secret of life is enjoying the passage of time.’ It will be a very personal evening.” Skinner was born in 1968, and most of the songs in the show were written between 1968 and 1972. (He said he didn’t plan it that way.) “I love Burt Bacharach. He wrote ‘This Guy’s in Love With You,’ [released] in 1968. Sondheim wrote Follies in [which opened on Broadway in 1971]. These are songs most people will know.” The playlist also includes “Come In From the Rain” by Melissa Manchester, “Moondance” by Van Morrison, “Soon It’s Gonna Rain” from The Fantasticks, and “If Ever I Would Leave You,” from Camelot. “What I Was Dreaming Of” is by David Friedman. “He is one of those writers who should really be more well known.” A few of the pieces have local connections. “Santa Fe” is a ballad currently being performed on Broadway in the Tony Award-winning show Newsies. “It’s about a young guy who wants to leave his life, to get on a train and go to Santa Fe, where there is beauty all around.” Then there’s “On Such a Night as This” with lyrics by Marshall Barer, who lived in Santa Fe (he died in 1998). He was best known for writing the words to the musical Once Upon a Mattress. “He drove a Mercedes covered in denim,” Skinner said. “Charles [Tichenor] knew him. He was quite the eccentric guy. He lived in a round house. He was known as the best living lyricist and the worst living house guest.” Skinner described his working relationship with Tichenor, who is himself a cabaret artist. “Charles listens, and some pianists don’t. He can feel when I’m breathing. We have a great noncommunication communication.” Putting together a one-man show requires some thought toward narrative — patter and songs that have a connecting theme. But sometimes, Skinner said, songs make the cut just because they are great songs. Take Sondheim’s “Losing My Mind,” written for the character of Sally in Follies. “I’ve always loved it, but there were not a lot of men singing it. Then, on iTunes, I found a version of Bobby Short singing it. From a male perspective, it’s totally different.” ◀
details ▼ My Time Has Come: cabaret with Troy Skinner accompanied by Charles Tichenor ▼ 6 p.m. Sunday, Oct. 20 (seating at 5:30 p.m.) ▼ La Casa Sena Cantina, 125 E. Palace Ave. ▼ $20 cover at the door; reservations 505-988-9232
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Tchaikovsky serenade Santa Fe Pro Musica Orchestra Thomas O’Connor, conductor Carol Redman, flute Saturday, October 19 at 6pm Sunday, October 20 at 3pm St. Francis Auditorium, New Mexico Museum of Art
Handel Concerto Grosso in D Major, Op. 6, No. 5 Gluck Minuet and Dance of the Blessed Spirits MusGrave Orfeo II TcHaikovsky Serenade for String Orchestra, Op. 48 Meet the Music Introduction: One hour before each performance.
$20, $35, $45, $65, Students and Teachers $10 | Santa Fe Pro Musica Box Office: 505.988.4640 (ext.1000), 800.960.6680 Tickets Santa Fe at the Lensic: 505.988.1234 | For complete season concert listing visit www.santafepromusica.com The 2013-2014 Season is partially funded by New Mexico Arts (a Division of the Department of Cultural Affairs) and the National Endowment for the Arts.
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19
SOUND WAVES Loren Bienvenu
Waveforms from Budaghers
A conversation with Dwight Loop will probably include references to the new Prophet 12 polyphonic synthesizer, MIDI triggers, contact mics, and the ARP 2600 modular analog synthesizer (which helped give voice to R2-D2 in Star Wars). He might also mention “The Beam,” an instrument custom-made by his friend, composer Michael Stearns; Loop described it as “a long, stringed instrument that has a lot of pickups and sounds like some monstrous creature coming out of the earth.” The Beam has its own place in filmography, playing an integral role in Stearns’ soundtrack for the 1985 IMAX film Chronos (directed by Ron Fricke). Loop hopes Stearns will perform on a 12-foot version of the instrument at the (re)launching party for Loop’s long- but intermittently-running radio show, Earwaves. The party, dubbed the Earwaves Electronic & Experimental Music Festival, takes place Saturday, Oct. 19, at the newly completed Lumenscape Studios in Budaghers (formerly the New Mexico Outlet Center). The Earwaves program dates back to 1979. Loop, then a recent transplant from Michigan, had been volunteering at Albuquerque’s KUNM station for two years and doing occasional freeform shows when a slot opened up for a specialty show. “I had wanted to do something really specific — electronic, new music, really the whole range of contemporary music — and I happened to be at the right place at the right time.” His Thursday night show was on the air for eight years and then went on hiatus for a few years before transitioning to KSFR, where it ran from 1990 to 1995. “There was a real boom for new music and experimental stuff through the late ’70s and early ’80s because it was all wide open. Albuquerque was still kind of the Wild West, and it seemed like anything you wanted to do you could do here, if you were determined.” Determined to have an impact both on and off the air, Loop performed his own music live and created a nonprofit called New Music New Mexico. With the support of grants from the National Endowment for the Arts, Loop was able to showcase some of his favorite electronic and contemporary artists. His goal as a promoter was and still is, “not just bringing in outside people, [but] also encouraging local people to come out of the woodwork, or out of their garage and basement studios.” Loop’s commitment to this is manifested in the Earwaves kickoff event. Though he just moved back to Santa Fe from the Bay Area in September (admitting, “I’ve left three or four times now, but always come back — this has always been my home base, in a spiritual sense”), he has been hard at work curating the October event. On one hand a sort of reunion party for him and similar-minded music enthusiasts, or “the tribe” as he puts it, it is also more officially a celebration for the return of Earwaves to the air after an almost 20-year absence. Somewhat paradoxically, the radio show is now hosted by SomaFM, based in San Francisco.
However, SomaFM has international reach as a high-traffic, listener-supported internet radio station (www.somafm.com). In terms of programming, the newest iteration of Earwaves is designed to offer a more “historical look at contemporary music. A lot of people don’t know where this music comes from, and now you have this whole new generation using keyboards and electronics, but some people don’t quite understand the whole development. First it was just tape machines, and the cutting up of tape; before samplers, you had to do it analog ... so I’m getting an amazing collection together of both the historic stuff, and trying to get some of the current innovators in there as well.” He is applying the same inclusive vision to the event. Along with local and even national staples of experimental and contemporary art, such as composer Stearns and video artists Steina and Woody Vasulka, Loop plans to highlight members of the next generation. One example is Marisa Demarco, an Albuquerque-based writer and musician. Under the name Bigawatt, she incorporates contact mics, homemade electronics, and vocals into her performances. Lumenscape Studios is an ideal spot to showcase such music, not only because it has the infrastructure to support live music and visual and video-art performances, but also because of its surreal setting. “It’s a very cool space, kind of like a Twilight Zone thing out there at the old mall, with the grass growing up in the cracks between the sidewalks.” “It won’t be that type of situation where you have sound going on all the time — one big passive blur of sound,” Loop added. “It wouldn’t really satisfy any of the musicians, being in an environment like that. This is not a DJ event, either. It’s all live music. There will be certain things going on on the main stage, and then we’ll switch over to the video room when there’s a break and have an art presentation, so that will provide a constant back and forth.” And, while Loop is excited to be at the event (he is performing with his Bay Area synth jam band, SpaceBrane), he emphasized that just “being” is a gift; in 2002 he was diagnosed with a rare form of cancer and told that he was unlikely to live for more than a year or two. “It’s been 11 years, and I’m still cooking. So part of [the celebration] is about persevering. And now I get to do my Earwaves show internationally, so I’m a pretty happy guy.” ◀ The Earwaves Electronic & Experimental Music Festival takes place from 4 p.m. to 2 a.m. on Saturday, Oct. 19, at Lumenscape Studios (601 Frontage Road, Budaghers; formerly New Mexico Outlet Center). Tickets are $15 at the door or $10 in advance from www.holdmyticket. com. See www.earwaves.net for details, and visit www.somafm.com/earwaves to stream the show.
Left, Dwight Loop; right, composer Michael Stearns with The Beam 20
PASATIEMPO I October 18 -24, 2013
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...bringing great music to life ™
All Chamber Music, All the Time
NO STONE UNTURNED
Sunday, October 20, 2013, 3pm | Scottish Rite Center Special Guest – Mezzo-Soprano Krista River
and L.P. How & Sarah Tasker, violins | Christof Huebner, viola Sally Guenther, cello | Patrick Neher, double bass Pamela Epple, oboe | Debra Ayers, piano Premiere by John Harbison with works by Olivier Messiaen, Brahms & Thomas Oboe Lee
david FeLberg coNductS
criS moore expLoreS
Strauss, Also sprach Zarathustra Adams, Short Ride in a Fast Machine Holst, Mars Ravel, Bolero Bach, Contrapunctus
Pythagoras Eratosthenes Symmetry Fractals Harmonics
and much more!
FOR TICKETS CALL: 505-989-7988 or e-mail serenataofsantafe@gmail.com For more information visit: SERENATAOFSANTAFE.ORG
Saturday, November 2 7:30 P.M. at the LeNSic
What Happens When You Die? New state and federal laws • • • • • • • •
What happens to your assets when you die? How to avoid unnecessary taxation What is a living probate and why it is so important to avoid What is death probate and the ways it tears families apart Planning opportunities the government isn’t telling you about The most common reasons families fall apart after a death Receiving government benefits and paying for long-term care What happens with an estate plan, and without one?
Learn to Protect Your Assets at our FREE Seminar! Thursday, October 24th 9:00 AM or 6:00 PM at Courtyard Marriott Santa Fe 3347 Cerrillos Road Santa Fe, New Mexico 87507
Limited seats! Register today for this important FREE seminar:
505.338.2943 morristrust.com A Premier Estate Planning Law Firm
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affect your estate and beneficiaries
Tickets $22 – $76
505-983-1414
or visit The Lensic Box Office www.santafesymphony.org Underwritten by
The Andrew & Sydney dAviS FoundATion 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.
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Bill Kohlhaase I The New Mexican
“W
Jazz, the distaff side
ith few exceptions, before the mid1980s, women were always second-class citizens in jazz, the most macho of all arts,” writes jazz critic Leslie Gourse in her 1996 Oxford University Press book Madame Jazz: Contemporary Women Instrumentalists. The 1980s saw the rise of drummer Terri Lyne Carrington and pianist Geri Allen, two first-class musicians who would go on to become major players in the international jazz scene. Carrington, who had toured with trumpeter Clark Terry when she was 18, moved from her home in Massachusetts to New York City in 1983 at the encouragement of drummer Jack DeJohnette. There she began playing with a variety of big-name musicians, including saxophonists James Moody, Stan Getz, and David Sanborn. Allen had startled the jazz world with her integrative, highly personal play on a 1987 trio recording, Etudes, with bassist Charlie Haden and drummer Paul Motian from the Italian Soul Note label. The sounds from both women, on these and a number of other outings, transcend the idea of gender. These were strong, innovative voices on their respective instruments as well as ambitious composers. No other labels need apply. Cut to 2011 and the release of Carrington’s recording The Mosaic Project. The buzz about the album was as much about Carrington’s musical direction as it was about its lineup of many of the finest vocalists and instrumentalists. She combined detail-oriented hardbop tunes with funk, groove, and even pop influences. The recording’s title reflects the collage of music she produced. The musicians included pianists Allen and Patrice Rushen, vocalists Dee Dee Bridgewater, Dianne Reeves, Cassandra Wilson, and Gretchen Parlato, percussionist Sheila E., clarinetist Anat Cohen, and bassist Esperanza Spalding — all women. The ACS trio — Allen, Carrington, Spalding — appearing at the Lensic Performing Arts Center on Sunday, Oct. 20, has its roots in The Mosaic Project but also goes back to the 2007 Red Sea Jazz Festival in Eilat, Israel, when the three appeared with saxophonist Tineke Postma. By now, you’d think that an all-female band would be old news. “No, surprisingly, it’s not,” Carrington said from her home in Boston, where she is a professor of percussion at the Berklee College of Music. “I kind of thought it was old news, but apparently it’s not. It’s amazing that people are very excited about an all-female configuration.” Carrington said she didn’t think of The Mosaic Project exclusively as a gender statement when she was making it. “It was more a personal statement, an acknowledgement of all the music that I had grown up with as well as an acknowledgment of the many great women out there that are making music. I didn’t think it would still be any kind of a surprise to people. Maybe it ended up that way because it was the first time that so many women were on the same project. That’s part of what the excitement was about.” 22
PASATIEMPO I October 18 -24, 2013
ACS with Geri Allen, Terri Lyne Carrington & Esperanza Spalding “Terri Lyne’s Mosaic brought attention to a group of wonderful musicians,” Allen said in a phone call from the West Coast. “It was a photograph of the breakthrough that was happening at the time. And she did it in a way that empowers young musicians who were looking at it, looking at the possibilities in a very real way. The artist’s life, no matter the kind of art they practice, is very challenging. It’s a big deal when you have mentors, when you have sources of inspiration who can show you how to make it.” For Carrington, those mentors, in addition to DeJohnette and Terry, included her father, saxophonist Sonny Carrington. ”My dad was an amazing father. He allowed me as a little girl to pursue the drums. Jazz was his music. He knew all the local musicians, and he knew all the big names that would come to town. He believed in my talent and supported me.” Carrington was 10 when she played her first date with trumpeter Terry. Her father had worked with James Brown and had a preference for the blues. “He played music of all kinds around the house, but his favorites were Gene Ammons, Stanley Turrentine, the more R & B-style jazz players. Sure, he played modern stuff too — Miles Davis and John Coltrane — but he also played a lot of James Brown and Ray Charles.” Allen cites Mary Lou Williams, Alice Coltrane, and other women musicians as pointing the way for her. But she also remembers the men who gave them opportunities. “Particularly, when I first saw [pianist] Terry Pollard, that created a shift for me. That’s when I said, OK, this is possible, you can do what you want.” Pollard was from Allen’s hometown of Detroit and had played her way to fame, however briefly, as a member of vibraphonist and big-band leader Terry Gibbs’ Orchestra in the mid-’50s. Gibbs later hired another Detroit pianist, Alice McLeod, in the early 1960s (McLeod became Alice Coltrane after marrying the saxophonist in 1965). “I really respect Terry Gibbs for bringing these great women into his band,” Allen said. “I asked him once about it, and he said it wasn’t really about gender for him. He said he got them in the band because they could really levitate the music.” Allen, whose first recording included the respected drummer Andrew Cyrille and bassist Anthony Cox, said she did face gender issues with younger, inexperienced musicians when she started out but never by established “master” musicians, as she called them. “I’ve been fortunate to grow up in a culture where it really was
about your contribution to the music. Gender issues just weren’t involved. Because of people like Terry Pollard and Alice Coltrane, who made it ahead of me, because of people like Mary Lou Williams, who were true pioneers, I didn’t have to go through what they went through.” The participation of bassist Esperanza Spalding in ACS underscores the generational progression that continues. “I don’t know if I’ve broken ground for anyone,” Allen said, “but there is a continuity — there is a progression of that line where we stand on the shoulders of those that came before us and now others are standing on our shoulders. That’s a beautiful thing, to see the power of that. I was thrilled watching the Grammys [in 2011 when Spalding won the Best New Artist award beating out Justin Bieber and others] at that moment of impact with those young mega pop stars. She showed everyone what the possibilities could be.” One thing Carrington’s and Allen’s music shares is its social consciousness, not all of it focused on women’s issues. Allen’s latest album, Grand River Crossings, is a tribute to her hometown and includes tunes from Marvin Gaye (“Save the Children”), Stevie Wonder, and other Motown-era artists mixed in with Allen originals. The Mosaic Project features the voice of Angela Davis speaking to America’s prison system (“We inhabit our histories, and our histories inhabit us.”). Carrington’s latest recording, Money Jungle: Provocative in Blue (a reconsideration of a famous Duke Ellington-Charles Mingus-Max Roach collaboration from 1962), features clips from speeches by Martin Luther King Jr., Bill Clinton, and others on the dangers of greed. “We all have to be conscious of what’s going on around us,” Carrington said. “I add spoken words and lyrics to help the instrumental music convey the ideas I’m working with. If you’re not thinking about what’s going on in the world, you’ll get left behind. I don’t know how we can live as a people if we’re not aware of the issues around us.” Gender continues to be one of those issues. “They aren’t particular to jazz,” Allen said. “They’re global. I think as long as we are gender-oriented in every aspect of our lives, in our careers, in our relationships, in our positions in the world, then we have to continue to face them. But that’s not how we work together on the bandstand. If you analyze it, yes, we’re three women on the bandstand, coming together in a cross-generational way. But it’s all about the music.” ◀
details ▼ ACS with Geri Allen, Terri Lyne Carrington & Esperanza Spalding ▼ 7 p.m., Sunday, Oct. 20 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $30-$60 (discounts available), 505-988-1234, www.ticketssantafe.org
Johann Sauty Dean C. Jones
Geri Allen
Terri Lyne Carrington
Tracy Love
Esperanza Spalding
James M. Keller I The New Mexican
chipping in
Serenata of Santa Fe and other groups pool resources to commission John Harbison’s ‘Crossroads’
S
John Harbison
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PASATIEMPO I October 18 -24, 2013
apparently received special privileges. The La Jolla Music Society, for example, got to present the world premiere in August, and the St. Paul Chamber Orchestra was allowed the premiere, in September, of the “orchestral version,” with the string parts expanded for orchestral string sections. In addition to defraying costs, a consortium commission has the advantage of guaranteeing multiple performances of a new work. In preconsortium days, a new work might have needed to wait quite some time before it was eventually played by 15 different entities. By the end of 2014, Harbison’s Crossroads will have chalked up those performances as a matter of course, in some cases with multiple performances from a single group. More than 100 musicians will participate in those 15 ensembles, and some of them are likely to push for further performances at different venues and with various groups down the line. The royalties from those anticipated performances could ultimately add up to significant income for the composer. Probably a commercial recording will also grow out of
Donna Coveney
erenata of Santa Fe has been offering chamber music concerts since 1987, but it remains a modestly scaled organization. At its heart stand oboist Pamela Epple and pianist Debra Ayers, who jointly administer the ensemble and gather the necessary musicians — some regulars, some more occasional visitors — for their six annual concerts plus a few smaller-scale events. Their programs typically mix chamber-music standards with more obscure pieces. The latter are practically de rigueur since the oboe, one of the group’s central instruments, boasts a slender repertoire when it comes to big-name composers but a rich one for players interested in less traveled paths. The group has commissioned numerous new works over the years, often from composers in our own region. This season, however, Serenata is helping midwife a composition by one of the most prominent living American composers: John Harbison. His Crossroads, a 17-minute song cycle for soprano, oboe, and string quintet, figures on the group’s concert at the Scottish Rite Center on Sunday, Oct. 20, an honor that results from the group’s having assumed a share in commissioning its composition. Born in 1938, Harbison studied with such luminaries as Walter Piston, Boris Blacher, Roger Sessions, and Earl Kim and is a longtime professor of music at the Massachusetts Institute of Technology. He received a Pulitzer Prize for Music in 1987 and a MacArthur Fellowship in 1989. The Metropolitan Opera commissioned him to compose The Great Gatsby, which it premiered in 1999 and revived four seasons later. He has enjoyed a long affiliation with Emmanuel Music, a respected music incentive connected to Emmanuel Church in Boston. One of his collaborators at Emmanuel Music is Peggy Pearson, an oboist who runs Winsor Music, an organization that, among other things, promotes the expansion of the oboe repertoire by commissioning new pieces. Pearson put the word out that she wanted to assemble a consortium of performing groups to underwrite an oboe-centric piece by Harbison, and Serenata of Santa Fe wasted little time signing up. “They offered different tiers of participation,” Ayers said, “ranging from $1,500 to $5,000. We pledged at the $1,500 level right away, and two of our organization’s supporters, Richard and Willa Sisson, took care of the expense.” Consortium commissions of this sort have become common in the world of classical music. They make good financial sense. Although we don’t know what Harbison’s fee was for this composition, it was most likely in the range of $30,000 to $35,000. In 2009, Meet the Composer (since then renamed New Music USA), one of the nation’s leading authorities on commissioning, stated that a 10- to 25-minute ensemble work for five to 10 players would normally cost between $7,500 and $23,000 plus a premium of 20 to 30 percent if it involved a vocal part. Harbison’s eminence would place him near the top of the scale. Not many chamber groups would be in a position to commit to the full budget for such a piece, but a slice of the pie is another matter. Fifteen groups signed on for the Harbison project. Three assumed leadership in the funding, for which they
Will you help build a house for a family living in extreme poverty in Ciudad Juárez, Mexico? Come to Ten Thousand Villages
Saturday, October 19, 1-5 p.m., 219 Galisteo St.
Get a head start on holiday shopping! A portion of your purchase will be given to build the 21st house in Ciudad Juárez by the St. Bede’s Church and Santa Fe Community Juárez Housebuilding Team. Krista River
this incentive. “The recording is still up for grabs,” Ayers said. “All the groups are required to make a recording of their performance, for archival purposes.” Those will no doubt play a role when the powers that be begin plotting that stage of the piece’s history. Crossroads sets three poems by Louise Glück, who in addition to winning a Pulitzer Prize for poetry served in 2003-2004 as Poet Laureate Consultant in Poetry to the Library of Congress — or, as the post is usually described, United States Poet Laureate. The poems are drawn from her 2009 collection, A Village Life, which offers glimpses of community life in an unidentified Mediterranean hill town and particularly explores themes of leave-taking. Harbison knows Glück’s work well, having drawn on others of her poems in two previous compositions. In an interview hosted by the St. Paul Chamber Orchestra and broadcast in connection with its performance last month, Harbison stated: “Louise Glück has said to me directly, ‘My subject now is getting older and what it’s like. I’ll spend the rest of my poetic life just embodying that subject.’ What’s striking about the book [is] both the tone of it, which was more forgiving and more accepting than a lot of her other poetry, but also [its] wanting to deal with this subject. ... And rather shocking, I think, [is] the way she approaches it in the last poem, the one called ‘Crossroads,’ which I think is one of her very best poems. … She starts out saying, ‘My body, now that we will not be travelling together,’ and that in the next world [this is what] she will miss the most, her physical body. This is a hard subject. It could be done much more harshly than she decides to do it, but it still seems to me to be a worthwhile and brave kind of poem. Louise has always been a quite fearless poet. I expect [in this piece] to be with her not for the last time.” Although Harbison designated a soprano as the solo singer in Crossroads, the part will be handled in Santa Fe by Krista River, a mezzosoprano who has appeared repeatedly with Serenata of Santa Fe. “She lives in Boston and knows John Harbison,” Ayers said, “and she is having the opportunity to coach the piece with him before she travels to Santa Fe. We invited the composer to come for the premiere, but scheduling issues just didn’t allow that to happen.” It would have brought double pleasure to Ayers if he could have come. “I know him from the days when I lived in Cambridge, Massachusetts. In fact, the first piece I played here in Santa Fe was his Piano Quintet, and I was in touch with him about that piece at the time.” ◀
details ▼ No Stone Unturned: Serenata of Santa Fe performs Messiaen’s Theme and Variations for Violin and Piano; Brahms’ Two Songs for Mezzo-soprano, Viola, and Piano, op. 91; Thomas Oboe Lee’s Morango ... Almost a Tango; and John Harbison’s Crossroads, featuring mezzo-soprano Krista River ▼ 3 p.m. Sunday, Oct. 20
For more information about the Juárez Housebuild or to join the team, call: 505-989-1154
RANCH ESTATE SALE All Furniture, Art and Equipment Fri, Sat & Sun 10 - 4 (505) 660-5066 * * * * * Several bedroom sets, cabinets, tables, bars, chairs, rugs, etc., massage tables, new & vintage clothing, Pueblo art, original art, lithos, monotypes, photography, new riding mower, landscape stone, kitchen items. 20 mins. SE of SF. * * * * *
1 mile north of Village of Galisteo on St. Rd. 41 MAKE YOUR RESERVATION FOR YOUR HOLIDAY PARTY.
Pumpkin ravioli brown butter and sage Lamb loin w/blueberry sauce and lots of gluten free dishes, pumpkin pie See new Fall Lunch and Dinner menu on the website www.osteriadassisi.com
Call for reservation 505-986-5858
FALL BOOK SALE
October 19 and 20, SouthSide Library, 6599 Jaguar Drive (corner of Jaguar and Country Club) Open to the Public! Sat., 10-4 Discount and Specially-Priced Books; Sun., 1-3:30, Bag Day, all you can stuff in a bag (provided) for $3.
