Pasatiempo, Dec. 21, 2012

The The New New Mexican’s Mexican’s Weekly Weekly Magazine Magazine of of Arts, Arts, Entertainment Entertainment & & Culture Culture December December 21, 21, 2012 2012

Still Taking Holiday Reservations Open Christmas Christmas Eve Eve & & Day Day Open New Year’s Year’s Eve Eve & & Day Day New

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December 21-27, 2012

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The Owings Gallery Holiday Open House, Saturday December 22nd from 10 to 2pm A Few of our Favorite Things

Emil Bisttram (1895-1976) Koshares, d.1937, mixed media on paper, 26 1/2 x 20 inches

120 East Marcy Street | Santa Fe, New Mexico 87501 | 505.982.6244 phone 505.983.4215 fax | info@owingsgallery.com | www.owingsgallery.com

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December 21-27, 2012

No holiday could be happier than one spent in this fabulous home.

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Closed December 23, 24, 25, 26, 27 Open Friday, December 28th

Visit the Chocolate Smith and Charlotte on the Plaza Level

66≠ 70 E. San Francisco Street & 115 Water Street Convenient City Parking Lot at Water Street Entrance

SANTA FE COUNTRY FURNITURE 525 Airport Road ï 660≠ 4003 ï Corner of Airport Rd. & Center Dr.

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THE SANTA FE NEW MEXICAN

December 21 - 27, 2012

ON THE COVER 36 It’s the end of the world (if we got the math right) As residents of Santa Fe, los Estados Unidos, and the third planet from the sun, the time has come to say, we had a good run. But now the jig is up. It’s all over on Friday, Dec. 21. Or possibly Sunday, Dec. 23. Actually, we could have miscalculated the arrival of the great yawning nothingness by centuries, as Maya scholar Khristaan D. Villela reveals in the possibly final installment of his column “Viajes Pintorescos y Arquéologicos.” Our cover illustration is by the renowned editorial cartoonist (and Santa Fe resident) Patrick Oliphant, the Roy Lichtenstein Artist in Residence at the American Academy in Rome. Image courtesy the artist.

BOOKS

MOVING IMAGES

18 In Other Words New Mexico’s long-delayed star 30 Gnomes are everywhere A handy, illustrated guide

48 52 54 56

Pasa Pics Café de Flore The Flat The Hobbit: An Unexpected Journey 58 Les Misérables 60 This Is 40 62 Django Unchained

MUSIC AND PERFORMANCE 20 22 26 29 71

Sutton Foster Beyond the bun with a triple threat Pasa Tempos CD Reviews Terrell’s Tune-Up The mighty Soundgarden Onstage This Week Get Scrooged Sound Waves Musicians have bills?

CALENDAR

ART AND ARCHITECTURE

65 Pasa Week

40 Art in Review Tadashi Mori at Touching Stone 42 Art of Space Build a cozy little coffin

AND 12 Mixed Media 15 Star Codes 64 Restaurant Review

Christmas tree decorated by employees of Payne’s Nurseries & Greenhouses in memory of the victims of the Sandy Hook Elementary School shootings.

The tree can be seen at 715 St. Michael’s Drive.

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 ■

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

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

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

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

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

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

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CONTRIBUTORS Laurel Gladden, Robert Ker, Bill Kohlhaase, Jennifer Levin, Adele Oliveira, Robert Nott, Jonathan Richards, Heather Roan-Robbins, Casey Sanchez, Michael Wade Simpson, Roger Snodgrass, Steve Terrell, Khristaan Villela

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PRODUCTION Dan Gomez Pre-Press Manager

The Santa Fe New Mexican

© 2012 The Santa Fe New Mexican

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Robin Martin Owner

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Ginny Sohn Publisher

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ADVERTISING DIRECTOR Tamara Hand 986-3007

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MARKETING DIRECTOR Monica Taylor 995-3824

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ART DEPARTMENT DIRECTOR Scott Fowler 995-3836

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GRAPHIC DESIGNERS Rick Artiaga, Dale Deforest, Elspeth Hilbert