▼ Scottish Rite Center, 463 Paseo de Paralta ▼ $25 (discounts available); Tickets Santa Fe at the Lensic (505-988-1234, www.ticketsantafe.org) & at the door
PASATIEMPOMAGAZINE.COM
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PASA TEMPOS
album reviews
HUNX & HIS PUNX OF MONTREAL Street Punk (Hardly Art) Lousy With Slyvianbriar (Polyvinyl) Over the past decade, Originally begun as something Of Montreal abandoned the Sgt. Pepper’s of a one-off gay-club novelty act, influence that they spun with the celebrated Hunx & His Punx have trans1990s Elephant 6 collective to worship formed their punk kitsch into at the house of Prince. Starting with 2007’s a full-fledged band, albeit one towering Hissing Fauna, Are You the that happens to sound like Alice Destroyer?, they’ve pushed The Purple One’s Cooper covering the Ronettes soulful pop in their own odd directions, and the Shangri-Las. On their including explorations of clinical depression, neurotic sex jams, second full-length album, the San Francisco group continues album-long medleys, and extended avant-garde compositions. their coupling of garage rock, ’60s girl pop, and camp lyrics Lousy With Slyvianbriar finds them turning back to the Fab Four straight out of a John Waters’ movie. After all, the album’s lead and expanding their scope, mining the whole 1960s, and the music single, “Bad Skin,” a snarling 90-second, metal-inflected romp, has of Bob Dylan in particular, for inspiration. “Belle Glade Missionaries” singer Seth Bogart threatening to hit and stab anyone he can find, all combines a Highway 61 Revisited-era groove with Beatles-esque backup on account of having pore issues. A rearranged version of the Beastie vocals, while ballads such as “Obsidian Currents” and “Sirens of Your Toxic Boys’ “Egg Raid on Mojo,” while nearly unrecognizable as a cover, revels Spirit” — among the finest ballads Of Montreal has ever written — boast in the early-’80s throw-everything-in-the-blender punk sound that prearrangements reminiscent of Van Dyke Parks’ compositions and hardominates on this album. Those looking for the garage retreads monies that recall Side 2 of Abbey Road. Lyrically, the album tends of “It’s My Party”-style bubblegum adolescent heartbreak on to be more of the same from Of Montreal: macabre character which Hunx built its name would do well to listen to “Mud sketches mixed with longing and loathing. “I become such in Your Eyes” and “It’s Not Easy.” Loaded with sweet a wolf around you,” Kevin Barnes sings in “Colossus,” and satiric intentions, Street Punk nods to Blondie and Loaded with sweet and incorporating one of his pet themes: that infatuation The Ramones and the days when punk mixed glamour with women leads him to his dark side. His fetishizing of and gutter with ease and abandon. — Casey Sanchez satiric intentions, ‘Street Punk’ women would be unfortunate if he weren’t also wrapping it up with empathy, oversharing, and wry wit. Maybe GIBBS + TWELVE Play Gil Evans (Whirlwind) nods to Blondie and The Ramones MIKE he learned that trick from John Lennon. — Robert Ker The opener, “Bilbao Song,” has a softly obscure beginning in the tentative drumbeats and low drone, and the days when punk mixed Schumann G-Minor Sonata, Waldszenen, Gesänge der but with the first notes from multiple horns, you Frühe (Decca) Of all the great composers of piano music, know that veteran composer/arranger/bandleader glamour and gutter with Schumann was the master raconteur. In her latest CD, Mike Gibbs is behind this. The tune is a Kurt Weill Mitsuko Uchida proves a splendid accomplice for his storycomposition that appeared on Gil Evans’ 1960 record ease and abandon. telling. Devoted as she is to the Germanic mainstream, Uchida Out of the Cool. Bassist Michael Janisch lays out the has long included Schumann in her repertoire, but only in the theme and proceeds with a lovely, slothlike grace and past few years has she taken his music into the recording studio. gentle dissonance. Gibbs’ horns — he has at his disposal saxophones, trombone and bass trombone, clarinet and bass As she now reaches her mid-60s, her engaging interpretations achieve clarinet, flute, tuba, and French horn — are clarion, orchestrated both richness and liberation. Storytelling is at the center of Schumann’s with precision but yielding a splendidly loose character. Most of the Waldszenen (Forest Scenes), a familiar cycle of nine miniatures written at the height of Schumann’s career, in 1848-1849. Uchida infuses each piece with songs are arrangements he did with Hans Koller’s 12-piece ensemble last precisely crafted tone and a keen sense of dramatic plotting. One can easily year to commemorate the 100th anniversary of the birth of the great imagine a circle of youngsters leaning forward, wide-eyed, to follow the jazz arranger Evans (1912-1988). The treatment of Evans’ Latinflavored “Las Vegas Tango” includes a fleet trombone solo (Mark unrolling narratives. The rest of the CD provides a biographical frame Nightingale) on a brash rhythm pronounced by multiple trumpets to Waldszenen. The G-Minor Piano Sonata, written from 1830 to 1835, and an athletic tenor part (Julian Siegal) posed against Koller’s reveals the composer as an impetuous young man; Uchida’s reading piano abstractions. A romp on Ornette Coleman’s free-spirited of this frighteningly virtuosic score combines technical discipline “Ramblin’” offers intriguing solos by Janisch and trumpeter with emotional abandon. From the end of Schumann’s career Joe Auckland. Also on the sescomes the rarely encountered Gesänge der sion are two compositions from Frühe (Songs of Dawn), written a few months before he committed himself to the asylum Gibbs’ pen — the impressionwhere he would die. One senses the challenge istic 1960s piece “Feelings & he felt trying to grasp musical logic in these Things” and the new “Tennis, movements, but Uchida’s touching perforAnyone?” — and arrangements mance illuminates their fragmentary of songs by Carla Bley, Horace quality with glowing lyricism. Silver, and Rodgers & Hart. — James M. Keller — Paul Weideman
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PASATIEMPO I October 18 -24, 2013
TERRELL’S TUNE-UP Steve Terrell
Mad about the girls Willie Nelson is a little like the weather in Oklahoma. If you don’t like his latest album, just wait a minute. Case in point: I was basically unimpressed by Let’s Face the Music and Dance, released in March, and I wasn’t that wild about Heroes, which came out less than a year before that. (Heroes is the one featuring a song called “Roll Me Up and Smoke Me When I Die,” celebrating reefer with fellow celebrity pothead Snoop Dogg.) But it’s already October, and dang if the ultraprolific octogenarian doesn’t have a new album. To All the Girls … is a collection of duets with various female singers — from venerated country queens Loretta Lynn and Dolly Parton to the new crop of Juliette Barnes wannabes and many in between. And guess what. The weather in Oklahoma just got nicer. He almost could have called this album “Daughters,” because so many of his partners are the offspring of famous singers — Rosanne Cash ( Johnny Cash), Tina Rose (Leon Russell), Norah Jones (Ravi Shankar), and Paula Nelson (uh, Willie Nelson). No, not every tune is a winner. There’s some overproduced, adult-contemporary fluff here. In fact, had I only listened to the opening track, “From Here to the Moon and Back,” a super-gooey duet with Parton that made me miss Kenny Rogers, I probably would have dismissed the record as just another ill-advised Willie product. But out of respect, I went on to the next song. And I’m glad I did. It’s a song Waylon Jennings wrote — “She Was No Good for Me” — one of the finest he did in the ’90s. (I always loved how he describes the subject of the song: “a high-steppin’ mover, the kind men talk about”). I’m not the biggest fan of Nashville songbird Miranda Lambert, Nelson’s duet partner here, but she sounds fine. While I was disappointed in Parton’s contribution, Nelson’s duet with Lynn brings out what I love about both artists. It’s a slow, yearning waltz called
Willie Nelson
“Somewhere Between,” with the singers swapping verses about doomed love. “Somewhere between your heart and mine, there’s a door without any key.” Some of the best songs on To All the Girls ... are honky-tonk classics. Nelson sings “Making Believe,” a song made famous by the late Kitty Wells, with Brandi Carlile, who has an impressive country voice. Then there’s “After the Fire Is Gone,” a tune Nelson recorded in the ’70s with Tracy Nelson (no relation). Here he sings it with Tina Rose, and like her father’s voice, hers is full of personality. Nelson tackles one of Kris Kristofferson’s most underrated songs, “Please Don’t Tell Me How the Story Ends,” soulfully aided by Rosanne Cash. The third star in this song is Trigger, Nelson’s guitar. Nelson shows that his distinct picking style has not faded. And, speaking of soul, his duet with Mavis Staples on Bill Withers’ “Grandma’s Hands” is nothing short of superb. It probably packs more of an emotional punch when you realize that Nelson was raised by his grandparents. Several songs are remakes of songs Nelson recorded before. I actually like the new version of “Always on My Mind” — done with Carrie Underwood — better than his ’80s hit. The arrangement on the rendition here, with its cocktail-lounge piano, reminds me a little of “Don’t It Make My Brown Eyes Blue.” Better yet, there are not one but two songs from Phases and Stages, the best Willie Nelson album in recorded history. With Norah Jones he does a sweet, slow version of “Walkin’.” Most impressive is his rollicking remake of “Bloody Mary Morning,” — Wynonna Judd sounds as if she came to party on this track. To All the Girls … doesn’t rank up there with Phases and Stages or Nelson’s other truly great albums. Very little does. Chances are he’ll never reach that level again. But as the man once sang, “The life I love is makin’ music with my friends,” and he’s determined to keep that music flowing. I hope it never stops. Also recommended ▼ Loves Lost and Found by Augie Meyers. Meyers was the mad organ player of the Sir Douglas Quintet, whose Tex-Mex electric organ riff in “She’s About a Mover” became one of the most recognizable sounds of the mid-’60s. He’s the big dude in the Texas Tornados; his drawling vocals turned the simple act of “making guacamole” into an erotic escapade. Meyers is chiefly known as the sidekick of the late Doug Sahm — and in recent years for backing the likes of Bob Dylan and Tom Waits. But for decades Meyers has quietly released a stream of solo albums on small labels. This new record shows Meyers’ country side. Some tracks are classics like “Pick Me Up on Your Way Down” (written by Harlan Howard and covered by Charlie Walker, Faron Young, Ray Price, and a million others) and Lefty Frizzell’s “I Love You a Thousand Ways.” (True story: Lefty wrote this in Roswell in 1947 when he was in the Chaves County jail on a statutory rape charge.) Meyers also does a sweet version of a Sahm song, “Be Real.” Most of the album consists of original Meyers songs, starting out with the opening track, an uptempo “But Not Now,” in which Bobby Flores’ fiddle is out front, and ending with “Prosperity Street,” a nifty Western-swing number. In between there are other high points, including “Side Effect” (“I looked in the mirror and I looked like a wreck/I think I’m in the middle of a side effect”) and “I Found Love,” a pretty tune that could almost be a long-lost Don Williams song, featuring Tommy Detamore on dobro. Just in case you didn’t know where Meyers is from, there are two novelty numbers that the Austin Lounge Lizards would classify as “stupid Texas songs”: “Deed to Texas,” in which the singer fantasizes about buying the entire state and seceding from the Union (“Next time address us as ‘the country of Texas’,” goes the refrain), And there’s the less militant “The Sun Is Shining Down on Me in Texas,” in which the singer seems to prefer the Lone Star State because of the weather. Obnoxious as these songs are, they are catchy. I hope Texas doesn’t secede from the Union. I like living in the same country as Augie Meyers. (This album is available atwww.cdbaby.com/cd/augiemeyers.) ◀ PASATIEMPOMAGAZINE.COM
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Octo ber 29 at 7 pm, $1 0 – $20 Experience Fritz Lang’s silent 1927 sci-fi masterpiece—restored and complete, including the 25 minutes of thought-to-be-lost footage rediscovered in 2008—with a live soundtrack by Alloy Orchestra! don’t miss Big Screen Classics Halloween at The Lensic!
The Man Who Fell to Earth
SANTAFE NEWMEXICAN.COM /NEWSLETTERS
Starring David Bowie • October 31 at 7 pm, $5
Tickets: 505-988-1234 www.TicketsSantaFe.org service charges apply at all points of purchase
t h e l e n s i c i s a n o n p r o f it, m e m b e r- s u p p o rt e d o rga n i zat i o n
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PASATIEMPO I October 18 - 24, 2013
ON STAGE THIS WEEK Munich in Santa Fe: Oktoberfiesta
Santa Fe Pro Musica doesn’t look back
Santa Fe Brewing Company’s third annual Oktoberfiesta includes all the staples of the German seasonal celebration: beer, bratwurst, contests, and of course, mariachi. The performance by Mariachi Diferencia is actually not out of place. European polka music had a big influence on northern Mexican folk music because of German immigrants settling in Texas in the early 1800s (bringing brass instruments and the accordion with them). Also contributing to the multicultural affair are alt-country/ bluegrass band Hot Honey and jam rockers Pigment. The event is free, but proceeds from food and beer sales (four New Mexico breweries are represented) benefit the Santa Fe Animal Shelter and Humane Society, Esperanza Shelter, and Kitchen Angels. All ages are welcome at the celebration, which takes place from noon to 7 p.m. on Saturday, Oct. 19, at 35 Fire Place, off N.M. 14. Visit www.santafebrewing.com or call 505-424-3333. — L.B.
Ancient Greek writers differed over the details surrounding Orpheus, but eventually they fell in line describing him as a son of Calliope (the muse of epic poetry, not of carnival steam-organs) and extolling him for his expertise at singing to the lyre. He wed Eurydice (an oak nymph, some said), and when she died, he used his music to charm his way into Hades in the hopes of transporting her back to life. The venture almost worked, but in the end only his own death would reunite them. The myth has provided inspiration to countless composers, not a few of whom decided to have the flute render Orpheus’ strains. Two such pieces appear on this weekend’s program by Santa Fe Pro Musica Chamber Orchestra: the famous Minuet and Dance of the Blessed Spirits from Gluck’s opera Orphée et Eurydice and Orfeo II by the fine Scottish composer Thea Musgrave, a 14-minute work that depicts the unrolling incidents of Orpheus’ quest. Thomas O’Connor conducts and Carol Redman is the featured flutist in this concert, which also includes Handel’s Concerto Grosso in D Major (op. 6, no. 5) and Tchaikovsky’s Serenade for Strings. Performances take place at 6 p.m. on Saturday, Oct. 19, and 3 p.m. on Sunday, Oct. 20, at St. Francis Auditorium of the New Mexico Museum of Art (107 W. Palace Ave.). Tickets ($20 to $65) are available from Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org). — J.M.K.
The art of shredding: Steve Vai
Few guitarists can top Steve Vai in terms of notes per second. Born in 1960, he was touring with Frank Zappa in 1980 (having impressed him with an unsolicited transcription of one of Zappa’s most difficult pieces) and established his solo career a few years later. Since then, he has collaborated with Whitesnake, David Lee Roth, and fellow shredders Joe Satriani and Yngwie Malmsteen, selling 15 million albums and winning three Grammy Awards in the process. But Vai is more than just a fast player — he applies a deep understanding of theory and rhythmic complexity to his playing. The alienlike tones that sometimes result are just a bonus. Vai plays the Lensic Performing Arts Center (211 W. San Francisco St.) on Thursday, Oct. 24, at 7:30 p.m. Tickets ($29 to $51) are available by calling 505-988-1234 and from www.ticketssantafe.org. — L.B. PASATIEMPOMAGAZINE.COM
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Michael Abatemarco I The New Mexican
new books unearth museum curiosities rom the shrunken heads said to be in the collection of the Museum of Indian Arts & Culture to the alleged poison-tipped spears in the basement of the Museum of International Folk Art, New Mexico’s patrimony would seem to have its share of hidden novelties. While most people rarely, if ever, get to see many of the objects that museums keep squirreled away — space limitations prevent many from displaying more than a fraction of their holdings at any given time — the obscure, the wondrous, and the bizarre remain resting in the dark corners, drawers, and shelves of museum storage rooms, gathering dust, waiting for someone to ferret out their stories. Following her 26-part radio broadcast, Hidden Museum Treasures, which ran on National Public Radio beginning in 2003, Harriet Baskas’ new book, Hidden Treasures: What Museums Can’t or Won’t Show You, is a delight for inquisitive minds. Depending on your interests and disposition, you may be alternately intrigued and disturbed to learn that the collection of the Grand Lodge of Massachusetts, a Masonic institution, contains urns with the hair clippings of George Washington and James Garfield, or that the Yakima Valley Museum in Washington State has a quilt made from the robes of Ku Klux Klan members. Artifacts like the Ohio Historical Center’s Old Sparky, one of several historical electric chairs with that nickname now in museum holdings, are legendary, but the mummified thumb possibly belonging to 19th-century bandit John Murrell? Maybe not so much. Even if it isn’t Murrell’s, the Tennessee State Museum in Nashville sure has somebody’s thumb. Hidden Treasures is an engaging collection of objects, with each entry given its own brief chapter, making the book an undemanding but informative read. While hardly exhaustive, there’s enough here to pique your interest. If you’ve ever wanted a behind-the-scenes look at museum collections, here’s your introduction. Baskas has an agenda apart from bringing to light the obscure and esoteric. Her research involved learning not only what treasures lurk in the vaults, but the myriad reasons why, in addition to space constraints, museums don’t publicly show them. New York’s Corning Museum
OH, THE HORRORS of Glass doesn’t display its glass coffin because, as museum curator Tina Oldknow says in the book, “Pretty much anywhere you put a coffin in a museum, it’s going to make it look like a funeral parlor.” The primary reason the Hornbake Library at the University of Maryland doesn’t display the monkey-fur cape belonging to former Vice President Spiro T. Agnew — a gift from the president of Kenya — is its odor, possibly from the chemicals used to preserve it. A creepy doll from the early 20th century called Jimmy, suspected of haunting the Thomas D. Clark Center for Kentucky History, where he’s housed and causing mischief, is kept from the public eye mainly because, with his glassyeyed stare, pale complexion, and rotting clothes, he is the stuff of nightmares. Sometimes a work of art remains in the vaults because it’s too political or culturally sensitive. A German quilt with a swastika design, for instance, was pulled from display at the Yakima Valley Museum after visitors complained that it represented Nazi ideology. The quilt, according to the museum, predated the Nazi party’s adoption — and misappropriation — of the ancient symbol of luck and life. In 2001, controversy erupted
over Alma Lopez’s Our Lady, included in the exhibit Cyper Arte: Tradition Meets Technology at the Museum of International Folk Art. The nude image depicts a rape survivor as Our Lady of Guadalupe, her breasts and genitals hidden by bouquets of flowers. Some members of the community who felt the image was insensitive to their religious traditions organized a national protest demanding it be removed from display. The museum didn’t originally own the piece, but a digital print of it by the artist has been donated to the museum from a private collector. It remains in storage. Scandal and controversy in the art world are nothing new, and Baskas isn’t the only one to write about them in 2013. Éléa Baucheron and Diane Routex’s The Museum of Scandals: Art that Shocked the World makes them its focus. The book, published by Prestel, divides its subject into four topics — sacrilege, political incorrectness, sexual scandals, and transgressions — comprising 70 examples of art scandals throughout history. Like Hidden Treasures, The Museum of Scandals has short, punchy chapters and isn’t too demanding on the continued on Page 32
Above, Théodore Géricault: The Raft of the Medusa, 1819, from The Museum of Scandals: Art That Shocked the World; opposite page, clockwise from top, quilt incorporating fabric from the masks of Ku Klux Klan members, Yakima Valley Museum; “Jimmy” doll, Kentucky Historical Society; medicine chest taken by explorer Algot Lange on his 1911 Amazon expedition, Wellcome Images; lead box containing radium owned by Marie Curie, Smithsonian Institution, National Museum of American History; wooden cage used to restrain patients at a Cincinnati mental facility, circa 1870, Ohio Historical Society; images opposite page from Hidden Treasures: What Museums Can’t or Won’t Show You PASATIEMPOMAGAZINE.COM
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Left, An Epoch of Clemency (Kissing Policemen), 20072009 © Blue Noses. The Russian art collective Blue Noses reinterpreted Banksy’s Two Bobbies Kissing; their reinterpretation was impounded by the Russian government. Above, Artemisia Gentileschi: Judith and Holofernes, circa 1620, is a self-portrait portraying her revenge against rapist Agostini Tassi. Both images from The Museum of Scandals: Art That Shocked the World.
Museum curiosities, continued from Page 31 reader’s time. Brief summaries encapsulate each entry, retracing histories but providing little fresh insight. Édouard Manet’s Olympia, for instance, despite flaunting conventions of academic painting styles when it was made in 1863, is now included in the art history canon, and no thorough discussion of the Paris Salon would be complete without it. It’s an obvious example to include, but it would be a glaring oversight to leave it out. In their introduction, Baucheron and Routex write, “Who says that art should be nothing but aesthetic contemplation?” The artworks they discuss challenged the status quo. Olympia did not cause a scandal because of its nudity but because of the immodest gaze of the woman on the bed and its frank sexuality. The same model for Olympia appeared in Manet’s Luncheon on the
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Grass, a similarly scandalous piece the Salon refused to exhibit, leading to the development of the Salon de Refusés, a venue for showing rejected works. Controversy in the art world often influences the trajectory of major developments and art movements, an idea implicit in the selection made for the book. Many of the artworks are regarded as among the world’s most famous works: Théodore Géricault’s The Raft of the Medusa, derided for its realistic depiction of a horrifying tragedy at sea; Eugène Delacroix’s Liberty Leading the People, regarded as an incitement to riot; Francisco Goya’s Los Caprichos, an indictment of Spanish society for which Goya risked the ire of the Inquisition. In the section on sexual scandals, the authors include a discussion of 17th-century artist Artemisia Gentileschi’s Judith and Holofernes. The subject, a biblical story in which a young woman beheads a tyrant after pretending to give herself to him, had been painted before, notably by Caravaggio. Gentileschi’s version was scandalous because her image of Judith is a self-portrait and that of Holofernes, his head in the process of being severed, bears the likeness of Agostino Tassi, a man who raped her years earlier. During the rape trial, Gentileschi was subjected to torture sessions to test the veracity of her claim. Tassi was found guilty but received a lenient sentence, and Gentileschi got her revenge in paint. More recent examples of scandalous art include Austrian shock artist Otto Muehl’s 1968 performance piece Art and Revolution, in which one participant defecated on himself and masturbated in front of the audience. The performance led to several arrests, including Muehl’s. Other works of his involved public orgies, dead birds, blood, urine, and feces. The Kunsthalle in Cologne, where one such performance took place as part of an exhibition, received threats of violence from the public, and some of the museum employees went on strike, forcing the exhibit to close.
Baucheron and Routex include plenty of more contemporary examples such as Günther von Hagen’s Body Worlds, an exhibit of dissected human bodies plastinated in a process invented by the artist and arranged in poses. Such sights might make you squirm, but it’s Belgian artist Wim Delvoye who upped the ante as far as exhibiting dead bodies when he tattooed symbols on the hides of slaughtered pigs and then had the hides tanned and framed for an exhibit, offending animal-rights advocates. The idea of the museum as mausoleum is an old one, whether it’s mummies and skeletons in natural history collections or stuffed animals and specimens in glass jars. The preserved half-heads in the collection of the Indiana Medical History Museum, another entry in Hidden Treasures, would not be out of place in an exhibit by von Hagen, if only to illustrate the differences between preservation techniques. It wouldn’t be surprising to see some of the objects in Hidden Treasures reproduced in The Museum of Scandals. The books make good companion pieces along with Céline Delavaux’s The Impossible Museum, published by Prestel in 2012; that book examines the many reasons art disappears from public view. The larger question of why some objects, like the Jimmy doll, never see the light of day and others, like those in Body Worlds, make it to several international venues, is too big to answer succinctly, but books like these, accessible and nonacademic, make provocative and entertaining attempts at an answer. ◀ “Hidden Treasures: What Museums Can’t or Won’t Show You” by Harriet Baskas was published in October by Globe Pequot Press. “The Museum of Scandals: Art That Shocked the World” by Éléa Baucheron and Diane Routex was published in September by Prestel.
Thank you for making the 2013 Piñon Awards Ceremony & Dinner a community success!
Michael Roque Collins beyond earth’s rhythms An Exhibition of New Work
october 18-november 24, 2013 ARtist ReCeption: FRidAy, oCtobeR 18, 5:00-7:00pM
Aspen Santa Fe Ballet Tried & True Award Breakthrough Santa Fe Courageous Innovation Award New Energy Economy Visionary Award Pecos Valley Medical Center Quiet Inspiration Award Philanthropic Leadership Awards James H. Duncan, Sr. Nancy Mammel
Amy Sealove Jewelry Galisteo Studio Tour Oct. 20 21 Oct. 15 16 Oct 19 &&&20 Stop #7#9 Stop Stop #6
Crossing Twilight (detail), 2012, oil on linen, 50" x 50"
“obedience to my dreams” Panel Discussion With the Artist
SATuRdAy, OCTObER 19
11:00AM
RAiLyARd GALLERy
LewAllen Galleries, in conjunction with the Santa Fe Gallery Association’s ART MATTERS, presents a panel conversation with Post-Symbolist painter Michael Roque Collins, along with former Menil and San Francisco Museum of Fine Arts curator Jim Edwards and LewAllen Galleries co-owner Ken Marvel. The conversation will focus on the artistic compulsion to translate onto canvas the content of free and exhalted dreams. The artist will also be available to sign his recent monograph, Sacred Landscapes: From Ruins to Ressurection.
LewAllenGalleries R A I L Y A R D
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ART OF SPACE
Paul Weideman
History and histrionics
P
hilip Johnson, perhaps best known as the architect of the transparently elegant Glass House in New Canaan, Connecticut, once called preservation a “phony movement” and insisted that it should be based on “architectural quality” and aesthetics rather than on history or emotional attachments to place. In his book Buildings, Landscapes, and Memory: Case Studies in Historic Preservation, Daniel Bluestone examines 10 case studies, in part to counter that absolutist view. One of the problems with aesthetics-driven preservation is evident in post-World War II Chicago, where “the center of gravity in preservation shifted from sites valued for historical association to aesthetically notable buildings, especially those connected with the rise of what historians were increasingly describing as a Chicago School of Architecture,” Bluestone writes. So preservation “came to encompass only a handful of sites with buildings by Louis Sullivan, Frank Lloyd Wright, and Burnham & Root, while abandoning huge swaths of the 19th-century city. Two early examples of local governments zeroing in on preservation are Charleston, South Carolina, and Santa Fe. In 1931, Charleston created an architectural review board in response to concerns that historical homes were being compromised by a proliferation of gas stations in certain neighborhoods. Twenty-six years later, the City of Santa Fe passed its Historic Styles Ordinance, with rules for new homes (and remodels of old homes) in the central historical district enforced by the Historic Design Review Board. In 1961, the Historic Santa Fe Foundation was established following the destruction of the century-old Simon Nusbaum House. The national historical-preservation movement got another impetus two years later after New York City’s Pennsylvania Station was demolished. Among the cases covered in Buildings, Landscapes, and Memory — which won the Antoinette Forrester Downing Award from the Society of Architectural Historians in April — are the campaign to save Chicago’s famous 1892 vintage Mecca Flat Apartments, the disappearance of Dutch homesteads in the Flatbush section of Brooklyn, and the demolition of 37 blocks on the Mississippi riverfront to construct the St. Louis Gateway Arch.
B
Because of its strong identity, the 630-foot-high, stainless-steel St. Louis Gateway Arch by Eero Saarinen “raises the possibility that in some cases new monuments can more effectively convey history than old buildings can,” Daniel Bluestone writes in Buildings, Landscapes, and Memory: Case Studies in Historic Preservation. The new addition (completed in 2008) to Campbell Hall, University of Virginia, by W.G. Clark
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luestone directs the historic preservation program at the University of Virginia, designed by President Thomas Jefferson. The university, a World Heritage Site, has been at the center of preservation controversies. Famed architect Louis Kahn was hired, and then let go, in an early-1960s initiative to design a new chemistry building at UVA. The university’s motives — to heighten the chem department’s national reputation and help retain brilliant, younger faculty members — were understandable, but it might have been naive to expect that Khan would design a building that did not clash with all that vintage context. After all, he was working at the same time on the amazing Bangladesh National Parliament House. Architect James Polshek, who designed the 1998 Santa Fe Opera theater, was retained and then dismissed as the designer of a mid-2000s expansion project at UVA. The situation, which echoed what had happened with Kahn, provoked a letter from UVA School of Architecture faculty members, who suggested that interested individuals, after surveying the campus, should wonder why Jefferson’s spirit of design innovation had “been allowed to degenerate into a rigid set of stylistic prescriptions.
In response, local neotraditionalists warned that the university community should not defer to what it labeled “the Modernist architectural establishment.” The architecture faculty, including W.G. Clark and William Sherman, responded in part by designing two additions to the school’s Campbell Hall “that reflected a deeper understanding of Jefferson and of architectural excellence than anything produced by the neotraditionalists,” Bluestone writes. “No one ever accused my colleague, W.G. Clark, of being a preservationist, but that’s a building that’s more profoundly Jeffersonian than any other of the bad buildings that have been added to that campus in the last 180 years,” Bluestone said in a telephone interview from Washington, D.C., where he is a fellow in the Garden and Landscape Studies Program at Dumbarton Oaks Research Library and Collection. “That’s the elevation that most people approaching the building [Campbell Hall] encounter first, and what they encounter, through these wide-open concrete spans, is the life of the school. Jefferson was committed to using architecture to build community in interesting ways by connecting buildings and landscapes, and that’s exactly what this incredibly modern addition to Campbell Hall does.” This type of debate is familiar in Santa Fe’s architectural circles. “I know that Santa Fe has had a very strict design code,” Bluestone said. “My feeling is that in many situations you end up trivializing the historic buildings by being mute or politely background and suggesting that history ended back then. “I care deeply about historic buildings, and I engage in preservation advocacy left, right, and center. It’s part of my DNA, and I think there are all kinds of great reasons why historic preservation should be viewed as the keystone of sustainability, but I also worry that there are
times when those feelings about historic preservation end up trivializing the production of the built environment, and often treating places as if they’re theme parks. “If you’re consistently committed to having nothing but compatibility and harmony, or imitations of the historic resource you value, if you’re committed to what I call tiptoe contextualism, acting as if the 20th and 21st centuries haven’t happened, you actually make it more difficult for people to understand that the past leads right up to them. I think we should do everything we can to help people understand that preservation is not only about preserving the past but about helping people engage the past in the context of the present — and in a way that lets them think critically about what they’re doing today and where we’re headed in the future.”
S
ome of the best things about Santa Fe are the old, uneven buildings and old, uneven brick sidewalks, such as along the Arias de Quiros site on East Palace Avenue, and the Old World-evoking narrow and winding streets on the Eastside, where wealthy newer owners have erected uninterrupted expanses of 6-foot faux-adobe continued on Page 40
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Art of Space, continued from Page 39
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PASATIEMPO I October 18 -24, 2013
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Louis Kahn’s unbuilt 1963 proposal for the UVA chemistry building
privacy walls that yield a “tunnel look” similar to what was there with the old, real adobes of yore, which had defense-oriented, mostly blank walls built right at the street. And finally there are the smells that enliven the architectural history: chiles roasting in the fall, piñon burning in winter fireplaces, and tamales being made at La Casa Sena or The Shed, both also in that old Arias de Quiros stretch. So much of what’s happening with modern architecture in the city — including the proliferation of pseudoadobes — is determined with tourism in mind. “The tourists are not the problem,” Bluestone said. “It is the idiots who think they know what tourists want and desire and think and need. It is the people that set out to coddle and swaddle tourists at every turn, not realizing that they really want some connection to authenticity. I will take your smells and unevenness every day of the week over the faux landscapes being manufactured by people who simply don’t know much about anything.” Bluestone had nothing but praise for Santa Fe’s recent adaptive-reuse projects, including the transformation of the old Sears warehouse into the first of the Railyard Galleries buildings and the ongoing work converting the old St. Vincent Hospital to a Drury Hotel. But in the interview, he took special exception to the blanket proscription against contemporary design in the downtown, here and elsewhere. “The rules that have guided many architectural review boards and design-control districts actually have said up front that they wanted to have contemporary style, they want the new to look new and the old to look old, but then they turn on a dime and say they want material and height and setback compatibility: we want it to blend in harmoniously.” A bottom line is that there is no easy formula on this issue. These will always be matters for debate. “Yes, and that’s probably the best thing — to be able to sit around with people who care deeply about a place and to have designers have input and adapt to what they hear from local residents. The real problem is this: many of the design guidelines in a place like Santa Fe aim at the lowest common denominator. They just want to prevent bad architects or bad design from screwing up a place that they value. But it’s almost impossible to write a design code that insists on good architecture. We tend to end up with an almost formulaic approach, and I think that leads to banality. It’s focused much more on doing no harm rather than figuring out how to encourage excellence. “We ought to say, let’s end up with a building that makes this a more interesting place rather than a less interesting place.” ◀ “Buildings, Landscapes, and Memory: Case Studies in Historic Preservation” by Daniel Bluestone is published by W.W. Norton & Company.
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The third in Paul Selig’s popular I Am the Word channeled literature series, this extraordinary psychological-spiritual guide addresses how to overcome low self-worth and claim our true purpose as individuals. In this channeled text, Paul brings us his most practical message yet. Informing us that “you decide what you are worth”, Selig’s spiritual guides take readers through a program to understand our own inherent worh, and bea the fears that drain our inborn spiritual knowing. Selig reveals that true understanding of our life’s purpose can be found through ‘service’ - the practice of the thing that you most love. Readers can discover their own form of service through this powerful mantra: “ I know who I am, I know what I am, I know how i serve.” This book releases on December 26th and will be available for reservations at this event. Paul will give a preview about this book and will be discussing his other works I Am the Word and The Book of Love and Creation.
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PASATIEMPO I ????????? ??-??, 2013
S E N S O RY BLUE
Michael Abatemarco I The New Mexican ffroad Productions, located at the studio of artist Michael Freed, offers contemporary artists, some without gallery representation, an opportunity to show their work. The alternative art space plans a quarterly series of guest-curated shows. Blue, the second exhibit at the space, is curated by Santa Fe artist Jennifer Joseph. “When Michael originally asked me to do the show, I was kind of making it more complicated than perhaps it should have been,” Joseph told Pasatiempo. “So I decided to simplify it as much as I can. What I asked for from the artists — whether they’re a photographer or sculptor or painter — was to do something with the color blue and up to 18 inches in any direction.” Twenty-one artists participate in the invitational, including Sydney Cooper, Kate Russell, Lauren Oliver, Shaun Gilmore, and Yon Hudson. “There have been a number of projects I’ve done over the years that have involved dealing with groups of artists,” said Joseph, the person behind the glowing-orb light installation during the reopening of DeVargas Park in June. Without any restrictions on medium, artists in Blue are free to interpret the color theme any way they like, and the show includes works on paper, paintings, sculptures, assemblage, fashion, graphic design, and other mediums. “Blue can be any number of things. It can
describe many different situations. It could describe mood, eroticism, a feeling, the sky, or water. It’s just a very predominant color in our environment. I wanted to see who would come up with what. Some artists need more attention than others, so there’s a little bit of direction going on but, mostly, it’s do what you’re going to do and we’ll go from there.” Tim Jag, a painter, works in a hard-edged style of geometric abstraction. His piece for Blue, called Nocturnal Dawn, is composed of four small paintings from his Colornova series. The series explores color relationships, with bands of color extending from the edges of the painting and disappearing at a vanishing point. “I’m just following the theme of making blue-based art. The pieces have to do with the night sky. They’re from the nocturnal part of the series. They’ll be slightly different shades to depict early evening, dark sky, and then dawn — kind of a spectrum study.” Jag has another show, Duality Series, on view at Chiaroscuro Contemporary through Oct. 26. Graphic designer Alex Hanna’s piece fucmyk is a minimalist print showing the colors red, yellow, and black on a blue background. “As a graphic designer I’m playing with the idea of the limitation of the blue one uses for four-color printing — cyan,” Hanna said. “The ink drips and then smudges to intersect with the other three colors. These are the limits and
possibilities of color in the print world. Typography is also used in a humorous way to drive home the point.” The letters “cmyk” in the title are a reference to the four-color printing process: cyan, magenta, yellow, and black (or key plate). You can probably guess what the “f” and “u” stand for. Tuscany Wenger includes a terrarium-like piece that houses a tableau of mixed media and found objects inspired by Egyptian funerary rites and the color “Egyptian blue.” According to the British Museum’s website, Egyptian blue is possibly the first artificial pigment ever produced. Shaun Gilmore, a member of the Lady Minimalists Tea Society, a collective of independent artists who often exhibit together, is working on several pieces but has not decided which she will include in the exhibition. “The work I’m doing now has to do with weather patterns, so my piece will relate that.” On her website, Gilmore writes that “within a framework of limitation lies the possibility of infinite variation,” an idea that fits with Joseph’s vision for Blue. Offroad is not exactly a pop-up gallery, because it’s in a permanent space. Alternative spaces for showing art, while nothing new, are a growing trend. “The fact that there are these alternative spaces popping up, I think, continued on Page 44
Above, Lauren Oliver: Blue Train 14, 2014, digital photograph; opposite page, Kate Russell: Smoke #1, 2013, inkjet on rag paper PASATIEMPOMAGAZINE.COM
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Tim Jag: Nocturnal Dawn (detail), 2011, acrylic on panel; below, Chris Collins: Babble in Blue, 2013, mixed media
Blue, continued from Page 43 is a necessary counterpoint to the Railyard and what’s happening on Canyon Road,” Joseph said. “There’s no pressure to sell. Obviously, it would be great if we could sell some art, but it’s really not about that. It’s more about being able to present work. It’s hard in this town.” Shows in alternative spaces in Santa Fe are often started by visual artists who generally include works by as many of their colleagues as possible, or as venues for independent, uncommissioned projects. They “pop-up” in transitional spaces such as empty for-lease stores and warehouses. That we are seeing more and more of them in Santa Fe may, in part, be due to the recognition that there’s a market for affordable — but good — art. “I don’t think things are going to go back to the way they were,” Joseph said. “The new economic reality is here to stay, and we’re going to be lucky to maintain what we’ve got now. People with money are buying bluechip art. They’re supporting institutions, but they’re not supporting the fromthe-ground-up creativity that’s always happening. It’s up to us as artists, and as individuals who appreciate art, to keep it going.” ◀
details ▼ Blue ▼ Opening reception 5 p.m. Saturday, Oct. 19; by appointment Sunday, Oct. 20, through Oct. 26
NEW LISTINGS DAILY 44
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PASATIEMPO I October 18 -24, 2013
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Bill Kohlhaase I The New Mexican
JOHN WATERS AMBASSADOR OF
In the 2006 recording of his one-man show This Filthy World, writer, director, and champion of trash John Waters claimed his presentation wasn’t a lecture. “It’s vaudeville,” he declared. He announced he was looking for an opening act, maybe “some hideous child contortionist,” or something that decorum, a quality Waters continues to battle, prevents us from discussing. In a sense, that 2006 show was a lecture, addressing Waters’ films and the state of film in general, along with social commentary from the author-filmmakerperformer’s admittedly unique viewpoint. Hypocrisy takes a beating and self-righteousness is given new meaning. Since 2006, things have changed for Waters and the world. Then, Waters claimed that all young people needed mentors, and he wanted to serve as their “filth elder.” In a phone call from his home in Baltimore, Waters told Pasatiempo that he was now “the Norman Vincent Peale for screwed-up people.” What’s the difference? When Waters performs the latest incarnation of This Filthy World on Saturday, Oct. 19, as part of the Santa Fe Independent Film Festival, we’ll find out, assuredly in unbridled Waters style, and at length. The show has evolved, he said. “There’s maybe two jokes from the 2006 edition that are the same in the current edition. It’s really not so much about my movies anymore. I might use them as a springboard to other subjects. But I feel you could have never seen any of my movies and still enjoy it. It’s a self-help kind of thing for the crazy now that they don’t have to change anymore, that it’s acceptable for them to be themselves.” Things may have changed for Waters — “I can’t make a movie for a half-million dollars anymore,” he confided — but has he changed? “I don’t think I’ve changed. It’s everybody else that’s changed.” His convictions? “I had jury duty yesterday — I get called now and then — but I always get out of it. I tell them there are some things I can do and some things I can’t do. Judging people is something I can’t do. I can’t be the one 46
PASATIEMPO I October 18 -24, 2013
to send someone to jail. And they don’t know what to say to me. The judge said, we have to send them to jail so they’ll learn their lesson. I said, they don’t learn that in your jail. That’s the opposite of what they learn. I said the jail system is corrupt; we have the most corrupt system here. How was it I knew the system was corrupt and the judge didn’t? He’s the one who should know the system is corrupt. The whole thing is weird in Baltimore. I sat in the [jurors’] VIP room, the quiet room. And they were showing The Shawshank Redemption. It seemed inappropriate.” Even as Waters’ films of the 1970s — Pink Flamingos, Female Trouble, Desperate Living — began to garner wide attention, he remained outside mainstream filmindustry circles. That has changed since the success of Hairspray, a 1988 movie with Water’s signature form of ironic humor minus the outrageous situations of his earlier films (think of the amputation scene — and the reason for it — in 1969’s Mondo Trasho if you’ve been lucky enough to have seen it). “When I was younger,” he said, “everybody was talking about being an outsider. Today, everybody thinks they are an outsider, no matter who they are. I can’t say I’m a struggling artist anymore. I’m not. It took me years to crawl my way in, but that’s where I am.” In Waters’ 2010 book, Role Models, in which he lists various inspirations, from Johnny Mathis to a pornographer who makes videos of Marines doing things that many would consider unworthy of Marines, he writes, “Filth is just the beginning battle in the war on taste.” This war is something Waters has seemingly conducted since making his first films in the 1960s with his longtime associate Harris Glenn Milstead, best known as Divine. (SFIFF shows Jeffrey Schwarz’s documentary I Am Divine on Friday, Oct. 18, at 5:30 p.m. at the Center for Contemporary Arts.) But why must the war on taste be fought? “Because of its tyranny,” Waters explained. “But I think it’s gone
full circle now. Now, Hollywood does good taste badly,” and here he names older films that demonstrated a sort of authentic sophistication, and then contrasts them with newer films whose sophistication seems false (“I don’t like to name things that I’m negative about.”). “Hollywood tries too hard. Just being gross is easy. I changed opinions by shocking everyone and getting laughs for it. But they’re trying too hard to be shocking. Gross-out humor has become very American. We’re identified by it. You go to a foreign country and ask them what they know about America and they’ll say gross-out humor. Jackass. I made films for art houses and small audiences. [Hollywood] turned it into a genre of the kind that I never did. I believe in Johnny Knoxville [co-founder of the Jackass series], he’s a friend of mine, but that brand of humor is incredibly commercial. What I did was shown at midnight in small movie houses. He’s taken it to the world.” continued on Page 48
Filth is just the beginning battle in the war on taste. [‘This Filthy World’ is] a kind of self-help kind of thing for the crazy now that they don’t have to change anymore, that it’s acceptable for them to be themselves.
Hollywood tries too hard. Just being gross is easy. I changed opinions by shocking everyone and getting laughs for it.
AP Photo/ Kathy Willens
John Waters, continued from Page 46 Role Models gives a glimpse into Waters’ thinking that’s different from the one on display in his films. The chapter on Tennessee Williams, the book’s shortest, might be the most telling. In it, Waters quotes a line attributed to Williams — “My type doesn’t know who I am.” When asked how that might apply to him, he makes a fine distinction between him and Williams. “My type could never hope for that, for that knowing. And my type doesn’t care that much about it.” There’s a lot be learned about the filmmaker in his written work, starting with the history of his early years and associations detailed in the 1981 book Shock Value: A Tasteful Book About Bad Taste. “I’ve always been a writer,” he said. “I’ve written all my movies — I wouldn’t do a movie I didn’t write. I write out and memorize everything [in This Filthy World]. I continue to do articles for magazines.” When asked about the introduction he wrote for cult fiction writer James Purdy’s collected stories (see review, Page 14), he’s quick to remind
us that he wrote the foreword for Hairspray star Ricki Lake’s biography as well. Waters said his next book, Carsick, slated for release in June 2014, will give further glimpses into his personality. In 2012, Waters hitchhiked across the country, from Baltimore to San Francisco. It took him eight days. He told The New York Times he wondered what would happen if he gave up control of his “overscheduled life.” What kind of daring did it take to put himself out on the road? “The brave people are the ones who picked me up,” he answered. “I wanted an adventure, and I got one. The people that picked me up got one, too. But after you’ve stood in the same place for 10 hours waiting, you’d do anything for a ride. I could have made a sign that said, ‘Give me a lift. I’m the director of Hairspray.’ But I did give up control. No one was following me, I didn’t have backup. But I did have my Blackberry with me. If I had to, I could have hired a helicopter to pick me up.” The self-revealing parts of Carsick, he explained, will
be fiction. “I’ve written 15 stories about what the best rides would be like, with sex and love and adventure. And I’ve written 15 stories about what the worst rides will be like. I think those will be more revealing.” When asked if he has plans for another movie, Waters wouldn’t answer. His last, A Dirty Shame, with Tracey Ullman and Chris Isaak, came in 2004. “Maybe I’ve made my last movie, I don’t know. I certainly don’t yearn to go back and do one. A novel, a movie. I really don’t know.” ◀
details ▼ John Waters: This Filthy World, presented by the Santa Fe Independent Film Festival ▼ 7 p.m. Saturday, Oct. 19 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $18-$58 ($500 for front-row seats and dinner with Waters); 505-988-1234, www.ticketssantafe.
DECLARATION OF INDEPENDENTS oasting more than 150 screenings, panel discussions, and auxiliary events, the majority of which take place the final three days of the five-day festival (Friday through Saturday, Oct. 18 to 20), this year’s Santa Fe Independent Film Festival proves that quantity and quality can exist harmoniously. Given the extensive lineup, executive director Jacques Paisner had trouble narrowing down his not-to-be-missed list of recommended films. On Friday, he singled out the New Mexico premiere of Sweet Vengeance (7 p.m.; Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234), a “big budget indie” by Noah Miller and Logan Miller, who are presenting the film. The Western thriller takes place in New Mexico and was also shot here. Also on the list was The Suicide Shop, “an animated film in French that was a big hit at Cannes and is finally being released in America” (8 p.m.; Jean Cocteau Cinema, 418 Montezuma St., 505-466-5528). That afternoon, at 2 p.m., the Jean Cocteau also plays host to a director’s panel moderated by Chris Eyre, director of Smoke Signals and chair of the film department at the Santa Fe University of Art and Design. The panel includes Jon Moritsugu, George Burdeau, and Sophie Rousmaniere. Moritsugu, in turn, is presenting the New Mexico premiere of his (and partner Amy Davis’) underground film Pig Death Machine the following day (9:30 p.m.;
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Center for Contemporary Arts, 1050 Old Pecos Trail, 505-982-1338). He and Davis received the Lifetime Achievement Award from the Chicago Underground Film Festival earlier this year. As a whole, Saturday is “a massive day,” according to Paisner. At 1 p.m., at the Jean Cocteau, “We’re very proud to have a live reading of a script by Chris Eyre. It’s the kind of thing you’d see at Sundance.” The script is for Up the River, billed as an 18th-century “Native American, bodice-ripping, romantic comedy.” On a more serious note, screening at the same time is the drama This Is Where We Live, which tells the story of an unlikely friendship between a handyman and a boy with cerebral palsy in small-town Texas (CCA). The most high-profile event of the night is the live stand-up act This Filthy World by groundbreaking cult filmmaker John Waters. Paisner said the vaudeville-inspired act is specific to the places where
Waters performs it, meaning Santa Fe and its quirks are likely to be in his sights (7 p.m., Lensic). Sunday’s schedule is heavy on discussions and panels that feature New Mexico-related artists: Wes and Maura Studi host an acting workshop (10:45 a.m., CCA); Kirk Ellis and George R.R. Martin discuss writing (3 p.m., Jean Cocteau); and author John Nichols signs books before the screening of Milagro Man, a documentary on his life (4 p.m., CCA; screening at 5:30 p.m.). The final screening of the festival is Ass Backwards, starring Alicia Silverstone and Casey Wilson and June Diane Raphael, the writers of the film (7:30 p.m., CCA). Paisner is excited to have Wilson and Raphael — whom he calls up-andcoming comedic forces — presenting the film, noting that they just signed a pilot comedy deal with ABC. Finally, concluding the whole shebang is the closingnight party at Santa Fe Spirits Tasting Room (8:30 p.m.; 308 Read St., 505-467-8892), featuring the presentation of the Santa Fe Reporter’s Audience Choice Award — any “spirit awards”handed out, however, will be of the unofficial, consumable variety. Festival passes are $150. Individual tickets for most screenings are priced $10 to $15. Both varieties are available from Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org). Pass holders are encouraged to register for particular events at www.santafeindependentfilmfestival.com, which also has details on the festival’s extensive lineup. — Loren Bienvenu
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All you can eat Michael Abatemarco I The New Mexican Night of the Living Dead, cult classic, not rated, The Screen, 4 chiles Before Night of the Living Dead, zombie movies had a lot more to do with voodoo than with the unexplained. Films like White Zombie (1932) and Jacques Tourneur’s I Walked With a Zombie (1943) followed the premise that potions, not supernatural forces, caused the dead to walk among the living. Zombie films played second fiddle to the more successful Universal horror franchises Dracula, Frankenstein, The Invisible Man, and The Wolf Man. Even as late as the 1960s, Dracula was still a dominant villain in the horror genre, thanks to a series of revamped vamp pictures by Hammer Film Productions that began in the late ’50s and starred Christopher Lee as the famous bloodsucker. But horror was marketed mostly to young people then, and it wasn’t taken too seriously as intelligent, thoughtful cinema. One little film by a small production company in Pittsburgh changed all that. From its early shots in a cemetery to its final haunting series of still images that play while the credits roll, 1968’s Night of the Living Dead made horror all the more real for its domestic, everyday settings.