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

Rob Dean Editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

Don’t miss Santa Fe’s largest New Year’s Eve Spectacular

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ALL FALL AND BASIC MERCHANDISE Saturday, December 22 through Wednesday December 26

Fashion Outlets of Santa Fe 8380 Cerillos Road, Santa Fe (505) 473 0200 *50% off all Fall and basic merchandise offer valid 12/22/12 until 12/26/12 until the close of business hours at Brooks Brothers Factory and “346� Brooks Brothers stores only. May not be combined with any other discount or offer. Redeemable for merchandise only. Discount may not be applied toward taxes, shipping and handling, monogramming and engraving, alterations and personalization. Not valid on previous purchases or for the purchase of the Gift Card. If you return some or all merchandise, the dollar value of this promotion is not refunded or credited back to your account. Void in states where prohibited by law, no cash value except where prohibited, then the cash value is 1/100 cent.

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December 21-27, 2012

OPEN SUN 12.23, 11-4 / OPEN MON 12.24, 10-3

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OUR MISSION:

To have as much fun as possible making sure our customers have as much fun as possible!

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HAPPY HOLIDAYS!

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All fired up on a Christmas Eve past

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Happy Holidays! demansantafe.com | 505.983.6014 Concept/photography: Louis Leray. Art direction/design: BadDog Design. Gingerbread house: Tree House Pastry Shop 12

December 21-27, 2012

Dylan Thomas’ A Child’s Christmas in Wales includes the following sentence: “I can never remember whether it snowed for six days and six nights when I was twelve or whether it snowed for twelve days and twelve nights when I was six.” Though Thomas’ story recalls a childhood spent in a damp country close to the sea, his memory of snow is reminiscent of Christmas Eve everywhere.

Especially on snowy years, the annual Christmas Eve farolito walk up Canyon Road and through its surrounding areas is perhaps Santa Fe’s most beloved holiday tradition. Though the practice of decorating with farolitos is hundreds of years old, the origins of the Canyon Road walk aren’t exactly ancient: the first one took place in 1971, as residents and gallery owners celebrated a zoning ordinance protecting against overdevelopment. In recent years, the walk has become a tourist attraction in its own right, more crowded and rowdier than it used to be, but it’s still hard to imagine doing anything else on the night before Christmas. Piñon bonfires, flickering votive candles, spilled sand, and carolers mixing up the verses of “Good King Wenceslas” are the essence of the holiday in this town.

Over the past several seasons, increasing numbers of Canyon Road’s galleries have stayed open during the walk, many offering hot chocolate, apple cider, and sugar cookies. This year, on Monday, Dec. 24, Chalk Farm Gallery (729 Canyon Road, 983-7125) hosts a raffle and dog-adoption event to benefit an animal shelter in Peralta called Almost Home. The winner of the raffle will receive a Lord of the Rings-themed print by artist Ted Nasmith, and puppies will be available for adoption. “We’ll be open ’til at least 9 p.m. and selling drinks and things, also in aid of Almost Home, and we’ll have jolly music,” said Chalk Farm owner Suhana Gibson.

For more holiday tunes, keep your ears open for a four-piece brass band (sometimes called The Flying Farolito Brothers) that plays traditional Christmas music, hopping from bonfire to bonfire, starting around 7 p.m.

Several years ago, the group performed for fun, according to baritone saxophonist Doug Roberts, but it was so popular that for the past two years, the musicians have been hired by the Canyon Road Merchants Association.

“We wander and meander, and sometimes people give us cookies and

drinks,” Roberts said. “We’ll have sheet music to lend out. We usually collect a crowd, and it’s just a nice way to spend Christmas Eve.” Beginning at 5:30 p.m., the Santa Fe Trails special-event shuttles ferry Canyon Road walkers from the South Capitol Rail Runner station off Pen Road to the PERA building parking lot. Buses run approximately every 15 minutes, and the last bus leaves the PERA building at 10 p.m.

— Adele Oliveira

It’s all in her head On the telephone, Emily Bear sounds like any 11-year-old girl: she’s a little shy, punctuates her speech with “likes,” and some of her sentences trail off into giggles. But Bear is an unusual kid — she’s been a celebrated composer and pianist since she still had all her baby teeth. Emily has performed at Carnegie Hall and the White House (for then-president George W. Bush) and was the youngest performer in history to play at Chicago’s Ravinia Festival. She has often played piano on TV, including nine appearances on The Ellen Degeneres Show — Degeneres is something of a pal.

On Christmas Eve, Monday, Dec. 24, at 5 p.m. Bear performs at the Lensic Performing Arts Center (211 W. San Francisco St.) with the Santa Fe Concert Association Orchestra. The concert includes pieces by Schumann and Beethoven as well as original compositions by Bear.

“When I’m playing a piece, it takes on a life of its own,” Bear explained from her home in suburban Illinois, where she’s a fairly normal sixthgrader: she likes baking and arts and crafts. Her mother said she bounces around backstage with excitement before performances. Playing the piano has always come naturally, Bear said, as has composing. She practices for three hours a day (and regularly travels to Chicago for private instruction and to New York to work with faculty at Juilliard and New York University), but when she composes, she said, “I just hear it in my head.” Tickets, $25 to $95 (discounts available), are available by calling 988-1234 and visiting www.ticketssantafe.org. — A.O.

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Santa Fe

Desert Chorale Joshua Habermann Music Director

Celebrate Your Holidays with Glorious Music WINTER FESTIVAL DECEMBER 14-31 Santa Fe Carols and Lullabies Cathedral Basilica of St. Francis Dec 21, 22 8pm

A Toast to the New Year Loretto Chapel Dec 28, 29, 30, 31 8pm Church of the Holy Faith Dec 29, 30 4pm Dec 31 6pm

Albuquerque Carols and Lullabies Immanuel Presbyterian Church Dec 23 4pm

S a n t a Fe

DESERT CHORALE Glorious Voices. Timeless Music.

www.desertchorale.org Online tickets: www.ticketssantafe.org Tel 505 988 1234 Winter Festival 2012 is made possible, in part, by the National Endowment for the Arts; New Mexico Arts, a division of the Department of Cultural Affairs; and the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax.

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December 21-27, 2012

STAR CODES Heather Roan Robbins

Cashmere Cashmere Cashmere Sweaters 20% off

Welcome the winter solstice, the shortest day of the year, the first day of Capricorn. Three days after the solstice, we can visibly see the sun returning from its nadir, rising earlier and climbing higher each day forward — promising us the return of light and life through the winter’s chill. It’s the season to celebrate the return of hope.

Uranus and Pluto square one another for the next three years, an aspect that triggers change through challenge. Every week the moon will resonate with this aspect by conjunction, square, or opposition and will trigger events that can ease or push us further along the era-changing process.

Mostly these will be little events or moody recollections. When other planets are also involved, events can resonate with their larger, more demanding energies. We can respond to these triggers with choice and growth.

This weekend begins in a high-energy whirl under an Aries moon as Venus opposes Jupiter. Emotions are bountiful, sociable, and busy — we just have to keep them well-directed. On Saturday, the moon enters a hungry, creative Taurus moon and whets our appetite for seasonal foods and comforting traditions.

A lighthearted mood floats on Christmas as Mars enters sociable, group-oriented Aquarius, and the moon enters verbal Gemini. We become introverted on Thursday as the moon enters Cancer. Crankiness may be a sign that we are overextended and need time to ourselves.

Friday, Dec. 21: It’s a dynamic, action-oriented day — we just need to make sure it’s good action. Track necessary details carefully midday. The evening glows as the sun sextiles Neptune. Bring the mind to a good place.

Saturday, Dec 22: Early morning impatience can sharpen tongues. The day may require us to let go of some person, idea, object, or habit. For some this brings sadness, for others relief. Later the Taurus moon calls for indulgence; feed the heart, soul, and neighbors. After some minor glitches in travel or conversation this afternoon, the evening is festive as Venus opposes Jupiter.