At the beginning of the film, Barbara ( Judith O’Dea) and her brother Johnny (an uncredited Russell Streiner) are on an outing to a cemetery. Barbara is frightened of the place, and Johnny teases her. “They’re coming to get you, Barbara,” he says, little knowing how right he is. Right from the start, Night of the Living Dead becomes a tale of survival as Johnny gets knocked out cold by a lumbering ghoul whose pursuit of the hapless and hysterical Barbara is relentless. “Relentless” is a good way to characterize the entire film. Barbara takes refuge with a ragtag group of survivors in an abandoned farmhouse as more and more ghouls appear, determined to break in and, as we eventually discover, eat the protagonists alive. Among the good guys — good being a relative term in this story — is Ben (Duane Jones), the only one in the group with any sense. They barricade the windows and doors as best they can, but the living dead don’t let that stop them. Ben understands that retreating to the basement means certain death and argues against the idea, even as the others see it as their only option. Of course, Ben is right, and it’s no wonder he survives — almost. Director George A. Romero cast Jones as Ben because he had experience as a professional actor, unlike much of the rest of the cast. Ben’s character was written as a white man, but Jones is black. Romero opted not to change the script, however, and simply made no mention of Ben’s race in the film. But this being the late 1960s, with the civil-rights movement — not to mention the war in Vietnam — in full swing, it is difficult not to see the film in light of those events. The war brought grisly images into people’s homes in a way that no war had before it, and images of lynchings and civil-rights abuses in the South were also prevalent. Understated though it is, the suspicion of authority in the film seems to reflect the times. Near the end, as posses of law enforcement and citizens appear, who the real villain is comes into question. The ghouls, after all, are
only acting in accordance with their nature, out of hunger and survival instincts. The delight of the posses as they pick off the zombies with shots to the head (the only way to kill them) is cold-hearted and cruel. That they resemble lynch mobs was probably not lost on audiences of the day, and the film, which is in the collection of the Museum of Modern Art, is regarded by some fans today as political. No one had cast a black actor as a lead in a film in which the script didn’t treat him as black but simply as a man. Casting Jones was a daring move, but so was the level of violence depicted on-screen. The ghouls are not content with merely killing people, they have to eat them, too. When a young couple flees the farmhouse in a desperate attempt to escape from the zombies, they are overwhelmed, and the ensuing feast of flesh and entrails was something cinema had never seen before. Shot in black and white, these scenes are easier to take than the graphic
Yeah, they’re dead. They’re all messed up. — Local sheriff to reporter in Night of the Living Dead
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violence of more recent zombie films, but they still have the power to shock. These were not monsters in any traditional sense. You don’t need to be a horror fan to list the many ways a vampire can be killed. In Night of the Living Dead, there’s only one way, and you had better be a good shot. These monsters, moreover, are friends, neighbors, siblings, and parents. Romero’s vision is one of a world turned upside down. The death-by-trowel scene doesn’t elicit the nervous laughter that inventive horror deaths sometimes bring to their audiences. The victim is a young mother, and her killer is her own daughter, whom we glimpsed just a moment before gnawing on the dead body of her father. It’s grim, bleak, devastating, and unforgettable. Romero further ups the ante by refusing to give his film a happy ending. Those who do survive probably don’t deserve to, and those who don’t — well, at least they have the option of coming back to get revenge on the living. The question of why the dead have come back to life is never adequately explained. Talking heads on TV newscasts (real news anchors, lending such scenes authenticity) have no answers, and the survivors in the farmhouse learn little until it’s discovered that a shot to the head kills the zombies. You’d better know your target. They look, after all, just like us. ◀
No guts, no gory: from left, opposite page, Judith O’Dea and Duane Jones, ravenous flesh eaters, Russell Streiner and O’Dea; above, Jones
ABRA CADAVERA The invention of the modern-day zombie film Birth of the Living Dead, documentary, not rated, The Screen, 3.5 chiles In 1963, George A. Romero began his own production company calledThe Latent Image. Romero is the man responsible for reinventing the zombie picture and creating a legacy still running strong in cinemas and on television 45 years after his Night of the Living Dead, released in 1968, brought a bleak new vision to the horror genre. The Latent Image was a small company that produced beer commercials as well as a handful of short films for educator and television host Fred Rogers’ program Mister Rogers’ Neighborhood, including one about the TV show host’s tonsillectomy. In the documentary Birth of the Living Dead, which chronicles the efforts of a small group of filmmakers to get Pittsburgh’s “first feature film” financed and produced, Romero jokes that the tonsillectomy film is one of the scariest he ever made. Romero later started Image Ten, another production company whose first feature was the black-and-white ghoul picture we’ve come to know and love. Made by Romero, his friends, and his friends’ friends on a minimal budget, the film reflects the director’s reliance on the generosity and interest of his beloved city to get the picture, which he wrote, edited, and directed, made at all. As news of the production spread through Pittsburgh, a local TV show host agreed to come out and act as a news reporter in a scene that gives the film two of its most memorable lines. “Yeah, they’re dead,” a local sheriff tells the newsman.“They’re all messed up.” BirthoftheLivingDead tells a fascinating, sometimes adventurous tale about the making of the film. That it focuses more on the details of the production rather than the legacy is a help and a hindrance to the film. Further insight into and discussion of the reasons why the living dead continue to dominate the horror genre would be welcome. The facts surrounding the making of the film are often surprising and provide plenty of fodder for horror trivia nuts. What exactly caused the dead to come back to life and feast on the living is anybody’s guess. In Night of the Living Dead, as well as Romero’s followups, Dawn of the Dead, Day of the Dead, Land of the Dead — the list goes on — the director leaves the answer ambiguous. In Birth of the Living Dead, he simply says,“God changed the rules. That’s the only explanation I need. No more room in hell.” If you’re upset that Night of the Living Dead gives viewers no comforts such as a happy ending or heroes that survive to fight again another day, Romero offers one concession: “There’s always the refreshment stand.” From the beginning, Romero was fighting an uphill battle. Image Ten had no money for sound mixing, so Russell Streiner, an actor in the film as well as one of its producers, challenged the lab owner to a chess match with the sound mix at stake, and Streiner won.
The film was finished just days before Martin Luther King Jr.’s assassination. Romero had a violent, bloody film with a black man in the lead and depictions of posses that behave like lynch mobs. There were few prospects for release. In search of a distributor, Romero took the film to New York. He showed it to Columbia, who held on to it for a period of time, making Image Ten hopeful for a national release, but then turned it down. American International Pictures, responsible for a slew of low-budget psychedelic and biker films as well as Roger Corman classics like House of Usher and The Masque of the Red Death, agreed to distribute the film only if Romero changed the stark, unsettling ending — but he refused. After sitting on it for months, Romero finally got the film released in October 1968 with the backing of New Jersey movie-theater mogul Walter Reade. Booked as a grindhouse feature in New York, it played along with other horror and science-fiction films no longer in their first runs and was generally dismissed by critics. As horror comics and magazines, not to mention films, were popular among children and teenagers, most were marketed to younger audiences. When it came to Night of the Living Dead, Roger Ebert, writing for the Chicago Sun-Times, wrote, “I don’t think the younger kids really knew what hit them.” Production was complete before the MPAA ratings system went into effect, and it was common for parents to drop the kids off at the cinema for an afternoon of horror in those days. Ebert reported seeing young children reduced to tears. This was a film in which children eat their parents and brothers kill their sisters. The documentary has interviews with some of those who saw it as kids to gauge their reaction at the time. Of course, they will never forget. In Europe, the film opened in art-house cinemas, and its reputation as more of an art film than horror schlock slowly grew. Eventually, it made its way into the permanent collection of the Museum of Modern Art in New York. The film was initially copyrighted under the name Night of the Flesh Eaters, but when Reade changed the title to Night of the Living Dead, he failed to secure the copyright under that name, and so the movie entered the public domain. Image Ten attempted to sue the distributor, but then Reade filed for bankruptcy. Due to film sales and screenings when it was in the public domain as well as international screenings of pirated copies, no one knows for certain how much money the film has made over the years. Birth of the Living Dead’s strength is in director Rob Kuhn’s access to Romero and his comrades for first-hand accounts. He even interviews Gale Anne Hurd, executive producer of AMC’s The Walking Dead, to discuss Night’s influence on the genre today. The Walking Dead’s ghouls are modeled on Romero’s: the lumbering walk, the blank stare, the creaky shuffle. We have come full circle. — M.A.
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movIng Images film reviews
Steve Reevis and Kimberly Guerrero
Unfinished portrait Jennifer Levin I For The New Mexican The Cherokee Word for Water, drama, rated PG, Center for Contemporary Arts, 2 chiles In 1985, Wilma Mankiller was named the first female chief of the Cherokee Nation. The Cherokee Word for Water tells the story of how Mankiller and activist Charlie Soap helped the people of Bell, Oklahoma, dig an 18-mile trench to bring running water and indoor plumbing to their impoverished rural community in the early 1980s — an act that paved the way for her political ascendancy. Mankiller (played by Kimberly Guerrero) and Soap (Moses Brings Plenty), who later married, fought harassment to work with Bell residents, inspiring neighbors to volunteer for the grueling project in the spirit of gadugi (working together to solve a problem). Soap served as producer and co-director (with Tim Kelley) and provides the movie’s introduction and epilogue. Lisa Leone’s cinematography gives the film great visual authenticity. Neither the landscape nor the people are presented as overly romanticized or too beautiful, and the movie feels like it was shot on stock from the 1970s or early ’80s. The period wardrobe is spot on as well. However, the movie’s shortcomings are so glaring that they cannot be overlooked. Title cards indicating location and the passage of time make the movie feel like an educational film instead of a feature film. The acting is mediocre, although some performances stand out for their subtly and naturalism, including those of Steve Reevis and Cindy Soap. Too much attention is given to a linear but overly compressed retelling of events, and the story is simplified and riddled with holes. For instance, we are made aware of Mankiller’s devastating, near-fatal car accident in 1979, but we do not learn that the woman who hit her head-on and died was her friend. Nor is it explained why Mankiller and her daughters moved from San Francisco back to Oklahoma when Mankiller was 40. Two scenes are devoted to showcasing her daughters’ resentment when she’s not home to make dinner during the digging of the waterline, but we are left to guess whether Mankiller was genuinely neglecting her daughters or whether this is a period-appropriate reference to feminism and women’s changing role in the workforce. Mankiller shrugs in response to her daughters’ complaints. And though in real life Mankiller and Soap became a couple, the actors have middling chemistry — but this may be a factor of the movie’s sanitized approach. Mankiller, who died in 2010, was a much more complex person than the film allows. The Cherokee Word for Water leaves too much of this important story untold. ◀ 52
PASATIEMPO I October 18 -24, 2013
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FREE food, fun, and a screening of OFF THE MAP at 6:45p (first come first served for free screening)
The Cherokee Word for Water 7:30p Weds & Thurs Oct 23-24 Q&A with Filmmakers following film!! 6:30p reception for Wednesday show!!
Shepard & Dark, documentary, not rated, The Screen, 3 chiles The most interesting documentaries are the ones that stray off course. Time is an ingredient, and during the time it takes for this filmmaker to follow her subjects and observe their interaction, a shift in their personal dynamic takes place. It’s the observer effect, which posits that the act of observation causes changes to the phenomenon being observed. The observer here is the filmmaker Treva Wurmfeld, and the subject is the nearly half-century relationship between two unlikely friends, the playwright and actor Sam Shepard and his old pal, the dashingly named but temperamentally undashing Johnny Dark. The occasion is the decision the two have reached to publish their decades of correspondence — now in print as Two Prospectors: The Letters of Sam Shepard and Johnny Dark (University of Texas Press). We know plenty about Shepard, despite his famous reclusiveness and refusal to write an autobiography. He’s acted in more than 60 movies, written more than 45 plays, won a Pulitzer, and been the stuff of tabloid fantasy with his tempestuous on-again-off-again relationship with Jessica Lange. We know nothing about Johnny Dark; and in dramatic terms, there’s not much to know. He’s a self-avowedly lazy, unambitious homebody, more at home with dogs than people, who has bounced around in make-work jobs over the years, and now works in a Deming grocery store. Shepard and Dark met in Greenwich Village in 1963, after one of the former’s early off-off Broadway efforts. Dark ran into Shepard the day after the performance and asked him what he was smoking when he wrote it, and thus began a lifelong friendship. Dark invited the young playwright over for a spaghetti dinner and introduced him to his older girlfriend and her daughters. Dark married the girlfriend. Shepard married one of the daughters. They all lived together, in New York and California, for many years, until Shepard abandoned his wife and teenage son (and extended family) in 1983 to run off to Santa Fe with Lange. And during all that time, and since, they have written letters back and forth, letters meticulously saved and filed in binders by Dark. When the documentary first brings them together, the moments feel a bit stilted, but gradually we get more of a sense of the two as individuals and as friends. They read over passages of the correspondence, often roaring with a hilarity that doesn’t quite translate to the viewer. They reminisce about their fathers (anti-role models from whom they tried to distance themselves), about their years as a communal family, about roads taken and not taken. Dark comes to Santa Fe to work on editing the letters, but things don’t always go smoothly. ◀
Tickets available NOW at ticketssantafe.org, by calling 988-1234, or in person at Lensic Box Office! For full schedule of films and events, please go to santafeindependentfilmfestival.com CCA will resume our regular film schedule Tuesday, October 22. Fri Oct 18
Sat Oct 19
Sun Oct 20
10:45a - Broken Circle Breakdown 11:00a - Writing Lab: Joan Torres* 12:00p - Production Panel* 1:00p - Teddy Bears 2:00p - Directors Panel: Chris Eyre* 3:00p - Perfect Strangers 5:00p - Young Lakota* 5:30p - I Am Divine 7:00p - Shorts 1* 7:30p - The Bounceback 9:00p - Casual Encounters* 9:30p - Delivery
10:00a - Shorts 2* 10:45a - Moon Man 12:00p - Perfect Strangers* 1:00p - This Is Where We Live 2:00p - Writing for the Screen* 3:00p - Broken Circle Breakdown 5:00p - Shorts 3* 5:30p - After Tiller 7:00p - These Birds Walk* 7:30p - Feeding Mr. Baldwin 9:00p - The Bounceback* 9:30p - Pig Death Machine
10:00a - Shorts 4* 10:45a - Acting: Wes and Maura Studi 12:00p - Master Discussion: Lee Daniel* 1:00p - The Rocket 2:00p - Intimate Conversation: Ron Bloomberg* 3:00p - Suicide Shop 4:00p - John Nichols booksigning (lobby) 5:00p - Hairspray (Free, first come first served)* 5:30p - Milagro Man 7:00p - Shorts 5* 7:30p - Ass Backwards
* indicates shows will be in The Studio at CCA , our new screening room.
Mon Oct 21 Cinematheque Closed
Tues Oct 22 4:00p - 20 Feet 5:00p - When Comedy...* 6:00p - 20 Feet 7:00p - When Comedy...* 8:00p - Populaire
Weds Oct 23 2:00p - 20 Feet 3:00p - When Comedy...* 4:00p - 20 Feet 5:00p - When Comedy...* 6:00p - 20 Feet 7:30p - Cherokee Word for Water (w/ reception at 6:30p)* 8:00p - Populaire
Thurs Oct 24 5-6:30p - Celebrate New Mexico Presented by Whole Foods – FREE WITH FOOD!! 6:45p - Off the Map (Free screening) 7:30p - Cherokee Word for Water*
Concessions Provided by WHOLE FOODS MARKET PASATIEMPOMAGAZINE.COM
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movie flails because of its stilted writing, mediocre acting, and a structure that gives it the feel of an educational film rather than a feature. Filmmaker receptions accompany the screenings, at 7:30 p.m. Wednesday and Thursday, Oct. 23 and 24, only. Rated PG. 92 minutes. Center for Contemporary Arts, Santa Fe. ( Jennifer Levin) See review, Page 52. ESCAPE PLAN Sylvester Stallone went to prison in 1989’s Lock Up, and now he’s going back. Here, he plays a security expert who’s hired to attempt to break out of a new high-tech prison. When he realizes he’s been set up and is now stuck in the slammer, he teams up with a fellow inmate (Stallone’s ’80s action-film contemporary Arnold Schwarzenegger) to break out for real. Rated R. 116 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)
Casey Wilson and June Diane Raphael give Ass Backwards (at Center for Contemporary Arts, Santa Fe) two thumbs up
opening this week AFTER TILLER George Tiller, one of a handful of doctors trained to perform third-trimester abortions in the United States, was assassinated while in church in 2009. After Tiller explores the legacy shared by the four remaining doctors in the country who perform this service, all of whom face regular threats to their safety, as well as why some people need to terminate advanced pregnancies and what the process entails. Much of the film takes place at the Southwestern Women’s Options clinic in Albuquerque. After Tiller depicts an important historical moment in medicine, women’s rights, and social policy. Shows as part of the Santa Fe Independent Film Festival. 5:30 p.m. Saturday, Oct. 19, only. Rated PG-13. 85 minutes. Center for Contemporary Arts, Santa Fe. ( Jennifer Levin) ASS BACKWARDS This cynical, shameless retread of Romy and Michele’s High School Reunion sends lifelong BFFs Kate ( June Diane Raphael) and Chloe (Casey Wilson) back to their hometown for a rematch among former contestants of a child beauty pageant. The road to their destination is littered with throwback lesbian communes, meth binges, and other funny-weird, not funny-ha-ha, adventures that give the ladies a chance to learn their strengths and weaknesses and broaden their worldview. It’s nice to see a buddy comedy in which talented female comedians get to pee on the 54
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street and engage in blue humor. Shows as part of the Santa Fe Independent Film Festival. Wilson and Raphael attend the screening, at 7:30 p.m. Sunday, Oct. 20, only. Not rated. 90 minutes. Center for Contemporary Arts, Santa Fe. ( Jennifer Levin) BIRTH OF THE LIVING DEAD Director Rob Kuhn’s documentary gets the straight story from horrormeister George A. Romero on his classic ghoul picture Night of the Living Dead. Details of production triumphs and woes make one wonder how such a low-budget movie had an impact that still resonates today. Contemporary zombie films and television programs owe a tremendous debt to Romero, who started it all. Not rated. 76 minutes. The Screen, Santa Fe. (Michael Abatemarco) See review, Page 51. CARRIE It’s 2013, but life isn’t easier for high school girls than it was in 1976. Brian De Palma’s horror film about the worst prom experience ever gets a modern facelift courtesy of director Kimberly Peirce (Boys Don’t Cry) and stars Chloë Grace Moretz (Kick-Ass) and Julianne Moore. Stephen King’s novel remains the source material. Rated R. 99 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE CHEROKEE WORD FOR WATER This is the story of how Wilma Mankiller, the first female chief of the Cherokee Nation, and activist Charlie Soap helped the people of Bell, Oklahoma, dig an 18-mile trench to bring running water and indoor plumbing to their community in the early 1980s. Despite excellent cinematography, the
THE FIFTH ESTATE The story of WikiLeaks is an important one, but director Bill Condon (Dreamgirls) spins it like a clothes dryer, with an excess of tumbling action and not a lot of clarity. It’s the story of the meteoric rise of the truth-telling website and its controversial founder, Julian Assange (played here by Benedict Cumberbatch), and when it’s over you won’t have a much better idea of what it was all about. Daniel Brühl (Rush) plays Daniel Domscheit-Berg, Assange’s sidekick, who became disenchanted with his boss and wrote the book on which much of the movie is based. WikiLeaks started creating headlines in 2007, but it was its release of a huge trove of classified U.S. government documents in 2010 that made it a household word. The picture starts at the climax, backtracks to the early days, and ends with a Guardian editor (David Thewlis) intoning “A good story always starts at the beginning.” And then it ends — and ends some more. Assange is reportedly not happy with the movie, which does give him his say at its conclusion. Rated R. 128 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) THE GOOD, THE BAD, THE WEIRD An example of cinematic excess, this wild Korean Western, directed and co-written by Kim Jee-Woon, is set sometime in the 1930s in Japanese-occupied Manchuria. The trio of disparate title characters battle one another — as well as hordes of Chinese bandits, Japanese soldiers, and the dreaded Ghost Market gang — to get their mitts on a treasure map. The action scenes are often thrilling, sometimes repetitious, and ultimately exhausting. It’s definitely a guy flick, and animal lovers should be warned that a lot of horses end up getting shot. But then so do a lot of people. 11 p.m. Friday and Saturday, Oct. 18 and 19, only. Rated R. 132 minutes. In Korean with subtitles. Jean Cocteau Cinema, Santa Fe. (Robert Nott)
THE GUILD All six seasons of the webbased comedy series about online gamers screen in their entirety from Monday to Thursday, Oct. 21 to 24, with different seasons screening each night. Created by Felicia Day, The Guild follows the misadventures of Codex (Day) and The Knights of Good, a guild obsessed with a game called simply “The Game.” What began as an idea for a television pilot found its rightful home on YouTube in 2007. The series’ in-jokes and esoteric references to the world of gamers may alienate some viewers, but fans of the show are in for a treat — cast and crew members Skype with the audience at each screening. Not rated. Running times vary. Jean Cocteau Cinema, Santa Fe. (Michael Abatemarco) NIGHT OF THE LIVING DEAD George A. Romero’s bleak, despairing vision of a world gone mad will have you asking, Who are the real monsters? Regarded today as the progenitor of America’s ongoing zombie obsession, 1968’s Night of the Living Dead depicts the fate of a group of survivors holed up in an abandoned farmhouse as the zombie apocalypse rages. As citizens fight back, they become the aggressors, and one almost starts to feel sympathy for the ghouls. The film says more about contemporary society than most of the imitators that followed. Shows with Birth of the Living Dead at 8:15 p.m. Saturday, Oct. 19, only. Not rated. 96 minutes. The Screen, Santa Fe. (Michael Abatemarco) See Screen Gems, Page 50. PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with a showing of Aram Khachaturian’s Spartacus from Moscow’s Bolshoi Ballet. Yuri Grigorovich choreographs and directs. Mikhail Lobukhin and Anna Nikulina star. 2:30 p.m. Sunday, Oct. 20, only. Not rated. 215 minutes, including pre-show and two intermissions. The Screen, Santa Fe. (Not reviewed) SHEPARD & DARK Treva Wurmfeld’s fascinating documentary about two old friends, the famous playwright and actor Sam Shepard and his obscure pal Johnny Dark, takes off from the decision to edit and publish the five decades of correspondence the men have shared since they met in New York in 1963. During the time it takes for the filmmaker to follow her subjects and record their interaction, a shift in their personal dynamic takes place. It’s the observer effect, which posits that the act of observation causes changes to the phenomenon being observed. Not rated. 88 minutes. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 53. SWEET VENGEANCE January Jones is a newly wed woman with a past and Ed Harris is a renegade, proto-hippie lawman in this patchy gothic Western set in the late 1800s