Watch overindulgences.

Sunday, Dec. 23: The morning can be slow and achy as the moon opposes Saturn. We could all use a little extra patience and consideration. Don’t overschedule events; prioritize comfort.

Book your Holiday Party Now!

Monday, Dec. 24: Energy wanders — rather than keep to a schedule, work with the flow of the moment and the weather. If not enough has been done or if there are not enough resources to work with, do what we can comfortably. Then relax and turn thoughts to gratitude.

Tuesday, Dec. 25: The moon enters talkative Gemini, conjuncts Jupiter, and lightens the mood. Enjoy the nervous buzz and generous spirit. Midday, electrical things can malfunction as the sun squares Uranus. Relax and make humor a priority. Conversation expands later as Mars enters Aquarius. The mood is upbeat.

Wednesday, Dec. 26: Relationships need attention as the moon opposes Venus. Don’t read too much into little unsettled moments. If feeling overextended, dial it back, take care of oneself first, and return to the world refreshed. There is deeper, more thoughtful conversation later as Saturn sextiles Pluto.

Thursday, Dec. 27: Go home or work on a personal project as the moon enters domestic Cancer and calls us inward. Travel may have some glitches and people get persnickety as Mercury semisquares Saturn. A nap or an escapist moment helps midday as the moon trines Neptune. Fill the wells of the soul tonight. ◀ www.roanrobbins.com

Contact us today 505.988.2355 or info@tantiluce221.com 221 Shelby St. ï Santa Fe PASATIEMPO

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WOMEN’S CLOTHING

Celebrating 12 years of timeless designs

Sanbusco Center - 500 Montezuma, Santa Fe

984.9836

2012 Writing Contest

Winners Edition FRIDAY, DECEMBER 28 16

December 21-27, 2012

Read the winning prose and poetry submissions from our Adults, Teens and Children contest categories.

BACK AT THE RANCH .COM

Happy Holidays

209 East Marcy St.

989.8110

Lensic Presents PERFORMANCES SPONSORED BY

The world-renowned Chinese acrobats launch their 2013 national tour at The Lensic, with a new production featuring colorful costumes, spectacular sets, and amazing feats that will thrill the entire family.

December 20, 21 & 22 Thursday & Friday 7 pm Saturday 1 pm & 7 pm

$20–$35

Discounts for Lensic members and students

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

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IN OTHER WORDS Forty-Seventh Star: New Mexico’s Struggle for Statehood by David V. Holtby, University of Oklahoma Press, 362 pages In a book published to coincide with New Mexico’s centennial this year, historian David V. Holtby begins by asking why it took several all-out attempts, beginning in 1850, for New Mexico to achieve statehood.

After conducting something of a historical autopsy on one close miss, when the New Mexico initiative was approved by the House but died in the Senate in 1903, Holtby finds it revealing to turn the question around and ask what strengths in the face of so many obstacles and delays, the mixed cultures of New Mexico, including the group he identifies as Nuevomexicanos, were able to call upon and how they were able to persist and achieve statehood after all. “Nuevomexicanos had redefined their place in the Euro-American order, exhibiting three qualities invaluable to their quest for statehood,” Holtby finds, “adaptability, self-reliance and a commitment to popular sovereignty.” Popular sovereignty, one of the dominant themes of this book, has to do with political rights that go back to the Magna Carta, affirming the right of people to govern themselves and replace political institutions they don’t agree with.

On the eve of statehood in 1910, former New Mexico territorial governor L. Bradford Prince described the territory’s multigenerational efforts in his book New Mexico’s Struggle for Statehood: Sixty Years of Effort to Obtain State Government, as a “chalice ... dashed from the thirsty lips,” and complained that it took only nine years for Louisiana and 18 years for Missouri to become states after the Louisiana Purchase in 1803. “In no part of the United States has there ever been such a protracted struggle for self-government as in New Mexico,” he wrote, noting that California, also ceded by Mexico in the 1848 Treaty of Guadalupe Hidalgo, had been admitted almost immediately, in 1850.