in the desert between Santa Fe and Tucumcari. The story is riddled with holes, but the cinematography is lovely. The fun for local audiences will be watching the big stars inflict violent vengeance on Santa Fe actors, including Luce Rains and Jenny Gabrielle. Spoiler alert: anyone who has done wrong — religious tyrants, peeping Toms, thieving bankers — dies in this movie. Shows as part of the Santa Fe Independent Film Festival. Filmmakers Noah and Logan Miller attend the screening, at 7 p.m. Friday, Oct. 18, only. Rated R. 95 minutes. Lensic Performing Arts Center, Santa Fe. ( Jennifer Levin) THESE BIRDS WALK At a group home in Karachi run by an aged humanitarian live dozens of boys who were lost by their families or ran away from home. An ambulance driver who was once lost himself is responsible for driving the boys back to their villages; their struggles make his seem further away — for which he is grateful. Some boys want to go home, but others do not. They often ask God what he has planned for them and to help them not be alone anymore. The documentary has no voice-over or on-screen text to guide the viewer; the footage unfolds like a short story. Screens as part of the Santa Fe Independent Film Festival. 7 p.m. Saturday, Oct. 19, only. Not rated. 71 minutes. In Urdu with subtitles. Center for Contemporary Arts, Santa Fe. ( Jennifer Levin)
now in theaters BLUE JASMINE Woody Allen’s latest mixes comedy and tragedy in an inspired symphony of social criticism. Cate Blanchett is Jasmine, a Park Avenue socialite who lost everything when her husband (Alec Baldwin) went to jail for financial fraud. She goes to San Francisco and moves in with her blue-collar sister Ginger (a perfect Sally Hawkins). The cast, which also includes Bobby Cannavale, Andrew Dice Clay, and Peter Sarsgaard, is flawless. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) THE BUTLER At times overblown and unwieldy, an occupational hazard for a movie that covers 80 years of the civil rights movement in America, this is still a major accomplishment. We see it through the eyes of Cecil Gaines (Forest Whitaker), a man who rises from the cotton fields of Georgia to a tenure as White House butler that extends from Eisenhower through Obama’s election. The fine cast includes Oprah Winfrey as his wife and star cameos as the presidents. Rated PG-13. 132 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards)
CAPTAIN PHILLIPS Director Paul Greengrass knows how to turn newspaper headlines into white-knuckle thrillers, having earned accolades with 2006’s United 93. This time he tells the story of Captain Richard Phillips (Tom Hanks), whose freighter was hijacked by Somali pirates in 2009. Rated PG-13. 133 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (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 technology-obsessed culture. Kids will dig it, which is fortunate, because there aren’t many other family films due before the holidays. Rated PG. 95 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) DON JON Actor Joseph Gordon-Levitt makes his feature-length debut as writer and director with this romantic comedy. He stars as Don, a guy who loves bringing home different women each night or staying home with pornography. Then he meets a woman (Scarlett Johansson) so perfect that he attempts to give up both habits. Rated R. 89 minutes. Regal DeVargas, 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) ESCAPE FROM TOMORROW Director Randy Moore secretly shot this psychological horror pic in Disney’s theme parks without permission from the famously litigious Walt Disney Company. Perhaps inevitably, the film’s actual story isn’t as good as its back story. Roy Abramsohn is Jim White, a father who has a breakdown while taking his family on vacation. The photography — which often captures the familiar continued on Page 56
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park with Buñuel-esque surreality — is the film’s draw, but the narrative and themes never add up to as much as one would hope. Not rated. 104 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) THE FAMILY Robert De Niro and Michelle Pfeiffer play the parents of a family that ends up in the witness protection program in Normandy after daddy rats out his mafia family across the Atlantic. This is a lighthearted satire of mob dramas, so if you think there aren’t going to be comedic examples of culture clash, then fuggedaboutit! Rated R. 111 minutes. Regal DeVargas, Santa Fe. (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 (Children of Men) 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. To see one character’s globelike teardrops in zero gravity, as her possible fate and her profound loneliness weigh down on her, is to be deeply moved. Rated PG-13. 91 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) MACHETE KILLS The 2010 “Mexploitation” film Machete — starring Danny Trejo as a bad hombre who kicks butt and lands the ladies — apparently earned enough of a cult following that a sequel was in order. Robert Rodriguez returns to the director’s chair for another cartoonishly violent tale. Rated R. 108 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) MUSCLE SHOALS Documentary filmmaker Greg Camalier’s history of the famed Alabama recording mecca proposes several reasons why the town on the Tennessee River became a hotbed of hits. Not all are believable. FAME Recording Studios producer Jim Hall and the funky
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locally based musicians who backed such greats as Wilson Pickett, Aretha Franklin, and Percy Sledge are the big story. Hall’s history is interesting, scenes of the surrounding countryside are beautiful, and some big names — Bono, Mick Jagger, and Franklin among them — sing the place’s praises. But the real star here is the music. Rated PG. 111 minutes. The Screen, Santa Fe. (Bill Kohlhaase)
and frustrations of the backup singers whose vocals raise the sound to another level. Táta Vega, Claudia Lennear, and Lisa Fischer are a few that will send you out of the theater wondering about the barrier that has kept them from headliner status. Tuesday and Wednesday, Oct. 22 and 23, only. Rated PG-13. 90 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards)
POPULAIRE Set in late-’50s France, this colorful, quirky film tells the story of a plucky young woman (Déborah François) who enters a typing contest with the encouragement of a potential beau (Romain Duris) and rises to compete on the global stage. Tuesday and Wednesday, Oct. 22 and 23, only. In French with subtitles. Rated R. 111 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed)
WHEN COMEDY WENT TO SCHOOL It would be stretching the case to say that Ron Frank and Mevlut Akkaya’s documentary about Borscht Belt humor is a good movie. But there’s something irresistible about it — or parts of it, anyway — and that something is the wonderful archival footage of Jewish comics from the late ’40s and ’50s, cracking wise onstage at Catskills resorts and in clips from movies and early television. To the extent that the movie becomes a love letter to the Catskills resorts, it loses interest for an audience primed for comedy and becomes a cloying shuffle down memory lane. Tuesday and Wednesday, Oct. 22 and 23, only. Not rated. 83 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards)
PULLING STRINGS Alejandro ( Jaime Camil) is a mariachi musician who needs to get a visa to come to the United States. When the woman who rejects him (Laura Ramsey) gets drunk and passes out on a street in Mexico, he helps her — and maybe, just maybe, romance blossoms. In English and Spanish with subtitles. Rated PG. 118 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) RUSH Ron Howard’s latest, written by Peter Morgan (Frost/Nixon), follows the epic 1976 duel for the World Drivers’ Championship between dashing Brit James Hunt (Chris Hemsworth) and wonky, obsessive Austrian Niki Lauda (Daniel Brühl). There is plenty of excitement, mostly on the Grand Prix tracks. But the good stuff is stitched together painstakingly with an excess of exposition, explanation, and hand-holding of the viewer as Morgan and Howard lead us through the races, the personalities, the romances, and the season. Despite the thrill ride, it’s ultimately more a Niki Lauda than a James Hunt of a movie. Rated R. 123 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards) SHORT TERM 12 Brie Larson plays Grace, the head of a staff responsible for creating a safe environment for teens in a group home. Short Term 12 demonstrates how love can come from unexpected sources and that sometimes finding a path out of the darkness is just a matter of luck. The performances are excellent and natural, and the screenplay contains no forced emotional or moral arcs to bring easy closure — yet this is a movie filled with hope. Rated R. 96 minutes. The Screen, Santa Fe. ( Jennifer Levin) 20 FEET FROM STARDOM “Not everyone is cut out for stardom,” says Bruce Springsteen, one of the headliners who muses here on the contributions
THE WICKER MAN Writer Anthony Shaffer’s visually symbolic 1973 cult classic — seen here in a newly restored version that the director considers definitive — is about an island of pagans who put a police sergeant from the mainland through a macabre goose chase. Neil Howie arrives in Summerisle after receiving an anonymous letter about the disappearance of a 12-year-old girl. But no one, not even the girl’s own mother, seems to know her, arousing Howie’s suspicions. A trail of temptation, drinking songs, phallic symbols, and fertility rituals leads the devout Howie to a frightening realization: it’s his goose being cooked. Not rated. 94 minutes. Jean Cocteau Cinema, Santa Fe. (Bill Kohlhaase)
other screenings Center for Contemporary Arts 6:45 p.m. Thursday, Oct. 24: Off the Map. DreamCatcher Grace Unplugged. Regal Stadium 14 Insidious: Chapter 2, Instructions Not Included, Prisoners, Romeo and Juliet, Runner Runner. 2 p.m. Sunday, Oct. 20, and 2 p.m. & 7 p.m. Wednesday, Oct. 23: The Matrix. 9 p.m. Thursday, Oct. 24: Bad Grandpa. 10 p.m. Thursday, Oct. 24: The Counselor. ◀
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Call theaters or check websites to confirm screening times. CCA CinemAtheque And SCreening room
1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org 20 Feet From Stardom (PG-13) Tue. 4 p.m., 6 p.m. Wed. 2 p.m., 4 p.m., 6 p.m. The Cherokee Word for Water (PG) Wed. and Thurs. 7:30 p.m. Off the Map (PG-13) Thurs. 6:45 p.m. Populaire (R) Tue. and Wed. 8 p.m. Santa Fe Independent Film Festival Fri.-Sun. See www.santafeindependentfilmfestival.com for details When Comedy Went to School (NR) Tue. 5 p.m.,
The Matrix (R) Sun. 2 p.m. Wed. 2 p.m., 7 p.m. Prisoners (R) Fri. to Tue. 12:55 p.m., 4:35 p.m.,
8 p.m. Wed. 12 p.m., 3:20 p.m. Pulling Strings (PG) Fri. to Wed. 1:15 p.m., 4:10 p.m., 7:15 p.m., 9:55 p.m. Romeo and Juliet (PG-13) Fri. to Wed. 1:05 p.m., 4:15 p.m. Runner Runner (R) Fri. and Sat. 1 p.m., 4:25 p.m., 7 p.m., 9:30 p.m. Sun. 5 p.m., 7:20 p.m., 9:45 p.m. Mon. and Tue. 1 p.m., 4:25 p.m., 7 p.m., 9:30 p.m. Wed. 9:30 p.m. Rush (R) Fri. to Wed. 12:45 p.m., 3:50 p.m., 7:20 p.m., 10:20 p.m.
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7 p.m. Wed. 3 p.m., 5 p.m.
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418 Montezuma, 505-466-5528 Escape FromTomorrow (NR) Fri. 2 p.m. Sun. 7:30 p.m. Wed. and Thurs. 4:15 p.m. The Good, the Bad, the Weird (R) Fri. and Sat. 11 p.m. The Guild Mon. to Thurs. 6:20 p.m. Santa Fe Independent Film Festival Fri.-Sun. See www.santafeindependentfilmfestival.com for details The Wicker Man: Final Cut (NR) Fri. 6 p.m.
Wed. and Thurs. 2 p.m. regAl deVArgAS
562 N. Guadalupe St., 505-988-2775, www.fandango.com Blue Jasmine (PG-13) Fri. and Sat. 1:40 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m. Sun. to Thurs. 1:40 p.m., 4:30 p.m., 7:30 p.m. The Butler (PG-13) Fri. and Sat. 1:05 p.m., 3:50 p.m., 6:50 p.m., 9:35 p.m. Sun. to Thurs. 1:05 p.m., 3:50 p.m., 6:50 p.m. Don Jon (R) Fri. and Sat. 1:50 p.m., 4:40 p.m., 7:40 p.m., 10 p.m. Sun. to Thurs. 1:50 p.m., 4:40 p.m., 7:40 p.m. Enough Said (PG-13) Fri. and Sat. 1:30 p.m., 4:20 p.m., 7:20 p.m., 9:40 p.m. Sun. to Thurs. 1:30 p.m., 4:20 p.m., 7:20 p.m. The Family (R) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:45 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:10 p.m. The Fifth Estate (R) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:50 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. regAl StAdium 14
3474 Zafarano Drive, 505-424-6296, www.fandango.com Bad Grandpa (R) Thurs. 9 p.m. Captain Phillips (PG-13) Fri. to Wed. 12:30 p.m., 4 p.m., 7:15 p.m., 10:15 p.m. Carrie (R) Fri. to Wed. 12 p.m., 2:30 p.m., 5 p.m., 7:10 p.m., 7:45 p.m., 9:45 p.m., 10:15 p.m. Cloudy With a Chance of Meatballs 2 in 3D (PG) Fri. to Wed. 10 p.m. Cloudy With a Chance of Meatballs 2 (PG) Fri. to Wed. 12:10 p.m., 2:35 p.m., 5:10 p.m., 7:30 p.m. The Counselor (R) Thurs. 10 p.m. Escape Plan (R) Fri. to Wed. 1:10 p.m., 4:30 p.m., 7:30 p.m., 10:15 p.m. Gravity 3D (PG-13) Fri. to Wed. 12:05 p.m., 12:15 p.m., 2:25 p.m., 3:45 p.m., 4:55 p.m., 5:20 p.m., 7:05 p.m., 7:35 p.m., 9:20 p.m., 10 p.m. Gravity (PG-13) Fri. to Wed. 2:45 p.m., 7:50 p.m., 10:15 p.m. Insidious: Chapter 2 (PG-13) Fri. to Wed. 12:05 p.m., 2:40 p.m., 5:15 p.m., 7:50 p.m., 10:20 p.m. Instructions Not Included (PG-13) Fri. to Wed. 12:50 p.m. Machete Kills (R) Fri. to Wed. 1:20 p.m., 4:20 p.m., 7:25 p.m., 10:10 p.m.
Legendary Author and Illustrator
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Birth of the Living Dead (NR) Sun. to Thurs. 8:15 p.m. Bolshoi Ballet: Spartacus (NR) Sun. 2:30 p.m. Muscle Shoals (PG) Fri. 4:35 p.m., 9:15 p.m. Sat. 1:30 p.m., 6 p.m. Sun. to Thurs. 6 p.m. Night of the Living Dead (NR) Sat. 8:15 p.m. , followed by Birth of the Living Dead Shepard & Dark (NR) Fri. 7 p.m. Sat. 4 p.m. Sun. 12:15 p.m. Mon. to Thurs. 4 p.m. ShortTerm 12 (R) Fri. 2 p.m. Sat. 11:15 a.m. Mon. to Thurs. 1:45 p.m. mitChell dreAmCAtCher CinemA (eSpAñolA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com Captain Phillips (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m. Carrie (R) Fri. 4:55 p.m., 7:30 p.m., 9:55 p.m. Sat. 2:20 p.m., 4:55 p.m., 7:30 p.m., 9:55 p.m. Sun. 2:20 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. Cloudy With a Chance of Meatballs 2 in 3D (PG) Fri. 4:35 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:35 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:35 p.m., 7 p.m. Mon. to Thurs. 4:35 p.m., 7 p.m. Cloudy With a Chance of Meatballs 2 (PG) Fri. 4:35 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:35 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:35 p.m., 7 p.m. Mon. to Thurs. 4:35 p.m., 7 p.m. Escape Plan (R) Fri. 4:45 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:05 p.m., 4:45 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:05 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. Grace Unplugged (PG) Fri. 5 p.m., 7:35 p.m., 9:50 p.m. Sat. 2:30 p.m., 5 p.m., 7:35 p.m., 9:50 p.m. Sun. 2:30 p.m., 5 p.m., 7:35 p.m. Mon. to Thurs. 5 p.m., 7:35 p.m. Gravity 3D (PG-13) Fri. 4:40 p.m., 7:10 p.m., 9:45 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:10 p.m., 9:45 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:10 p.m. Mon. to Thurs. 4:40 p.m., 7:10 p.m. Gravity (PG-13) Fri. 4:40 p.m., 7:10 p.m., 9:45 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:10 p.m., 9:45 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:10 p.m. Mon. to Thurs. 4:40 p.m., 7:10 p.m. Machete Kills (R) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:25 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. Pulling Strings (PG) Fri. 4:40 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:15 p.m., 4:40 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:15 p.m., 4:40 p.m., 7:05 p.m. Mon. to Thurs. 4:40 p.m., 7:05 p.m.
(800) FANDANGO #608
Rosemary Wells
Saturday, October 19th, 3:00 pm Meet the creator of
Max and Ruby!
b o o k s • k i d s • lo v e
beehivekidsbooks.com, 328 montezuma ave - santa fe, 505.780.8051
$23
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1501 Paseo de Peralta, Santa Fe | 5:30-10:00pm | 505.955.7805 | www.hotelsantafe.com
PASATIEMPOMAGAZINE.COM
57
RESTAURANT REVIEW Bill Kohlhaase I The New Mexican
Hamburger heaven Santa Fe Bite 311 Old Santa Fe Trail, 505-982-0544 7 a.m.-9 p.m. Tuesdays-Fridays; 8 a.m.-9 p.m. Saturdays; brunch 8 a.m.-5 p.m. Sundays; closed Mondays Vegetarian options Takeout available Handicapped-accessible (through Garrett’s Desert Inn) Beer & wine coming soon Patio dining in season Noise level: moderate Credit cards, local checks
•
The Short Order There’s no need to fear that the great green-chile cheeseburger you used to get at the defunct Bobcat Bite hasn’t traveled to its new location. John and Bonnie Eckre’s Santa Fe Bite should gain the same national accolades for its daily ground chuck-andsirloin burgers as they did out on Old Las Vegas Highway. Steaks and pork chops are still on the menu, and the sides, including house-made potato chips, baked beans, and coleslaw, are pretty good, too. But it’s hard for the other offerings — decent tacos, green-chile enchiladas, and fish and chips (Fridays only) — to measure up to that stellar burger. Don’t come here for a quick lunch. Getting things just right takes time. Recommended: green-chile cheeseburger, bacon cheeseburger, rib-eye steak, greenchile enchiladas, green-chile cheese fries, cornmeal pancakes, and biscuits and gravy.
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.
58
PASATIEMPO I October 18 -24, 2013
Change seldom bodes well for a popular restaurant. Remodeling, relocation, a new chef, or a change of ownership can potentially doom what was once an exceptional dining experience. When John and Bonnie Eckre of Bobcat Bite, the venerable establishment on Old Las Vegas Highway, announced they would be relocating, some of the restaurant’s clientele — including me — felt consternation. Would those delectable green-chile cheeseburgers survive the move? We’re here to assure you they did. At their new enterprise, dubbed Santa Fe Bite and located in a space attached to Garrett’s Desert Inn, the Eckres are making burgers the same way and with the same ingredients as they did at Bobcat Bite. Fans of the old location may miss the funky pink exterior, the tight quarters, and the quaint sign-up board near the entrance. But even with an expanded menu, the new spot has preserved the quality of the Eckres’ cooking, and they’ve added more dining space. The Bite is dead. Long live the Bite! What distinguishes those burgers? Santa Fe Bite combines cuts of chuck and sirloin and grinds them daily. Burgers are cooked on cast iron, assuring even and consistent heat distribution. In a world where hamburgers ordered rare have gone the way of Caesar salads prepared tableside with a raw egg, the Bite does rare and all the other measures of doneness in exceptionally consistent fashion. Read the definitions at the bottom of the menu (“medium-rare: light red — hot center; medium: pink through and through”), and be assured that’s what you’re going to get. We ordered burgers medium-rare on three different occasions and found each finished almost exactly the same. If you’re so inclined, order your burger rare. The meaty sirloin flavor comes through best that way, and the chewable texture heightens the experience. Our thick 10-ounce patties were juicy and nicely seasoned. The green chile, hidden under the melted cheese, was warm but not so hot that it detracted from the meat. Adding bacon gives your burger a smoky touch. The rye that sandwiched our patty melt was too toasted and not up to the task of absorbing those meaty juices. Stick with the springy, juice-sponging buns. Burgers come with crisp, lightly salted house-made potato chips. The Bite doesn’t offer traditional fries but does have sweet-potato ones that are as good as any in town. “Skillet” baked beans are thick and rich with molasses; and the coleslaw is finely shredded and drenched in a clear, slightly sharp, slightly sweet vinegar dressing. Home fries are dull chunks of potato. Liven them up with cheese and green chile and they become something special. Other offerings, including fish and chips (served Fridays only) and chicken tacos and flautas are tasty but can’t compete with those burgers. The green-chile-chicken enchiladas were spicy enough to open our eyes, the sauce contrasting sharply with the boiled chicken. The black beans that came with them were singularly firm and flavorful, not the overboiled beans that have become so common.
Like the old Bite, the place still offers steaks and pork chops. A boneless rib-eye was a fine marbled cut of beef, nicely seared on the outside and finished perfectly medium-rare as requested. We didn’t get to try the “homemade” apple pie, but the brownie was dry and nothing special. One difference from the old spot: the Bite serves breakfast now and brunch on Sundays. The brunch and breakfast menus are pretty much the same, except for the fact that you can get eggs Benedict with jalapeño hollandaise or fried chicken on Sundays. You’d expect a place that cooks meats to perfection to finish pancakes perfectly, and it does; cast-iron is good for that. The fried chicken is free-range, soaked in buttermilk, and lightly battered. Ask for a piece to be tucked in with an order of biscuits and gravy. The smooth, creamy sausage gravy, warmed with green chile, is a perfect soak for a crispy thigh or leg. The dining room is spacious and not crowded, with black cushioned booths running along the front windows and far wall. There’s a counter where you can watch shakes being made, but the stools are uncomfortable — there’s no good place to set your feet. The wonderful tiered stone patio overlooks Old Santa Fe Trail. Lunches are casual here, the food coming slowly enough that you might need more time than the hour the boss allows. But then, with burgers this good, your boss should understand. ◀
Check, please
Lunch for two at Santa Fe Bite: Green-chile cheeseburger .......................................... $ 11.25 Green-chile-chicken enchiladas ................................ $ 11.50 Iced tea ...................................................................... $ 2.50 Lemonade .................................................................. $ 3.75 TOTAL ....................................................................... $ 29.00 (before tax and tip) Dinner for two, another visit: 13-ounce rib-eye steak with coleslaw and home fries .. $ 24.75 Green chile and cheese for home fries ....................... $ 1.50 Patty melt .................................................................. $ 11.25 Brownie ..................................................................... $ 2.75 TOTAL ....................................................................... $ 40.25 (before tax and tip) Brunch for two, another visit: Biscuits and gravy with chicken leg ........................... $ 10.50 Cornmeal pancakes with blueberries ........................ $ 11.25 One egg, poached ...................................................... $ 1.25 TOTAL ....................................................................... $ 23.00 (before tax and tip)
✯✯ ✯✯✯
✯✯✯ ✯✯
ELECTiOn 2012
75¢
OBAmA! Locally owned and independent
Wednesday, november 7, 2012
www.santafenewmexican.com
President wins second term, vows ‘best is yet to come’ Complete results at www.santafe newmexican.com /election
Big Brothers Big Sisters celebrates 30 years with bowling, boogies Local, C-1
Hilltoppers sweep Sundevils to win 5th straight title Sports, D-1
u.s. senATe
Heinrich (D) Wilson (R) Barrie (iAP)
51% 45 4
Locally ally o all owned ow wn and independent
sTATe senATe DIsTrICT 39
Sunday, April 28, 2013
LEGISLATURE Griego (D) Dunn (R)
sTATe hOuse DIsTrICT 43
WINNER
The New Mexican
50% 49
sTATe hOuse DIsTrICT 50
Easley (D) Miller (R)
56% 44
COnsTITuTIOnAl AmenDmenTs Amendment 1 Yes 60% No 40% Amendment 2 Yes 81% No 19% Amendment 3 Yes 51% No 49% Amendment 4 Yes 51% No 49% Amendment 5 Yes 61% No 39%
President Barack Obama greets supporters as he walks on stage with first lady Michelle Obama and daughters Malia, right, and Sasha at his election night party early Wednesday in Chicago. Obama defeated his Republican challenger, former Massachusetts Gov. Mitt Romney. CARolYN KASteR/the ASSoCiAteD PReSS
By David Espo
The Associated Press
w
ASHINGTON — President Barack Obama rolled to reelection Tuesday night, vanquishing former Massachusetts Gov. Mitt Romney despite a weak economy that plagued his first term and put a crimp in the middle-class dreams of millions. In victory, he confidently promised better days ahead. Obama spoke to thousands of cheering supporters in his hometown of Chicago, praising Romney and declaring his optimism for the next four years. “While our road has been hard, though our journey has been long, we have picked ourselves up, we have fought our way back and we know in our hearts that for the United States of America, the best is yet to come,” he said. Romney made his own graceful concession speech before a disappointed crowd in Boston. He summoned all Americans to pray for Obama and urged the night’s political winners to put parti-
sTATe BOnDs Bond A Yes 63% Bond B Yes 62% Bond C Yes 61%
No 37% No 38% No 39%
COunTy meAsures Fire Excise Tax Yes 69% No 30% Bond Question 1 Yes 69% No 30% Bond Question 2 Yes 70% No 29% Bond Question 3 Yes 64% No 35% UNoFFiCiAl ReSUltS
NEW MEXICO PRESS ASSOCIATION 2013 AWARD FOR
General Excellence AMONG ALL NEW MEXICO NEWSPAPERS
Pasapick More events in Calendar, A-2
san bickering aside and “reach across the aisle” to tackle the nation’s problems. Still, after the costliest — and one of the nastiest — campaigns in history, divided government was alive and well. Democrats retained control of the Senate with surprising ease. Republicans did the same in the House, ensuring that Speaker John Boehner of Ohio, Obama’s partner in unsuccessful deficit talks, would reclaim his seat at the bargaining table. At Obama headquarters in Chicago, a huge crowd gathered waving small American flags and cheering. Supporters hugged each other, danced and pumped their fists in the air. Excited crowds also gathered in New York’s Times Square, at Faneuil Hall in Boston and near the White House in Washington, drivers joyfully honking as they passed by. With returns from 84 percent of the nation’s precincts, Obama had 53.7 million, 49.6 percent of the popular vote. Romney had 53 million, or 48.9 percent.