Holtby’s chronicle of the struggle delves into the structural divisions at the national and local levels, in which New Mexico’s fate was snagged. The battle between state’s rights and federalism over slavery came to a head with the Civil War and effectively compromised New Mexico’s chances for more than two decades, despite serious petitions that narrowly failed in 1852 and 1876. Although both political parties promised statehood, formal recognition stalled again in 1892, perhaps because of a lack of focus and enthusiasm by New Mexicans themselves.

Holtby pins the blame for failed attempts during the following decade on high-level political interference and regional jealousies. In particular, he cites the opposition of Sen. Albert J. Beveridge, an Indiana 18

December 21-27, 2012

book reviews Republican, who was a fierce proponent of American expansionism and chairman of the Committee on Territories. Along with a powerful New England contingent that included Sen. Nelson W. Aldrich of Rhode Island, Republicans were especially worried about their party losing power as newly minted western states gained representation. New Mexico’s frontier pedigree and cultural diversity made the people of the territory wary of an intrusive central government and not easy assimilated. Democrats, who were recovering from their association with the losing side of the Civil War and tended to be more receptive to the new states and less cozy with big mining and financial interests, played a marginal role during this period.

Allegations of voter fraud arose during the 1906 congressional delegate contest in New Mexico, which pitted Octaviano A. Larrazolo and William H. Andrews. Three days after the voting, the numbers favored Larrazolo by 274 votes, but they flipped in Andrews’ favor the next day. Holtby points to an ensuing dispute, including dueling editorials from the La Voz del Pueblo in Las Vegas and the Carlsbad Current, as revealing “prejudices and social attitudes just below the surface of politics that could be easily stirred up by a few provocative words.” There were many more examples of ethnic politics and slurs over the years, and they were often mixed up and confused with New Mexico’s longstanding tendency toward fraud and corruption, which neither began nor ended a hundred years ago. Holtby’s history offers many opportunities to compare behavioral and ethical progress over the last hundred years.

The corrosive effects of racial prejudices may be easy to assume but hard to pin down during this period.

Certainly there were ethnic and religious prejudices toward a region with a majority population descended from Spain and Mexico. Holtby finds evidence for prejudice affecting local politics, but says “It is unlikely that it was ‘the major obstruction to the territory’s statehood aspirations,’ as one historian claimed.”

(The quote is from New Mexico’s Quest for Statehood, 1846-1912, written by Robert W. Larson and published in 1968.) “Instead,” Holtby writes, revising the earlier historical judgment, “after 1900 political manipulation by Senators Aldrich and Beveridge coupled with President Roosevelt’s unwillingness to challenge them over their opposition meant that a few senators could block statehood until 1910.”

That the book can be wonkish and frustrating at times may be blamed in part on the energy-absorbing, repetitive, and indeterminate nature of Congress itself, but the history is knock-down and drag-out, with a concluding act that is completely engrossing.

Holtby does not actually come out and say that John Farwell, a wealthy investor with land holdings in West Texas and one of President Taft’s Yale classmates, had a hand in a last minute change to the Texas-New Mexico border. Rather, the author says Farwell “joined” with members of the Texas delegation and New Mexico delegate Andrews in December 1910 when they discussed a strip of borderland 2.23 miles wide and

172 miles long, amounting to 603,485 acres. It was the one change Taft made to the New Mexico constitution, correcting a surveying error from 1859-1860, and he upheld it in 1927 and 1928, when he was chief justice of the U.S. Supreme Court.

In drawing conclusions, Holtby finds reasons to reevaluate the two operative presidents, Roosevelt and Taft, for their roles in this agonizing chapter of American history. Roosevelt, one of the faces on Mount Rushmore, came up short despite his razzle dazzle and effusive verbiage about the Rough Riders from New Mexico who fought with him in the Spanish-American War. It was Taft who gets kudos, because he got the job done.

— Roger Snodgrass

SUBTEXTS A tree grows in Abu Dhabi What on earth first compelled mankind to uproot an evergreen tree and place it smack-dab in the middle of the family sitting room?