Please see OBAmA, Page A-6
ELECTORAL COLLEGE
Obama
Romney
Obama
Romney
56,129,652
54,674,214
While the Legislature is not in session, many lawmakers travel out of state — at taxpayer expense — to attend various conventions, conferences and workshops. Meeting fellow legislators and officials from other states gives our senators and representatives fresh and wider perspectives, and keeps them informed on issues facing New Mexico. Money spent reimbursing travel expenses is seen as an investment, with the goal of producing better lawmakers. However, a recent check of state travel vouchers showed that taxpayers shelled out thousands of dollars for out-of-state travel and even a couple of out-of-country trips for several lame-duck legislators who knew they wouldn’t be coming back to the Roundhouse this year. Some were lawmakers who did not seek re-election and others were defeated in their bids for re-election last year. There is a law that prohibits nonreturning members of the Senate and House from being reimbursed for outof-state travel — unless three-fourths of the members of the Legislative Council, a committee made up of lawmakers in leadership positions and senior members of the Legislature, vote to approve the travel. And that’s
Divorced couple reunite, plan new future together after accident leaves him paralyzed below chest
Myoko Costello gives Stephen Pattelena a kiss hello after he returns home from picking up their twin daughters from Girls Inc. on Wednesday. The couple were divorced when Pattelena was in a serious car accident last year, but now the family is back together, living under the same roof. PHOTOS BY JANE PHILLIPS/THE NEW MEXICAN
By Phaedra Haywood The New Mexican
t
he stress of modern-day life tore their marriage apart. Tragedy brought them back together. Now this Santa Fe couple and their daughters are working to rebuild their lives after an accident forced them to examine what’s really important.
Boy meets, marries, divorces girl They met waiting in line for the bathroom at the Cowgirl BBQ. “I let her go first,” said Stephen Pattelena. “She thought that was sweet. Then I asked for her number, and we had a date.” “It was like we were old friends,” Myoko Costello said of the couple’s first real date. “I felt his confidence. He was rough and rugged and down to earth, but had a sense of worldliness about him. He drove a beater. But he was classy, with good taste. On our second date, we went on a hike, and he pulled out a bottle of good wine.” “She was really cute,” Pattelena said. “And she’d lived a life of adventure — as a Peace Corps volunteer in Chad — and that was attractive to me.” A year and a half later, he decorated their onebedroom apartment in purple, her favorite color, and proposed. “There were dozens and dozens and dozens of flowers,” Costello said. They married May 24, 2003, at the Evergreen Lodge in Hyde Park. They were young and collegeeducated — his degree in mathematics from the College of Santa Fe, hers in environmental science from The State University of New York at Plattsburgh. They had every reason to believe they were on the road to the American dream. But real-life problems threatened the newlyweds’ fairy-tale future. They were eager to be parents but had difficulties conceiving a child. After paying $20,000 for in vitro fertilization treatments, Costello got pregnant with twins. They greeted the birth of their daughters, Adeline and Cecilia, with joy. But pressures began to fray their marital ties. “Two babies and a $20,000 debt was a hard way to start a family,” Costello said. While she was at home with the twins, Pattelena was working at his parents’ business, Santa Fe Home Inspections, where he spent the day climbing ladders, descending into basements and wriggling through crawl spaces. “I was making over $100,000 per year and earning every penny,” he said. He was working 60-plus hours a week.
Please see TrAVel, Page A-5
Alfredo Archuleta, 83, Santa Fe, Nov. 2 Jerre King
Bowles, 91, Santa Fe, Nov. 4 Thomas Ilg, Los Alamos, 54, Nov. 2 Judge William
Wayne Kilgarlin, 79, Nov. 5 Frank H. Rooms, 85, Santa Fe, Nov. 3
Today Partly cloudy. High 68, low 38. pAge C-6
pAge C-2
Costello fixes her daughter’s bicycle chain as 6-year-old Adeline Pattelena discusses the situation with her father and twin Cecilia Pattelena looks on. The family shared a picnic at Fort Marcy park earlier, and then the girls rode their bicycles around.
do lesbians have easier going than gay men?
inSidE u Democrats pick up two seats in the Senate as Akin, Mourdock lose. pAge A-3 u New Mexico voters sound off about who they voted for and why. pAge A-4 u heinrich comfortably tops Wilson to replace Bingaman in U.S. Senate. pAge A-5 u New Mexico Senate faces leadership shake-up after Jennings loses. pAge A-5 u Santa Fe County voters approve three bond questions, fire excise tax. pAge A-8
Obituaries
lannan Foundation literary event Scientist David Suzuki speaks on climate change with indigenous-rights activist Clayton Thomas-Müller, 7 p.m.; Lensic Performing Arts Center, 211 W. San Francisco St.; $3 and $6; 988-1234, ticketssantafe.org.
POPULAR VOTE
303 206 50% 49%
Research shows society exhibits more tolerance toward female couples By Martha Irvine
The Associated Press
Index
Calendar A-2
Classifieds D-4
Comics B-6
Lotteries A-2
Opinion A-7
Police notes C-2
Sports B-1
Time Out B-5
Your guide to City Different holiday traditions Inside
Locally owned and independent
Four sections, 28 pages
Taste D-1
163rd year, No. 312 Publication No. 596-440
Main office: 983-3303 Late paper: 986-3010
Editor: Rob Dean, 986-3033, rdean@sfnewmexican.com Design and headlines: Brian Barker, bbarker@sfnewmexican.com
Saturday, november 17, 2012
Holiday Events
Feliz Navid ad • First Lady
of Santa Fe
• New World
Cuisine
www.santafenewmexican.com 75¢
Mark Chavez
HO O PS
Gun shop owner reports death threat to FBI ahead of coyote killing spree.
Northern New Mexico basketball 2012-2013
HARDWOOD HEROES IN THE MAKING
COYOTE HUNT
‘i’m not going to back down’
International outcry, death threat won’t thwart contest sponsor
The St. Michael’s boys basketball team rushes The Pit floor to celebrate its state title in March.
Pasapick 24th annual AID & Comfort gala
Performances by Frenchie Davis, Donna Sachet, Burlesque Noir and DJ Austin Head, 8 p.m., Buffalo Thunder Resort & Casino, Pojoaque Pueblo, off U.S. 84/285, $50, advance tickets available online at southwestcare.org, proceeds benefit Southwest CARE Center’s AID & Comfort fund. More events in Calendar, A-2 and Fridays in Pasatiempo
pAge A-14
Obituaries Antonio “Tony” Manuel Fernandez Jr., 84, Oct. 19
Susan Dyke was crying Friday as she described for the court the death of her brother in a hit-andrun accident last February. While crossing Agua Fría Street, William “Billy” Schroeder, 50, was struck by a maroon Saturn driven by Leandro Anaya, 27. Schroeder had just come from having drinks with a female friend who lived Leandro nearby. Anaya Anaya “just left him,” Dyke said, “with blood all over his head and body. He just left him there on the cold pavement.” In court, Anaya repeatedly interrupted Dyke’s testimony, prompting District Judge Mary MarloweSommer to order him to “stop that.” This was “not his time to speak,” she said. Dyke said the “irresponsible, preventable, careless act” of killing her brother could have been avoided. Then Marlowe-Sommer ripped into Anaya. “I don’t feel like you’re contrite today,” she said. “No matter what you say today, I now know that you are not sorry.”
Please see FATAl, Page A-4
NeW MexiCAN File Photo
Temperatures are dropping outside, which means it’s time for basketball to heat up Northern New Mexico
D
rop by any small shop or cafe around Northern New Mexico this time of year and, inevitably, the conversation will turn to one of three subjects: weather, politics or
many fans that some can’t get in, forced to follow along in the freezing winter night through communique from within via radio, text or the occasional Internet blather (New Mexican live blogs and hoops. Twitter feeds, check em out!). But not necessarily in that order. Every now and then, the stars align If it’s the weather that keeps us interand said team penetrates well into ested and politics that gets us motivated, March. Small gyms with the unmistakit’s basketball — high school basketball, able stuffy scents of sweat, perfume and to be precise — that keeps us warm in analgesic cremes open into bigger venthe winter and has the uncanny ability ues such as Rio Rancho’s spacious Santa to unite the locals, to stir the passions Ana Star Center or — knock on wood — and create a source of civic pride as few the mecca of high school hoops, The Pit things can. Will Webber in Albuquerque. One of the perks to living in this area is What the Hinkle Fieldhouse was to commentary having the chance to live that experience the final sequence in the movie Hoosiers, time and again, albeit in different locales The Pit accomplishes every year for every few years. What starts as optimism builds New Mexico’s state championship tournaments. slowly with each win. It injects the usual friendsThe run down the steep tunnel that leads from the and-family crowds with rocket fuel, increasing locker rooms to the floor, the idea of playing on a their size several times over. As the momentum court made famous by a Final Four and hundreds builds, attendance grows to include a seething of University of New Mexico moments. For many, mass of alumni and interested townsfolk. Please see herOes, Page A-4 Come February, gyms are crammed with so
thousands of jobless in n.m. could lose benefits By Barry Massey
The Associated Press
About 7,000 jobless New Mexicans will lose unemployment benefits at the end of the year if Congress and the president don’t agree to extend the assistance, legislators were told Friday. That represents about a third of the New Mexicans currently receiving unemployment payments, which range from a minimum of $74 a week to a maximum of $397. Workforce Solutions Secretary Celina Bussey told the Legislative Finance Committee there will be no federal extended unemployment
Please see JOBless, Page A-4
Today Mostly sunny. High 58, low 28.
Pattelena picks up the twins from an after-school program Wednesday. Since he returned home after his accident, Pattelena contributes by picking up the girls from school, cooking dinner or spending time with his daughters at the park.
Our view: Too little done to help youth
Cooking spaces with soul Dream kitchens are no longer about the sexiest six-burner range or the most exotic countertop material. Instead, homeowners are looking for unique rooms that involve less tradition and more transition. reAl esTATe, e-1
Please see eAsIer, Page A-5
Index
Calendar A-2
Classifieds e-6
InsIDe TODAy’s 4-pAge wrAp ArOunD The spOrTs seCTIOn
COmIng nexT week
Classifieds B-5
Opinions B-1
Police notes C-3
Santa Fe Real
Pasapick
pAges C-2, C-3
The Santa Fe Raptor Center plans to release golden eagle James Dean at noon; former Gov. Bill Richardson and actors Wes Studi and Marsha Mason expected to attend; Rio Grande Gorge area on N.M. 570; call the center for details, 699-0455.
Mostly sunny and comfortable. High 76, low 43.
www.pasatiempomagazine.com
raptor release at the Taos gorge
pAge D-6
Real Estate e-1
Sports D-1
Six sections, 44 pages
Time Out/puzzles e-16
164th year, No. 118 Publication No. 596-440
Main office: 983-3303 Late paper: 986-3010
Pair of homes by renowned architect John Gaw Meem on market Home, inside
Special parking meters collect cal News, C-1 coins for charity Local
Estate Guide
April 2013
u Small-school boys and girls capsule previews: Santa Fe Preparatory, Monte del Sol, Mora, Peñasco, Mesa Vista, Questa, Desert Academy, escalante, Coronado, McCurdy, New Mexico School for the Deaf and Santa Fe Waldorf u 10 boys and girls games to watch this season u 10 boys and girls to watch this season
On Our weBsITe u Find the 2012-2013 preview online at www.santafenewmexican.com/basketball
Locally owned and independent • on market About Meem homes Award Joy wins Harnar
Comics B-10
Lotteries A-2
Opinion A-13
Police notes A-12
Editor: Rob Dean, 986-3033, rdean@sfnewmexican.com Design and headlines: Cynthia Miller, cmiller@sfnewmexican.com
Sports B-1
Time Out B-9
Life & Science A-11
Main office: 983-3303 Late paper: 986-3010
InsIDe u obama, Boehner show signs of unity as “fiscal cliff” nears. pAge A-5
Two sections, 28 pages TV Book, 32 pages 163rd year, No. 322 Publication No. 596-440
Sunday, April 7, 2013
www.santafenewmexican.com om $1.25
radon
American labor force dwindles as workers give up
Tuning in TO
drOpOuTS
Santa Fe Public Schools aims to find out why kids quit and how to get them back
By Jesse Washington and Paul Wiseman The Associated Press
WASHINGTON — After a full year of fruitless job hunting, Natasha Baebler just gave up. She’d already abandoned hope of getting work in her field, working with the disabled. But she couldn’t land anything else, either — not even a job interview at a telephone call center. Until she feels confident enough to send out résumés again, she’ll get by on food stamps and disability checks from Social Security and live with her parents in St. Louis. “I’m not proud of it,” says Baebler, who is in her mid-30s and is blind. “The only way I’m able to sustain any semblance of self-preservation is to rely on government programs that I have no desire to be on.” Baebler’s frustrating experience has become all too common nearly four years after the Great Recession ended: Many Americans are still so discouraged that they’ve given up on the job market. Older Americans have retired early. Younger ones have enrolled in school. Others have suspended their job hunt until the employment landscape brightens. Some, like Baebler, are collecting disability checks. It isn’t supposed to be this way. After a recession, an improving economy is supposed to bring people back into the job market. Instead, the number of Americans in the labor force — those who have a job or are looking for one — fell by nearly half a million people from February to March, the government said Friday. And the percentage of working-age adults in the labor force — what’s called the participation rate — fell to 63.3 percent last month. It’s
Pasapick santa Fe men’s Camerata
Calendar A-2
Neighbors C-6
Darlene Rose Long, April 20 Joseph Dominic Lujan, Santa Fe, April 23 Faustin (Huero) Montoya, Sept. 19
Today
Editor: Rob Dean, 986-3033, rdean@sfnewmexican.com Design and headlines: Kristina Dunham, kdunham@sfnewmexican.com
Please see wOrkers, Page A-5
u Class AAA preview, Nov. 24 u Class AAAA preview, Nov. 25 u Complete schedules for all Northern New Mexico teams, Nov. 26
pAge A-12
Index
Lotteries A-2
Please see sTOry, Page A-4
Obituaries Christine Hage Fidel, 87, April 25 Alejandro Gallegos Jr., 97, April 24 Ursula M. Hayter, 90, Los Alamos, April 23
Society isn’t finding solutions that will put young people to work or help them afford ever-increasing education costs. OpInIOns, B-2
By Nico Roesler
Please see COyOTe, Page A-4
Ground war imminent in Gaza, signaling new Mideast headaches for Obama. pAge A-3
Anaya pleads guilty to nine related charges in February hit-and-run
CHICAGO — It may be a man’s world, as the saying goes, but lesbians seem to have an easier time living in it than gay men do. High-profile lesbian athletes have come out while still playing their sports, but not a single gay male athlete in major U.S. professional sports has done the same. While television’s most prominent same-sex parents are the two fictional dads on Modern Family, surveys show that society is actually more comfortable with the idea of lesbians parenting children. And then there is the ongoing debate over the Boy Scouts of America proposal to ease its ban on gay leaders and Scouts. Reaction to the proposal, which the BSA’s National Council will take up next month, has been swift, and often harsh. Yet amid the discussions, the Girl Scouts of USA reiterated its policy prohibiting discrimination based on sexual orientation, among other things. That announcement has gone largely unnoticed. Certainly, the difference in the public’s reaction to the Scouting organizations can be attributed, in part, to their varied histories, including the Boy Scouts’ long-standing religious ties and a base that has become less urban
The New Mexican
By Russell Contreras The Associated Press
ALBUQUERQUE — An online petition against a planned coyote hunt in New Mexico has generated tens of thousands of signatures worldwide, the FBI is investigating a death threat to the gun shop owner who is sponsoring the hunt and one protester has vowed to dress like a coyote to trick hunters into accidentally killing a human. But none of these episodes will likely stop the owner of Gunhawk Firearms in Los Lunas from holding the planned two-day coyote contest this weekend. “I’m not going to back down,” said Mark Chavez, 50, who has faced two weeks of angry phone
Jerusalem targeted as crisis escalates
Man gets 5 years in fatal crash
$1.25
Love &LiFe
By Steve Terrell
Garcia Richard (D) hall (R)
www.santafenewmexican.com
A story of
Taxpayers foot bill for lame-duck travel costs
55% 45
This Land is My Land, folk songs and spirituals, 3 p.m., Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Road, $20, students 18 and under no charge, 473-7733. More events in Calendar, Page A-2 and Fridays in Pasatiempo
Obituaries Melanie Ann Brunner, Tesuque, April 4 Pauline Annette Mian Chakeres, 72, Santa Fe, March 31 Jocelyn Elder, 56, Santa Fe, Feb. 16
Anthony Benjamin Nelson, 76, Jan. 10 Rudy Sandoval, 66, Rio Rancho, April 3 Benjamin Roy Saunders Jr., 85, March 24 pAge C-2
Today Some sun, breezy this afternoon. High 71, low 39.
From left, Ignacio Velarde-Vega, 17, his brother, Jorge, 16, and Carlos Griego, 17, who all dropped out of high school, work at a Habitat for Humanity construction site off Jaguar Drive on March 21 through the YouthWorks program. PHOTOS BY JANE PHILLIPS/THE NEW MEXICAN
BY ROBERT NOTT THE NEW MEXICAN
O
ne dropped out of high school to take care of his ailing mother. Another said he left to work so he could support his new baby. One said he had too much freedom in school and was not offered enough choices. One got kicked out, and yet another left because no one tried to stop him.
They are all high school dropouts from Santa Fe Public Schools, where currently only about 62 percent of students graduate in four years, compared to about 78 percent nationwide. Because every student counts toward the graduation rate, figuring out why students leave school — and what can be done to stop them — is a key component of the district’s reform plan for high schools. Titled “Expanding Options for Families at Secondary Level: Creating Rigor, Relevance and Relationships For Every Student,” the plan offers an array of options to engage students — and their families — and keep kids in school. Among the ideas proposed are plans to expand on current programming and add more career pathways, such as medical sciences, arts and auto mechanics, or even magnet schools, to appeal to the varied interests of students. In recent interviews, students and educators gave reasons for the high dropout rate. They cited the need to work, an unwelcoming environment, learning too slowly, learning too quickly, falling behind in credits, disciplinary issues, home life and even the apparent ease of attaining a GED degree.
Please see DrOpOuTs, Page A-4
pAge D-8
Index
Calendar A-2
Classifieds e-5
Lotteries A-2
Neighbors C-7
Opinions B-1
Police notes C-6
Editor: Rob Dean, 986-3033, rdean@sfnewmexican.com Design and headlines: Kristina Dunham, kdunham@sfnewmexican.com
David Mentor, 20, studies for his GED certificate at Santa Fe Community College on March 28. Mentor, who moved to Santa Fe from Haiti three years ago, plans to attend college after he passes his GED exams. He said he dropped out of high school because he struggled to learn English. His native languages are French and Creole.
Language barrier major factor in student’s choice to drop out By Robert Nott The New Mexican
When David Mentor arrived in Santa Fe from Haiti with his family three years ago, the school system immediately put him back a year. “I was a freshman in Haiti. They told me I had to do it again, so I was a freshman here,” he recalled. Mentor spoke almost no English when he entered Santa Fe High School. “I was trying to get a good education and understand what they were saying in that education,” he said. Even simple mathematical equations were
Real Estate e-1
Sports D-1
tough, he said. “Two times two. Of course you know it. But not if you don’t know what ‘times’ means. I couldn’t understand it unless it was written out [on the board].” He said he took two years worth of prealgebra and still didn’t receive the credits he should have because of some sort of grade reporting mix-up. Most other immigrants, he said, spoke Spanish and had bilingual students in their classes who could translate for the teacher so the students understood the lesson plan. Even in French class, Mentor, who spoke
Time Out/puzzles C-8
Main office: 983-3303 Late paper: 986-3010
Please see BArrIer, Page A-4
Six sections, 52 pages 164th year, No. 97 Publication No. 596-440
PASATIEMPOMAGAZINE.COM
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pasa week Friday, Oct.18
CLASSICAL MUSIC
TGIF recital Eternal String Orchestra of Santa Fe performs music of Puccini, Atterberg, and Suk, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 505-982-8544, Ext. 16, donations accepted.
GALLERY/MUSEUM OPENINGS
Adobe Gallery 221 Canyon Rd., 505-955-0550. Paintings by early-20th-century Native American artists, reception 4-6 p.m., through October. Alexandra Stevens Fine Art 820 Canyon Rd., 505-988-1311. Light, Color, Action; group show of paintings and sculpture, reception 5:30 p.m., through Saturday. Bill Hester Fine Art 631 Canyon Rd., 505-660-5966. Group show, reception 5-7 p.m., through October. Bindle Stick Studios 616½-B Canyon Rd.. 917-679-8080. Robert Buchan: Street Photographs; Jeffrey Schweitzer: The Drifter, new works on paper, reception 5-7 p.m., through October. Canyon Road Art Brokerage 618 Canyon Rd., 505-995-1111. Ten Paintings and Some Clay; work by Stan Berning, reception 5-7 p.m., through Oct. 27. Canyon Road Contemporary Art 403 Canyon Rd. 505-983-0433. Five Theories, group show of paintings, reception 5-7 p.m., through October. Canyon Road Paint Out Sixth annual event with plein-air painters and other artists demonstrate their craft through Sunday. Fatima Hall Immaculate Heart of Mary Retreat and Conference Center, 50 Mount Carmel Rd., 505-984-8353. Sudarios, work by CENTER Artist Labs artist-in-residence Erika Diettes, reception 5-8:30 p.m., artist talk 7:30 p.m., through Thursday. InArt Gallery 219 Delgado St., 505-9836537. Progressive Rhythm, new work by Mark Yearwood, reception 5-7 p.m., through Nov. 18. Jay Etkin Gallery 703 Camino de la Familia, Suite 3103, 505-983-8511. Golden, paintings and mixed media by Sheldon Krevit, reception 5-7 p.m., through Oct. 30. Karan Ruhlen Gallery 225 Canyon Rd., 505-820-0807. Recent Landscapes: Near and Far, work by Martha Mans, reception 5-7 p.m., through October. LewAllen Galleries at the Railyard 1613 Paseo de Peralta. 505-988-3250. Beyond Earth’s Rhythms, paintings by Michael Roque Collins, reception 5-7 p.m., through Nov. 24. LoneDog NoiseCat 241 Delgado St., 505-412-1797. Artists Ira Lujan, El Moises, and Nani Chacon, painting live through Sunday. Manitou Galleries 225 Canyon Rd., 505-986-9833. Plein-air artists painting live noon-5:30 p.m., through Sunday. Matthews Gallery 669 Canyon Rd., 505-992-2882. Salon 669, a re-creation of a Parisian “gatherings”; New Horizons: Focus on Landscapes; historical and contempory group show, reception 5-7 p.m., through Oct. 27.
Pasa’s Little Black Book......... 61 Exhibitionism...................... 62 At the Galleries.................... 63 Museums & Art Spaces........ 63
60
PASATIEMPO I October 18 -24, 2013
compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
IN CONCERT
Roshan Bhartiya Sitarist, 8 p.m., Gig Performance Space, 1808 Second St., $20 at the door, gigsantafe.com.
THEATER/DANCE
I Hate Hamlet Santa Fe Playhouse presents the play by Paul Rudnick, 7:30 p.m., Thursday-Friday through Oct. 27, Santa Fe Playhouse, 142 E. De Vargas St., $20 general admission, discounts available, 505-988-4262.
BOOKS/TALKS
Autophotography Catalog signing by New Mexico photographers in the Axle Contemporary exhibit, 5-7 p.m., Photo-eye Bookstore, 370 Garcia St., 505-988-5159. Artist readings Vivian Gordon reads from her writings in the exhibit Untethered, 1:30 and 3:30 p.m., Eggman & Walrus, 130 W. San Francisco St., second floor, 505-660-0048.
EVENTS
Axle Contemporary shows work by Lisa Tyrell in the exhibit Autophotography, axleart.com.
Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill. 505-982-2226. A Sisterhood of Saints/Una Hermandad de Santas, works from the collection, reception 5-7 p.m., through spring 2014. Sage Creek Gallery 421 Canyon Rd., 505-988-3444. Sojourn, landscapes by Kevin Couter, reception 5-7 p.m., through Nov. 1. Silver Sun 656 Canyon Rd., 505-983-8743. Southwest Landscapes, plein-air paintings by Lee MacLeod, reception 5-7 p.m., through Saturday.
In the Wings....................... 64 Elsewhere............................ 66 People Who Need People..... 67 Pasa Kids............................ 67
Steven Boone Gallery 714 Canyon Rd., 505-670-0598. Twisted Portraits, work by Boone and Dirk Kortz. Ventana Fine Art 400 Canyon Rd., 505-983-8815. Group show, reception 5-7 p.m. Winterowd Fine Art 701 Canyon Rd., 505-992-8878. Global Crossroads, new mixed-media paintings by Don Quade, artist talk 4:30 p.m., reception 5-7 p.m., through October.
DJ dance party Varied dance styles, class 7-7:30 p.m., dancing 7:30-9 p.m. every first and third Friday of the month, full schedule available online at dancestationusa.com, Dance Station, 901 W. Alameda St., Solano Center, $5 at the door. Fall Fest 2013 Vintage Carnival Live music with Joe West & Friends, food, and prizes, 4-8 p.m., 25 tickets for $20 in advance, call Sara Headley, 505-577-7879, $1 tickets available at the event, Turquoise Trail Charter School, 13-A San Marcos Loop. Paleoamerican Odyssey conference Nearly 1,000 Paleoamerican artifacts displayed as part of the three-day conference, 8 a.m.6 p.m. $25 to view the artifacts; contact paleoamericanodyssey.com for full conference details, Santa Fe Community Convention Center, continues through Sunday. Santa Fe Independent Film Festival The fifth season wraps up this weekend; visit santafefeiff.com for a full schedule of feature films and shorts; individual ticket prices vary; call 505-988-1234 or visit ticketssantafe.org to purchase tickets.
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.
NIghtlIfe
(See addresses below) ¡Chispa! at el Mesón The Three Faces of Jazz, 7:30-10:30 p.m. weekly, no cover. Cowgirl BBQ Local flat-picking guitarist Ben Wright, 5-7:30 p.m.; Broomdust Caravan, juke-joint blues, honky-tonk, and rock, 8:30 p.m.; no cover. low ‘n’ Slow lowrider Bar at hotel Chimayó Loren Bienvenu Trio, featuring saxophonist Brian Wingard, 9 p.m. no cover. the Mine Shaft tavern DJ night with Mesa Punk and Ickymac, 8 p.m., no cover. the Palace Restaurant & Saloon Savour, Cuban rhythms, 10 p.m., call for cover. Second Street Brewery Bluegrass band Mystic Lizard, 6-9 p.m., no cover. Second Street Brewery at the Railyard Indie rock band Color Blind Poet, 7-10 p.m., no cover. tiny’s The Jakes, classic rock band, 8:30 p.m., no cover. Vanessie Pianists Doug Montgomery, 6-8 p.m.; John Randal, 8 p.m.-close; no cover.
19 Saturday gAlleRY/MUSeUM OPeNINgS
David Richard gallery 544 S. Guadalupe St., 505-983-9555. Any Position Limits the View (We Are Only Here for a Spell), text- and languagebased art by Allan Graham (aka Toadhouse), closing reception 2-4 p.m. James larson Studio 33-A Bisbee Ct. Marble, bronze, and terra cotta sculpture by Larson, reception noon-5 p.m., through Sunday.
317 Aztec 20-0150 317 Aztec St., 505-8 nter dinner Agora Shopping Ce Vista Grande, ida en Av courtyard 7 70 Eldorado, 505-466-12 e Inn th Agoyo lounge at E. Alameda St., 3 30 a ed am Al on the 505-984-2121 nt Anasazi Restaura Anasazi, Rosewood Inn of the 505-988-3030 e., 113 Washington Av e ffe Co ay rd Bette 505-555-1234 905 W. Alameda St., nch Resort Bishop’s lodge Ra Lodge Rd., ps ho & Spa 1297 Bis 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 the Den at Coyo 5-983-1615 50 , St. r ate W . 132 W Duel Brewing 5-474-5301 1228 Parkway Dr., 50
Manitou galleries 225 Canyon Rd., 505-986-9833. Plein-air artists painting live 9:30 a.m.-5:30 p.m., through Sunday. Offroad Productions 2891-B Trades West Rd., 505-670-9276. Blue, group show, reception 5-8 p.m, through Oct. 26 (see story, Page 42). A Sea gallery 407 S. Guadalupe St., 505-988-9140. After the Return, Ready to Celebrate 50, open house and raffle 3-5 p.m. Zane Bennett Contemporary Art 435 S. Guadalupe St., 505-982-8111. Walling: Containing Architecture, mixed-media work by Tom Miller, closing reception and artist talk 3-5 p.m.
ClASSICAl MUSIC
Santa fe Pro Musica Tchaikovsky Serenade, featuring flutist Carol Redman, 6 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. $20-$65, 505-988-4640, santafepromusica.com or ticketssantafe.org, 505-988-1234, encore Sunday.
IN CONCeRt
earwaves on SomafM grand opening Experimental, electronic, and new music and video, performers include Michael Kott and CelloCosmos and Dwight Loop, 4 p.m.-2 a.m., Budaghers Outer Limits at Lumenscapes Studios, 601 W. Frontage Rd., $10 in advance at holdmyticket.com, $15 at the door (see Sound Waves, Page 20). Musicfest Local music students perform on Canyon Road in support of Santa Fe Public Schools music education programs, noon parade, 1-3 p.m. gallery concerts; for information visit sfpsmusicfest.org or call 505-467-2513.
Pasa’s little black book lton el Cañon at the hi 88-2811 5-9 50 , St. 100 Sandoval Spa eldorado hotel & St., 505-988-4455 o 309 W. San Francisc Rd., 505-983-9912 el farol 808 Canyon evangelo’s o St., 505-982-9014 200 W. San Francisc erging Arts high Mayhem em -2047 38 5-4 50 ., Ln er Sil 2811 hotel Santa fe ta, 505-982-1200 1501 Paseo de Peral asters Ikonik Coffee Ro -0996 28 5-4 50 , 1600 Lena St. St., 505-982-3433 rcy Ma . W la Boca 72 ina la Casa Sena Cant 5-988-9232 50 125 E. Palace Ave., at la fonda la fiesta lounge , 505-982-5511 St. o 100 E. San Francisc a fe Resort nt la Posada de Sa Ave., 505-986-0000 e lac Pa E. 0 33 a and Sp Ar g ts Center lensic Performin St., 505-988-1234 o isc nc Fra n 211 W. Sa e lodge th at ge un lo lodge Francis Dr., St. N. 0 at Santa fe 75 505-992-5800 rider Bar low ’n Slow low de Santa fe ó ay im Ch l at hote 505-988-4900 e., Av 125 Washington
theAteR/DANCe
I Hate Hamlet Santa Fe Playhouse presents the play by Paul Rudnick, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20 general admission, discounts available, 505-988-4262. John Waters The Santa Fe Independent Film Festival’s fifth season continues with Waters’ live one-man vaudeville show This Filthy World, 7 p.m., book signing follows, the Lensic, $18-$58, ticketssantafe.org, 505-988-1234. Motherhood Out loud Staged reading by For Giving Productions theater company against a backdrop of TV and stage illustrations by George Wachsteter, 6 p.m., Casweck Galleries, 203 W. Water St., 505-988-2966.
BOOKS/tAlKS
Art Matters Santa fe reading Janet Davidson reads from Nora Ephron’s book Love, Loss and What I Wore, 6-7 p.m., Casweck Galleries, 203 W. Water St. Artists conversations Artists Kathleen Doyle Cook, Ann Hosfeld, Reg Loving, and Roger Arvid Anderson in conversation, 2-2:45 p.m., New Concept Gallery, 610 Canyon Rd. Artist talk Artist Michael Roque Collins participates in a panel discussion, 11 a.m.-noon, LewAllen Contemporary, 1613 Paseo de Peralta. Ceramicist talk Why Mistakes Matter, a talk by Heidi Loewen, 3-5 p.m., Heidi Loewen Porcelain Gallery, 315 Johnson St. gallery talk Artist Tom Miller discusses his work, 3:30 p.m., Zane Bennett Contemporary Art, 435 S. Guadalupe St.
the Matador 116 W. San Francisco St., 505-984-5050 the Mine Shaft tavern 2846 NM 14, Madrid, 505-473-0743 Molly’s Kitchen & lounge 1611 Calle Lorca, 505-983-7577 Museum hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Music Room at garrett’s Desert Inn 311 Old Santa Fe Trail, 505-982-1851 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
Vivian gordon The artist reads from her writings in the exhibit Untethered, 1:30 and 3:30 p.m., Eggman & Walrus, 130 W. San Francisco St., second floor, 505-660-0048. Colombia: Isla Providencia Slide presentation by Paul Hoffman, 5 p.m., Travel Bug Books, 839 Paseo de Peralta. Robert Mayer The local author reads from and sign copies of his newest book Eyes, 3 p.m., Op. Cit. Bookstore, 500 Montezuma Ave., Suite 101, Sanbusco Center, 505-428-0321. Sheldon Krevit The local artist discusses his work in the exhibit Golden, 1 p.m., Jay Etkin Gallery, 703 Camino de la Familia, Suite 3103, 505-983-8511. Suki John The author discusses and signs copies of Contemporary Dance in Cuba, 4 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. Visual arts talks Visual Thinking in a Changing World, by Tim Mullane, 4 p.m.; From Raymond Jonson to Kiki Smith: The UNM Art Museum’s Permanent Collection at Fifty Years, by Lisa Tamiris Becker, 5 p.m., reception follows, Turner Carroll Gallery, 725 Canyon Rd.
eVeNtS
fashion heat 2013 Native fashion as art show, 4:30-6:30 p.m., Eldorado Hotel and Spa, 309 W. San Francisco St., $10, ticketssantafe.org, 505-988-1234. Oktoberfiesta Third annual event benefiting local Santa Fe charities, music by alt-country bluegrassers Hot Honey, and jam rockers Pigment, noon7 p.m., Santa Fe Brewing Company, 35 Fire Pl., no charge, 505-424-3333.
pasa week
continued on Page 65
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., Suite 117, 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
PASATIEMPOMAGAZINE.COM
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exhibitionism
A peek at what’s showing around town
David Grossmann: Orange Leaves and Setting Sun, 2013, oil on panel. Matthews Gallery (669 Canyon Road) launches the first in a salon-style series of exhibits. New Horizons: Focus on Landscapes opens on Friday, Oct. 18, with a reception at 5 p.m. The show is a selection of landscapes from the gallery’s collection of 19th-, 20th-, and 21st-century paintings. Call 505-992-2882.
J.D. Roybal (1922-1978): San Ildefonso Feast Day Dance Procession, circa 1960s, casein. Adobe Gallery (221 Canyon Road, 505-955-0550) exhibits works by early-20th-century Native American painters who studied with Dorothy Dunn and Gerónima Cruz Montoya at the Santa Fe Indian School, including Allan Houser, Julian Martinez, and Pablita Velarde. There is an opening reception on Friday, Oct. 18, at 4 p.m.
michael Roque Collins: River’s Divide, 2012-2013, oil on linen. LewAllen Galleries at the Railyard (1613 Paseo de Peralta) presents Beyond Earth’s Rhythms, an exhibit of paintings by Michael Roque Collins. His luminous, dreamlike landscapes recall the work of the post-Impressionists. The show, his 50th solo exhibition, opens with a 5 p.m. reception on Friday, Oct. 18. A panel discussion with Collins, museum curator and writer Jim Edwards, and gallery co-owner Ken Marvel follows on Saturday, Oct. 19, at 11 a.m. (no charge for the event). Call 505-988-3250.
62
PASATIEMPO I October 18 -24, 2013
martha mans: Two Trees, Ghost Ranch, 2013, watercolor. Martha Mans’ plein-air watercolors and oil paintings of Europe and the American West are featured in the exhibition Recent Landscapes: Near and Far at Karan Ruhlen Gallery (225 Canyon Road). The opening reception is on Friday, Oct. 18, at 5 p.m. Mans joins the sixth annual Canyon Road Paint Out from 10 a.m. to 3 p.m. on Saturday, Oct. 19, in which gallery artists at several venues engage in painting demonstrations. Call 505-820-0807.
Jeffrey schweitzer: The Drifter: Lost at Sea, 2013, pen, ink wash, acrylic medium, and collage on paper. Bindle Stick Studio (616½-B Canyon Road) continues its presentation of Jeffrey Schweitzer’s Drifter series. The series follows the adventures of a drifter on an allegorical journey. The studio also shows Street Photographs, a selection of images of New York City by Robert Buchan. There is an opening reception on Friday, Oct. 18, at 5 p.m. Call 917-679-8080.
At the GAlleries A Gallery Santa Fe 154 W. Marcy St., Suite 104, 505-603-7744. Exceptions to the Rule, sculpture and wall pieces by Carol Ware and Nathaniel Hesse; paintings by David Forlano, through November. Axle Contemporary 505-670-7612 or 505-670-5854. Autophotography, group show of self-portraits, visit axleart.com for van locations. Blue Rain Gallery 130-C Lincoln Ave., 505-954-9902. In the Flow, new paintings by Doug West, through October. Commissioner’s Gallery — New Mexico State Land Office 310 Old Santa Fe Trail, 505-827-5762. Córdova x 2, paintings by Amy Córdova and Matthew Córdova, through October. Ellsworth Gallery 215 E. Palace Ave., 505-989-7900. The Invisible Thread, paintings by Elise Ansel, through Oct. 26. Ernesto Mayans Gallery 601 Canyon Rd., 505-983-8068. Loud Whisper, work by Kathleen McCloud, through Oct. 25. Gebert Contemporary 558 Canyon Rd., 505-992-1100. Painting in 2013, work by Dirk De Bruycker, through Nov. 12. Gerald Peters Gallery 1011 Paseo de Peralta, 505-954-5700. Presence, Place, and Perspective, new works by Don Coen, Elizabeth (Buff) Elting, Karen Kitchel, and Don Stinson, through Nov. 5. Hunter Kirkland Contemporary 200-B Canyon Rd., 505-984-2111. Bright Waters Two, paintings by Peter Burega, through Oct. 28. Legends Santa Fe 125 Lincoln Ave., 505-983-5639. Illusory, new series by photographer Stephen Lang, through Oct. 29. Monroe Gallery of Photography 112 Don Gaspar Ave., 505-992-0800. Ernest Withers: A Life’s Work, through Nov. 24. Meyer Gallery 225 Canyon Rd., 505-983-1434. Work by Chris Young, through Oct. 18. New Concept Gallery 610 Canyon Rd., 505-795-7570. Early works by abstract painter Reg Loving; group show of works by gallery artists, through Nov. 4. Nüart Gallery 670 Canyon Rd., 505-988-3888. Desiderata, paintings by Erin Cone, through Oct. 20. Patina Gallery 131 W. Palace Ave., 505-986-3432. Ingrained, works by Liam Flynn and Gustav Reyes, through Oct. 27. Peyton Wright 237 E. Palace Ave., 505-989-9888. Charles Hinman: Painting as a Three-Dimensional Statement, through Nov. 15. Phil Space 1410 Second St., 505-983-7945. Drawing Room, works on paper by Eugene Newmann and John Connell, through Nov. 8. Rotunda Gallery State Capitol, Old Santa Fe Trail and Paseo de Peralta, 505-986-4589, group show of book art, through Dec. 13. Santa Fe Clay 545 Camino de la Familia, 505-984-1122. In/Site, works by Meredith Brickell and Lynn Duryea, through Oct. 26.
Santa Fe Community College Main Hall 6401 Richards Ave., 505-428-1533. Faces from an America Dream, photographs by Martin J. Desht documenting deindustrialization in Pennsylvania at the end of the 20th century, through Nov. 15.a Sugarman-Peterson Gallery 130 W. Palace Ave., 505-982-0340. New oil paintings by Stephen Day, through October. Tom Ross Gallery 409 Canyon Rd., 505-984-8434. New paintings by Dirk Kortz, through Oct. 25. Vivo Contemporary 725 Canyon Rd., 505-982-1320. The Universe Next Door, 14 gallery artists explore the “next door” of media, through October.
librAries Beaumont and Nancy Newhall Library Marion Center for Photographic Arts. 1600 St. Michael’s Dr. 505-474-5052. Open by appointment only. Catherine McElvain Library School for Advanced Research, 660 Garcia St., 505-954-7205. Open Monday-Friday, call for hours. Chase Art History Library 1600 St. Michael’s Dr. 505-473-6569. Open Monday-Friday, call for hours. Faith and John Meem Library 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 120 Washington Ave. 505-476-5090. Open 1-5 p.m. Tuesday-Friday. Laboratory of Anthropology Library Museum of Indian Arts & Culture, 107 W. Palace Ave., 505-476-1264. Open 1-5 p.m. Monday-Friday, by museum admission. New Mexico State Library 1209 Camino Carlos Rey. 505-476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. MondayFriday. Quimby Memorial Library 3960 San Felipe Rd. 505-467-6825. Rare books and collections of metaphysical materials. Open Monday-Friday, call for hours. Santa Fe Community College Library 6401 Richards Ave. 505-428-1352. Open Monday-Friday, call for hours. Santa Fe Institute 1399 Hyde Park Rd. 505-984-8800. Open 1-5 p.m. Monday-Friday to current students (call for details). Visit santafe.edu/library for online catalog. Santa Fe Public Library, Main Branch 145 Washington Ave. 505-955-6780. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.-6 p.m. Friday-Saturday, 1-5 p.m. Sunday. Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 505-955-4860. Open 10 a.m.-8 p.m. Monday-Wednesday, 10 a.m.6 p.m. Thursday-Saturday. Closed Sunday. Santa Fe Public Library, Southside Branch 6599 Jaguar Dr. 505-955-2810. Open 10 a.m.8 p.m. Monday-Thursday, 10 a.m.-6 p.m. 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 & Art spAces
refer to the daily calendar listings for special events. hours subject to change on holidays and during special events. Center for Contemporary Arts 1050 Old Pecos Trail. 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 artist Tony Price, through Jan. 5. Gallery hours available online at ccasantafe.org or by phone. Georgia O’Keeffe Museum 217 Johnson St., 505-946-1039. Modern Nature: Georgia O’Keeffe and Lake George, through Jan. 26, 2014. Open 10 a.m.-5 p.m. Saturday and Monday-Thursday, closed Sunday, 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 107 W. Palace Ave., 505-476-5072. What’s New in New: Recent Acquisitions, through December • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays. Museum of International Folk Art 706 Camino Lejo, 505-476-1200. Let’s Talk About This: Folk Artists Respond to HIV/AIDS, collaborative community exhibit, through Jan. 5, 2014 • 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. Open 10 a.m.-5 p.m. Tuesday-Sunday. $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-Krapp 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
Japanese kite in the exhibit tako Kichi, Museum of international Folk Art
on tin • Recent Acquisitions, Colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late Colonial period re-creation. Open 10 a.m.-5 p.m. 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, 2014 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9. 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, 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; no charge for NM residents over 60 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 Pojoque, 78 Cities of Gold Road. 505-455-3334. Fashion designs by Patricia Michaels, through November. Open 8 a.m.5 p.m. Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted. Wheelwright Museum of the American Indian 704 Camino Lejo, 505-982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13. Open 10 a.m.-5 p.m., daily. Donations accepted.
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In the wings MUSIC
Christianne Miranda Jazz vocalist, with Bert Dalton, Andy Zadrozny, and John Trentacosta, 7 p.m. Friday, Oct. 25, Museum Hill Café, 710 Camino Lejo, $25, 505-983-6820. Santa Fe Men’s Camerata Choral concert Feel the Spirit, 3 p.m. Saturday, Oct. 26, Immaculate Heart of Mary Retreat and Conference Center, 50 Mount Carmel Rd., $20 at the door, student discounts available, santafemenscamerata.com. Apollo’s Fire Baroque ensemble, 4 p.m. Sunday, Oct. 27, Duane Smith Auditorium, Los Alamos High School campus, 1300 Diamond Dr., ticketssantafe.org, 505-988-1234. Alloy Orchestra The instrumental trio performs live accompaniment for the 1927 silent film Metropolis, 7 p.m. Tuesday, Oct. 29, the Lensic, $10-$20, ticketssantafe.org, 505-988-1234. Alejandro Escovedo and the Sensitive Boys Rock band, with Amy Cook, 7:30 p.m. Friday, Nov. 1, $25 in advance, 505-988-1234, ticketssantafe.org, $30 at the door. Santa Fe Sol Stage & Grill, 37 Fire Pl. Majesty of Music and Mathematics: Voyages of Discovery IV The Santa Fe Symphony performs works illustrating mathematical concepts; remarks by Santa Fe Institute’s Cris Moore and an overhead multimedia presentation, 7:30 p.m., Saturday, Nov. 2, the Lensic, $22-$76, 505-983-1414 or ticketssantafe.org. Reckless Kelly Americana band, 7:30 p.m. Saturday, Nov. 2, Santa Fe Sol Stage & Grill, 37 Fire Pl., $17 in advance, 505-988-1234, ticketssantafe.org, $20 at the door. Black Lillies Knoxville-based Americana band, 7:30 p.m. Tuesday, Nov. 5, Santa Fe Sol Stage & Grill, 37 Fire Pl., $12 in advance, 505-988-1234, ticketssantafe.org, $15 at the door. Peter Buffett: Life Is What You Make It Concert and conversation with the pianist and with cellist Michael Kott, 7 p.m. Thursday, Nov. 7, the Lensic, $15, reserved seat and signed book $50, 505-988-1234. Victor & Penny Antique-pop ukulele and guitar duo, 6 p.m. Wednesday, Nov. 8, Cowgirl BBQ, 505-982-2565. Arlen Asher Woodwind artist, with Jim Ahrend on piano, Colin Deuble on bass, and John Trentacosta on drums, 7 p.m. Friday, Nov. 8, Museum Hill Café, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.org. Iva Bittová Czech avant-garde vocalist and violinist, 7:30 p.m. Friday, Nov. 8, $20 at the door, gigsantafe.com. Gig Performance Space, 1808-H Second St. Jasper String Quartet Music of Hayden, Beethoven, and Sarabande, 3 p.m. Sunday, Nov. 10, $20-$65, the Lensic, 505-988-1234, ticketssantafe.org. Robert Cray Band Blues guitarist, 7:30 p.m. Sunday, Nov. 10, the Lensic, $34-$54, ticketssantafe.org, 505-988-1234. Richard Smith Finger-style guitarist, 8 p.m. Thursday, Nov. 14, Gig Performance Space, 1808-H Second St., $20 at the door.
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PASATIEMPO I October 18 -24, 2013
Charles Lloyd & Friends Jazz reedist/composer, with Reuben Rogers on bass, Eric Harland on drums, and Bill Frisell on guitar, 7 p.m. Tuesday, Nov. 19, $20-$45, ticketssantafe.org. Serenata of Santa Fe Windstream, music of Beethoven, Thuille, and Poulenc, 3 p.m., Sunday Nov. 24, $25; discounts available, 505-989-7988. Scottish Rite Center, 463 Paseo de Peralta. Santa Fe Symphony Orchestra & Chorus Handel’s Messiah, 4 p.m. Sunday, Nov. 24, pre-concert lecture 3 p.m., the Lensic, $20-$70, 505-988-1234, ticketssantafe.org. Ian Moore Blues/rock guitarist, 7:30 p.m., Thursday, Dec. 12, María Benítez Theater, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25 in advance at brownpapertickets.com, $29 at the door. Pink Martini Latin, jazz, and classic pop orchestra, 7:30 p.m. Monday, Jan 20, the Lensic, $54-$84, 505-988-1234, ticketssantafe.org.
THEATER/DANCE
The Met Live in HD Shostakovich’s opera The Nose, 11 a.m. and 6 p.m., Saturday, Oct. 26; Verdi’s Falstaff, 11 a.m. and 6 p.m., Saturday, Dec. 14, the Lensic, $22-$28, ticketssantafe.org, 505-988-1234. Salt and Pepper A comedy by Los Alamos playwright Robert Benjamin, Nov. 1-10, Teatro Paraguas, 3205 Calle Marie, $18, discounts available, 505-424-1601.