According to historian Bernd Brunner, the explanation is more complicated than the ages-old pagan-ritual-goneChristian argument. In his new book Inventing the Christmas Tree (Yale University Press), Brunner makes it clear that efforts to pinpoint the exact origin of the first Christmas tree are futile. Although documented references to Christmas trees date to 15th-century Germany and Estonia — the Freiburg Fraternity of Baker’s Apprentices recorded seeing a tree festooned with fruit and baked goods at a hospital in 1419 — the tradition of decorated trees is mired in ancient symbolism, ritual, and imagination. Brunner takes a global approach to the sharp rise in popularity of the Christmas tree, beginning with the trade guilds of 16th-century Europe. It wasn’t until the 1800s, however, that the Christmas tree became a regular fixture in European homes.

For poorer families in parts of 17th- and 18th-century Germany, space was often an issue, and trees were commonly dangled from the ceiling. Even after the Christmas tree made a splash in Europe and the U.S., some religious leaders still refused to get behind the tradition. “Although the reservations of the Catholics gradually lessened,” Brunner writes, “as late as 1909 the Benedictine monks Augustine Scherer and Johann Baptist Lambert lambasted the ‘fraud’ of the Tannenbaum tradition, citing Christmas trees erected for cats and dogs, even trees erected atop graves.” What would the monks have thought about the $11 million tree erected in an Abu Dhabi hotel lobby in 2010 “to put ... Western visitors in a festive mood?”

— Rob DeWalt

Open this Sunday, December 23, 11-4

Global Weirdness: Severe Storms, Deadly Heat Waves, Relentless Drought, Rising Seas, and the Weather of the Future Pantheon Books/Random House, 214 pages With the veritable blizzard of polemics swirling around the topic, you may be in a fog about global climate change or may even have succumbed to the snow job of certain vested interests who maintain that, despite Superstorm Sandy’s recent chilling example, climate change is a debatable phenomenon over which even scientists can’t agree. If so, then this 2012 publication from the non-partisan, nonprofit science and journalism organization Climate Central should clear the haze. Written by Emily Elert and Michael D. Lemonick and reviewed by five Climate Central staff scientists, it was also submitted to external scientific review before publication — just like the scientific research upon which it is based. The list of independent reviewers (22 of them) includes scientists at some of our most prestigious institutions including the National Oceanic and Atmospheric Administration, MIT, the Scripps Institute of Oceanography, Stanford, University of Chicago, as well as universities in Canada and Australia and a scientific consultant to the Intergovernmental Panel on Climate Change (IPCC).

Written in language that most people can understand, with nine pages of supporting scientific references, the book probably comes as close as possible to satisfying journalist Thomas Friedman’s 2010 public plea in The New York Times for a report “summarizing everything we already know about climate change in language a sixth grader could understand, with unimpeachable peer-reviewed footnotes.” The authors are very clear about uncertainties, distinguishing carefully between knowledge, assumptions, and predictions. They also identify the real arguments among scientists — which are not about whether the planet is warming or whether fossil fuel emissions are the primary culprit, despite what you may hear on faux news programs.

While the authors are thorough, the book is a quick read. In addition to basic explanations of the science of climate and the climate change occurring now and elsewhere compared with those in the past, they cover the role of deforestation, the impact on biodiversity, rising sea levels and ocean acidification, the pros and cons of the various alternative energy technologies as well as what the chances are now that we can avert the consequences and whether we can estimate the costs of doing so or not doing so.

In short, it’s a book that gives non-scientists the information they need for fact-based decisions, although it frustratingly lacks an index for quick reference. It’s a concise summary for anyone who wants a better understanding of what is happening to the planet and the possible actions that can be taken.

Expect no easy solutions, however. Scientists began predicting the potential climate-changing effects of fossil fuel emissions over a hundred years ago — which is one reason they started tracking atmospheric carbon dioxide levels. And they’ve been trying to get the ear of politicians and the public since the 1980s. In 1988, the IPCC was created by the United Nations to summarize the world’s collective climate science in regular reports, with literally hundreds of scientists reviewing each chapter. Independent investigators have found very few errors in these reports. Nor did separate investigations cast any serious doubt on the science after the so-called Climategate incident — a fact I’ve noticed received much less media attention than the original scandal. The Doha Climate Change Conference is in progress at the time of this writing.