Upcoming events Celebrating Survival: Exploration of Courage, Strength, Laughter, and Love Santa Fe Playhouse presents staged readings by local playwrights including Shebana Coehlo, Aaron Leventman, and Erin O’Shaughnessy, 7:30 p.m. Friday and Saturday, 4 p.m. Sunday, Nov. 8-10; event includes a silent art auction; Santa Fe Playhouse, 142 E. De Vargas St., $15, 505-986-1801, proceeds benefit the Cancer Foundation for New Mexico. National Theatre Live in HD Macbeth, 7 p.m. Tuesday, Nov. 5; 50th anniversary event showcase, 7 p.m. Tuesday, Nov. 12; the Lensic, $22, discounts available, ticketssantafe.org, 505-988-1234. Balé Folclórico da Bahia Brazilian folk dance, 7 p.m. Wednesday, Nov.13, $25-$45, ticketssantafe.org, 505-988-1234. Our Lady of 121st Street Stephen Adly Guirgis’ comedy about a missing corpse, 7 p.m. Friday-Sunday, Nov. 15-24, Greer Garson Theatre, 1600 St. Michael’s Dr., $12-$15, discounts available, 505-988-1234, ticketssantafe.org. The Mountaintop Fusion Theater presents Katori Hall’s drama reimagining events the night prior to the assassination of Martin Luther King Jr., 8 p.m. Friday and 2 and 8 p.m. Saturday, Nov. 15-16, the Lensic, $20-$40, student discounts available, ticketssantafe.org, 505-988-1234. The Secret War Monologist Mike Daisey’s new work exploring national security, privacy, and freedom, 7 p.m., Thursday and Saturday, Nov. 21 and 23, the Lensic, $10, ticketssantafe.org, 505-988-1234. The Second City Comedy-theater troupe, 7 p.m. Saturday, Dec. 7, the Lensic, $27-$44, 505-988-1234, ticketssantafe.org. Winter Dance SFUA&D’s 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. Paula Poundstone Standup comedian, 7:30 p.m. Friday, Dec. 13, the Lensic, $27.50 and $35, ticketssantafe.org, 505-988-1234.
guitar and ukulele duo victor & penny perform nov. 8 at the cowgirl BBQ.
HAPPENINGS
Esperanza Shelter for Battered Families Masquerade Ball Silent auction, music by theatrical jazz quartet Le Chat Lunatique, and dinner, 6 p.m. Saturday, Oct. 26, Santa Fe Community Convention Center, $125, table discounts available, esperanzaball.com, 505-474-5536. Lannan Foundation events Jeremy Scahill, author of Dirty Wars: The World Is a Battlefield, and Tom Engelhardt, 7 p.m. Wednesday, Oct. 30; a Lannan Literary Series event with Luís Alberto Urrea and Michael Silverblatt, 7 p.m., Wednesday, Nov. 20; Nothing Personal: The Dark Room Collective Reunion Tour with Natasha Trethewey, Major Jackson, Thomas Sayers Ellis, John Keene, Tisa Bryant, and Sharan Strange, 7 p.m., Thursday, Dec. 12, the Lensic, $6, students $3, ticketssantafe.org, 505-988-1234. House of Wax Screening of the 1953 film starring Vincent Price with a costume contest with Price’s daughter Victoria Price, 6:30 p.m. Thursday, Oct. 31, $30 in advance at jeancocteaucinema.com, students $15. Jean Cocteau Cinema, 418 Montezuma Ave. Design Lab: Next Nest SITE Santa Fe and Design Santa Fe present an exhibit of new domestic forms and design concepts, Saturday-Friday, Nov. 2-29, opening reception 5-7 p.m., Saturday, Nov. 2, SITE Santa Fe, 1606 Paseo de Peralta. Santa Fe Stories of the AIDS Memorial Quilt The public is invited to share stories of artists, advocates, visionaries, and family whose lives are stitched into the quilt; 1-4 p.m. Sunday, Nov. 3; presented in conjunction with the Museum of International Folk Art exhibit Let’s Talk About This: Folk Artists Respond to HIV/AIDS, 706 Camino Lejo, 505-476-1200. FUZE-SW Food + Folklore Festival Food conference with national and local chefs and authors, speakers include James Campbell Caruso and Cordelia Thomas Snow. FridaySunday Nov. 8-10, $250, 505-476-1146, Museum of International Folk Art, 706 Camino Lejo, visit fuzesw.museumofnewmexico.org for updates. Second Annual Lunafest Traveling film festival spotlighting women filmmakers; 5-8 p.m. Saturday, Nov. 9, reception featuring a silent auction, wine, and hors d’oeuvres $35, short film screenings $25, Santa Fe Art Institute, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., proceeds benefit Girls Inc. and the Breast Cancer Fund. Recycle Santa Fe Art Festival Recycled art market, juried exhibit, and trash fashion contest, Friday-Sunday, Nov. 15-17, Santa Fe Community Convention Center, recyclesantafe.org. Brasil and Arte Popular Exhibit of works from the collection, opening reception 1-4 p.m. Sunday, Nov. 17, Museum of International Folk Art, 706 Camino Lejo, by museum admission. An Evening With the Harvey Girls Premiere screening of the The Harvey Girls: Opportunity Bound, followed by a reception with the filmmaker, 4-7 p.m. Sunday, Nov. 17, $80-$100, tickets available at the museum shop or by calling 505-982-9543. New Mexico History Museum Auditorium, 113 Lincoln Ave.
pasa week
from Page 61
19 Saturday (continued) Paleoamerican Odyssey conference Nearly 1,000 Paleoamerican artifacts on display as part of the conference, 8 a.m.-6 p.m., $25 to view the artifacts; Santa Fe Community Convention Center, full conference details available online at paleoamericanodyssey.com. Santa Fe Farmers Market 8 a.m.-1 p.m., 1607 Paseo de Peralta. Santa Fe Independent Film Festival Visit santafefeiff.com for a full schedule of feature films and shorts; individual ticket prices vary; call 505-988-1234 or visit ticketssantafe.org to purchase tickets, continues Sunday. Santa Fe Society of Artists 9 a.m.-5:30 p.m. Saturday and Sunday, First National Bank parking lot, across from the New Mexico Museum of Art, santafesocietyofartists.com.
NIghtlIFe
(See Page 61 for addresses) Chispa! at el Mesón Rio, Brazilian-style jazz, 7:30 p.m.-close, call for cover. Cowgirl BBQ Singer/songwriter Liv Lombardi, 5:30-7:30 p.m.; Sean Healen Band, folksy rock ’n’ roll, 8:30 p.m., no cover. el Farol C.S. Rockshow with Don Curry, Pete Springer, and Ron Crowder, 9 p.m., call for cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda R & B band the Pleasure Pilots, 8 p.m.-close, no cover. low ‘n’ Slow lowrider Bar at hotel Chimayó Rolling Stones tribute band Little Leroy and His Pack of Lies, 9 p.m., no cover. the Mine Shaft tavern Jim & Tim, soulful blues on the deck, 3-7 p.m.; Connie Long & Fast Patsy, Janis Joplin meets Patsy Cline, 7 p.m.; call for cover. Molly’s Kitchen & lounge CD-release party of Ben Wright’s One on the Way, with DJs Erin E and Feathericci, 9 p.m., call for cover. Second Street Brewery Hot Club of Santa Fe, Gypsy jazz, 6-9 p.m., no cover. Second Street Brewery at the Railyard Second Street Brewery at the Railyard. Austinbased alt-country duo John Dee Graham and Mike June, 7-10 p.m., no cover. tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover. Vanessie Pianists Doug Montgomery, 6-8 p.m.; John Randal, 8 p.m.-close, no cover. Zia Diner Swing Soleil, Gypsy jazz and swing, 6:30-8:30 p.m., no cover.
20 Sunday gAlleRY/MUSeUM OPeNINgS
James larson Studio 33-A Bisbee Ct. Marble, bronze, and terra cotta sculpture by Larson, reception noon-5 p.m. Manitou galleries 225 Canyon Rd. 505-986-9833. Plein-air artists painting live, 10 a.m.-4 p.m.
ClASSICAl MUSIC
Santa Fe Pro Musica Tchaikovsky Serenade, featuring flutist Carol Redman, 3 p.m., 505-988-4640, santafepromusica.com or ticketssantafe.org, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. $20-$65. Serenata of Santa Fe The chamber music ensemble’s season continues with No Stone Unturned, music of Messiaen, Brahms, and John Harbison, 3 p.m., performers include Debra Ayers, L.P. How, and Christof Huebner, Scottish Rite Center, 463 Paseo de Peralta, $25, discounts available, 505-988-1234, ticketssantafe.org (see story, Page 24).
IN CONCeRt
geri Allen, terri lyne Carrington, and esperanza Spalding Jazz trio, 7 p.m., the Lensic, $30-$60, ticketssantafe.org, 505-988-1234 (see story, Page 22). Jeffrey Foucault and Kris Delmhorst Singer/songwriters, 7:30 p.m., Gig Performance Space, 1808 Second St., $20 in advance at brownpapertickets.com; $25 at the door. Real and Imagined Pianist Melanie Monsour and percussionist Polly Tapia Ferber, 4 p.m., O’Shaughnessy Performance Space, 1600 St. Michael’s Dr., by donation. troy Skinner: My time has Come Cabaret singer, accompanied by Charles Tichenor, 6 p.m., doors open at 5:30 p.m., La Casa Sena Cantina, $20, 505-988-9232 (see story, Page 18).
theAteR/DANCe
I Hate Hamlet Santa Fe Playhouse presents the play by Paul Rudnick, 4 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20 general admission, discounts available, 505-988-4262.
BOOKS/tAlKS
Vivian gordon The artist reads from her writings in the exhibit Untethered, 1:30 and 5 p.m., Eggman & Walrus, 130 W. San Francisco St., second floor, 505-660-0048. Mei-mei Berssenbrugge The poet reads from and signs copies of Hello, the Roses, 4 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226 (see Subtexts, Page 14). Neema Namadamu The speaker discusses women in the Congo, 11 a.m., presented by Journey Santa Fe, Collected Works Bookstore, 202 Galisteo St., 505-988-4226.
eVeNtS
Paleoamerican Odyssey conference Nearly 1,000 Paleoamerican artifacts on display, 8 a.m.-6 p.m., $25 to view the artifacts; contact paleoamericanodyssey.com for details, Santa Fe Community Convention Center. Santa Fe Independent Film Festival Final day; visit santafefeiff.com for a full schedule of feature films and shorts; individual ticket prices vary; call 505-988-1234 or visit ticketssantafe.org to purchase tickets. Santa Fe Society of Artists 9 a.m.-5:30 p.m., First National Bank parking lot, across from the New Mexico Museum of Art, santafesocietyofartists.com.
NIghtlIFe
(See Page 61 for addresses) Cowgirl BBQ Country Blues Review, noon-3 p.m.; bluegrass band Alto Street, 8 p.m., no cover.
New Concept Gallery shows early works by painter Reg Loving, 610 Canyon Rd.
the Mine Shaft tavern Local blues band The Barbwires, 3-7 p.m., no cover. the Palace Restaurant & Saloon Milonga Santa Fe Tango, dinner show, 6-10 p.m., call for cover. Vanessie Pianist David Geist, cabaret tunes, 7 p.m.-close, no cover.
21 Monday BOOKS/tAlKS
Our human genome and American Indian Continental Migrations A Southwest Seminars lecture with Eske Willerslev, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door.
eVeNtS
The Guild The Jean Cocteau Cinema plans screenings of all six seasons of Felicia Day’s web-based comedy series beginning with the first two today; includes a Skype Q & A with series performers Jeff Lewis and Sandeep Parikh, 6:20 p.m., 505-466-5528, 418 Montezuma Ave., $10, discounts available, jeancocteaucinema.com,
NIghtlIFe
(See Page 61 for addresses) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m. weekly, no cover. la Fiesta lounge at la Fonda Los Wise Guys, oldies/country/rock,7:30 p.m.close, no cover. tiny’s The Great Big Jazz Band, 7-9 p.m., no cover. Vanessie Pianist David Geist and vocalist Julie Trujillo, 7 p.m.-close, no cover.
22 Tuesday IN CONCeRt
todd Snider Alt-country singer/songwriter, 7:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $25 in advance, $30 at the door, 505-988-1234, ticketssantafe.org.
BOOKS/tAlKS
Forrest Fenn The author of Too Far to Walk in conversation with authors Michael McGarrity and Douglas Preston, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM
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▶ Elsewhere
Notes on Music Illustrated presentation with pianist/ conductor Joseph Illick on Verdi, United Church of Santa Fe, 1804 Arroyo Chamiso, $20, 505-988-1234, ticketssantafe.org. Michael Nichols The photographer discusses his work and signs copies of his book Earth to Sky: Among Africa’s Elephants, a Species in Crisis, 7 p.m., the Lensic, $15 and $20 general admission, $75 includes signed book, 505-988-1234, ticketssantafe.org.
AlbuquErquE Museums/Art Spaces
EVENTS
Santa Fe Farmers Market 8 a.m.-1 p.m. 1607 Paseo de Peralta.
NIghTlIFE
(See Page 61 for addresses) ¡Chispa! at El Mesón Argentine Tango Milonga, 7:30 p.m.-close weekly, call for cover. Cowgirl BBQ Rock band Gooding, 8 p.m. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Los Wise Guys, oldies/country/rock, 7:30 p.m., no cover. Vanessie Pianist Kathy Morrow, 7 p.m.-close, no cover.
23 Wednesday IN CoNCErT
Michael Franti & Spearhead Funk/reggae/jazz fusion band, 7:30 p.m., Santa Fe Community Convention Center, $30, ticketssantafe.org, 505-988-1234, $35 at the door, 21+.
BooKS/TAlKS
C. Joseph greaves The author of Hard Twisted discusses and signs copies of his book, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. A New Type of Drawing: Constance DeJong The weekly New Mexico Museum of Art docent talk series continues, 12:15 p.m., 107 W. Palace Ave., by museum admission. reality? What’s So good About reality, Anyway? A dharma talk by Ray Olsen, 5:30-6:30 p.m., Upaya Zen Center, 1404 Cerro Gordo Rd., donations welcome. Undocumented: living and Dying on the Migrant Trail Lecture by Jason De Leon, noon, no charge, Catherine McElvain Library, School for Advanced Research, 660 Garcia St., 505-954-7203.
NIghTlIFE
(See Page 61 for addresses) Chispa! at El Mesón Flamenco guitarist Joaquin Gallegos, 7:30 p.m.-close, call for cover. Cowgirl BBQ John Kurzweg Band, alt folk-rock, 8 p.m., no cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Bill Hearne Trio, classic country, 7:30 p.m.-close weekly, no cover. Tiny’s 505 Electric Jam with Nick Wimett and M.C. Clymer, 9 p.m.-close, no cover. Vanessie Pianist Kathy Morrow, 7 p.m., no cover.
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PASATIEMPO I October 18 -24, 2013
New mixed-media paintings by Don Quade, at Winterowd Fine Art, 701 Canyon Rd.
24 Thursday gAllErY/MUSEUM oPENINgS
Santa Fe Community College — Visual Arts gallery 6401 Richards Ave., 505-428-1501. From the Inside, Part II, works by faculty members, reception 4:30-6 p.m., through Jan. 15.
IN CoNCErT
MusicFest Santa Fe Symphony and Symphony Brass performances: 8:45 a.m. at Santa Fe High School and 1:55 p.m. at Capital High School; for information visit sfpsmusicfest.org or call 505-467-2513. Steve Vai Guitar wizard, 7:30 p.m., the Lensic, $29-$51, 505-988-1234, ticketssantafe.org.
ThEATEr/DANCE
I Hate Hamlet Santa Fe Playhouse presents the play by Paul Rudnick, 4 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20 general admission, discounts available, 505-988-4262.
BooKS/TAlKS
An Archaeology of Tibetan Buddhism A talk by Mark Aldenderfer, 6:30 p.m., New Mexico History Museum Auditorium, 113 Lincoln Ave., $10. Industrial landscapes Lecture by photographers Martin Stupich and Jamey Stillings, 6 p.m., no charge, Tipton Hall, SFUA&D, 1600 St. Michael’s Dr. linda lambert and Susan McDuffie The authors read from and sign copies of their respective books The Cairo Codex and The Study of Murder, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. Santa Fe Art Institute monthly open studio Meet-and-greet with writers- and
artists-in-residence; readings, and studio tours; 5:30 p.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr.
EVENTS
how Many leaves Do You have on Your Family Tree? Beginning genealogy workshop with state historian Rick Hendricks and assistant state historian Rob Martinez, 9 a.m.-noon, State Library and State Records Center and Archives, 1209 Camino Carlos Rey, no charge, register online at nmcpr.state.nm.us, 505-476-7998.
NIghTlIFE
(See Page 61 for addresses) Chispa! at El Mesón Pianist John Rangel, 7:30 p.m.-close, no cover. Cowgirl BBQ Alt-country singer/songwriter René Reyes, 8 p.m., no cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Bill Hearne Trio, classic country, 7:30-p.m. weekly, no cover. la Posada de Santa Fe resort and Spa Pat Malone Trio, featuring Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 6-9 p.m., no cover. The Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m., no cover. The Palace restaurant & Saloon Limelight karaoke, 9:30 p.m.-close, no cover. Tiny’s Joe West & The Santa Fe Revue, psychedelic country, 8:30 p.m.-close, no cover. Vanessie Pianist Kathy Morrow, 7 p.m.-close, no cover.
516 Arts Art at the Border: 21st-Century Responses, artists address the sociopolitical environment of the U.S.-Mexico border, through Jan. 4. Albuquerque Museum of Art & history Landscape Drawings from the Collection, through Oct. 27. Open 9 a.m.-5 p.m. TuesdaySunday; 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. harwood Art Center 1114 Seventh St. N.W., 505-242-6367. Disaster/Resilience, artwork exploring social justice issues; Faces of the Elderly, photographs by Hal Kahn; through Oct. 25. Open 10 a.m.-4 p.m. Monday-Friday, 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. 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. National hispanic Cultural Center 1701 Fourth St. S.W., 505-724-4771, nhccnm.org. En la Cocina With San Pascual, works by New Mexico artists. Open 10 a.m.5 p.m. Tuesday-Sunday. 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.
Talking Heads
An Archaeology of Tibetan Buddhism A School of Advanced Research talk with Mark Aldenderfer at 6 p.m. Thursday, Oct. 24, at the New Mexico History Museum Auditorium, 113 Lincoln Ave. Admission $10, sarweb.org.
Filmmakers/Performers/Writers
UNM Art Museum Center for the Arts Building, 505-277-4001. The museum celebrates its 50th anniversary with exhibits of works from the permanent collection, through Dec. 21 • From Raymond Jonson to Kiki Smith 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.
Reel New Mexico Independent Film Series New Mexico filmmakers may submit shorts, narrative and documentary features, student films, and works-in-progress through 2013; contact reelnewmexico@gmail.com. Santa Fe Bandstand Applications to perform at the 2014 Santa Fe Bandstand are being accepted; Nov. 29 deadline for submissions; visit santafebandstand.org.
Volunteers
Events/Performances
Jeffrey Foucault & Kris Delmhorst Singer/songwriters, 7:30 p.m. Saturday, Oct. 19, Outpost Performance Space, 210 Yale Blvd. S.E., $17 in advance, $22 at the door, holdmyticket.com, 505-886-1251. Opera Southwest The 41st season opens with four performances of a new production of Mozart’s Don Giovanni, Sunday, Oct. 20; Wednesday, Oct. 23; Friday, Oct. 25; Sunday, Oct. 27; $12-$82 in advance at the NHCC box office, 505-724-4771. Southwest Gay and Lesbian Film Festival Wrapping up Friday-Sunday, Oct. 18-20, visit swglff.com for tickets and a full schedule of events. Chatter Sunday The ensemble performs string quartets of Tchaikovsky and Scelsi; reading by poet Damien Flores follows; 10:30 a.m. Sunday, Oct. 20, $15 at the door only, discounts available, chatterchamber.org.
Cerrillos
Encaustic Art Institute 18 General Goodwin Rd., 505-424-6487, Third Annual Encaustic/Wax Exhibition, through Nov. 4.
Corrales
Corrales 2013 Art in the Park The Corrales Society of Artists presents an arts & crafts show; 10 a.m.-4 p.m. Sunday, Oct 20, potters, painters, and sculptors, map and details available online at corralesartists.org.
Dixon
The Drowsy Chaperone The Dixon Players present the musical comedy, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, Oct. 18-27, The Toolshed, 68 NM 75, $12, discounts available, advance tickets available online at dixonplayers.com, 505-579-9102.
galisteo
26th Annual Galisteo Studio Tour Thirty artists invite the public into their studios from 10 a.m. to 5 p.m. Saturday and Sunday, Oct. 19-20; painters, potters, weavers, and more, visit galisteostudiotour.org for details, artists’ websites, and a studio map, 505-466-2121.
glorieta
Jamie Hamilton The local sculptor performs a high-wire walking event on his sculpture, 2 p.m. Saturday, Oct. 19, register and download a map online at info@axleart.com.
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. Mesa Public Library Art Gallery 2400 Central Ave., 505-662-8253. Expressions in Book Art, work by members of the Santa Fe Book Arts Group, through October.
Phil Space shows drawings by John Connell, 1410 Second St.
Pajarito Environmental Education Center 3540 Orange St., 505-662-0460. Exhibits of flora and fauna of the Pajarito Plateau; an 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.
taos
Roaring 20s Party Celebrating the museum’s 90th anniversary; VIP dinner 6-8 p.m., party 8-11 p.m. Saturday, Oct. 19, dance band Big Swing Theory, poker tournament, and costume contest (feathered headpieces encouraged), $35, VIP tickets $150, eventbrite.com. E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, Europeans and Spanish Colonial antiques. Open 10 a.m.-5 p.m. Monday-Saturday, noon5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents no charge on Sunday. 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. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday.
Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 10 a.m.-5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge. La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Open 10 a.m.5 p.m. Monday-Saturday, noon-5 p.m. Sunday. Adults $5, ages 12 and under no charge. Millicent Rogers Museum Open 10 a.m.-5 p.m. daily. NM residents $5; nonresidents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge.
▶ People who need people Artists
Recycle Santa Fe Art Festival 2013 Visit recyclesantafe.org for application and details on participating in the 15th annual show held Nov. 15-17 at the Santa Fe Community Convention Center; for more information contact Sarah Pierpont, 505-603-0558, skpierpont@yahoo.com. Santa Fe Society of Artists Fall jury for new members held Oct. 26; applications and details available online at santafesocietyofartists. com/become-a-member, or call 505-455-3496 for information.
Fight Illiteracy Literacy Volunteers of Santa Fe will train individuals willing to help adults learn to read, write, and speak English; details available online at lvsf.org, or call 505-428-1353. Many Mothers Assist new mothers and families, raise funds, plan events, become a board member, and more; requirements and details available online at manymothers.org; call 505-466-3715 for more information or to schedule an interview. Railyard Stewards Yardmasters Develop new project ideas; lead educational training sessions; raise funds; help out in the office; free training and workshops on keeping the Railyard Park vibrant; contact Alanna for schedules, 505-316-3596, alanna@railyardpark.org. St. Elizabeth Shelter Help with meal preparation at residential facilities and emergency shelters; other duties also available; contact Rosario, 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. Santa Fe Women’s Ensemble Always in need of ushers for concerts; email info@sfwe.org or call 954-4922. Spanish Colonial Arts Society Office and grounds workers positions; plus, docents needed all year long at the Museum of Spanish Colonial Art; contact Linda Muzio, 505-982-2226, Ext. 121, education@spanishcolonial.org.
▶ Pasa Kids Rosemary Wells The author/illustrator reads from her books, 3 p.m. Saturday, Oct. 19, Bee Hive Kids Books, 328 Montezuma Ave. Santa Fe Science Café for Young Thinkers Imaging the Brain’s Pathways to Addiction, discussion for students ages 13-19 led by Joanna Fowler of Brookhaven National Laboratory, 6-7:30 p.m. Tuesday, Oct. 22, Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., 505-982-0121, no charge. Kids story time For ages 3-5, 10:30 a.m. Wednesday, Oct. 23, no charge, Bee Hive Kids Books, 328 Montezuma Ave. Preschooler’s Story Hour 10:45 a.m. weekly on Wednesdays and Thursdays. Collected Works Bookstore, 202 Galisteo St., 505-988-4226. The Food Depot L.O.V.E. program Child-friendly projects for ages 3 and older (accompanied by an adult) are available between 1 and 3 p.m. the third Friday of each month; contact Viola Lujan, vlujan@thefooddepot.org, 505-471-1633, Ext. 11. ◀
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