After nearly 30 years we are still mostly just talking. Perhaps this book can help a wider audience understand just how foolish that is.

— Susan Meadows

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BEYOND THE BUN SUTTON FOSTER’S LIFE ON STAGE

utton Foster’s career thus far resembles the plot of a Broadway musical.

Take her breakthrough role on Broadway. Cast in the ensemble of an out-of-town tryout for a new show, Thoroughly Modern Millie (based on the 1967 movie starring Julie Andrews), Foster was temporarily thrown into the lead role after the starring actress became sick. “By the end of the week, they had offered me the part,” she said. “I just panicked. I felt so green. I told them, ‘You’re making a big mistake.’ My life changed in one afternoon.”

Foster, who brings her solo concert act to Santa Fe on Thursday, Dec. 27, went on to play the part of Millie on Broadway, winning a Tony for best performance by a leading actress in a musical in 2002. “I was a chorus girl climbing the ladder, and Millie rocked my world. I had a certain naiveté, and I think they saw that in me. Millie was who I was.”

The actress went on to star in productions of Shrek: The Musical, Mel Brooks’ Young Frankenstein, The Drowsy Chaperone, and Little Women. She won her second Tony in 2011, playing Reno Sweeney in a revival of Anything Goes. Then, after 15 years in New York, she was offered the lead role in the TV series Bunheads, on the ABC Family network, and moved to Los Angeles. She is wrapping up the first season of episodes right now, waiting to see if the show is picked up for a second season.

At 37, her years playing ingénue parts may be numbered. Her character on Bunheads is a former Las Vegas showgirl who impulsively marries and winds up in a small town with her new husband, teaching at a local ballet school. The term bunhead is a somewhat derogatory description of ballerinas who keep their 20

December 21-27, 2012

hair up, whether or not they’re dancing. The bun, like walking with a turnout, becomes an inextricable part of some ballet dancers’ identities.

“My character is a bit of a cynic. She had huge dreams, but none of them came true. She had dreams of being a ballerina, but they faded away. At the beginning of the show, you find her living in a disheveled apartment, with no sense of stability, no roots. It’s like real life and fun to play a character who is such a mess. I’m now in my late 30s, and I have lots of experience with life’s ups and downs. It’s great to bring that to this role.”

Although she is what is known as a triple threat — a singer, dancer, and actress — she said that working in television is challenging in an entirely new way. “I’m a bit of a perfectionist, and I enjoy being in the theater in a long-running show.

I love the idea of my performance getting tighter and tighter. On TV, every day is different, and you never get to go back. It’s like a train that keeps moving. I find that exciting and terrifying every day.”

When she isn’t busy with her television gig, she fits in occasional engagements like the one in Santa Fe, using the live performances as workshops for new albums.

“We’ll be trying out some brand-new material in Santa Fe.” Foster has released two solo albums and is working on a third with her musical director, Michael Rafter, whom she first met during the rehearsals for Thoroughly Modern Millie 11 years ago. “I’m in a business where I get very little creative control. Working with Michael means coming up with projects that are all our own.”

Her promotional materials suggest that she will be singing hits from some of the musicals she has appeared in, but the artist said her playlists are heading

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in a different direction. “I do Broadway stuff, but primarily I’m interested in the American Songbook. Her new album will include tunes by Hoagie Carmichael, Duke Ellington, Eric Clapton, and James Taylor.

“My friends and I scour through tons of music, looking for lyrics that seem especially relevant to where we’re at. I want to be true to me right now. If I would have put a concert together when I was first doing Millie, it would have been totally different.”

One song that Foster said seems to fit life right now is the Tony Bennett song “How Little We Know.”

Who knows why an April breeze never remains Why stars in the trees hide when it rains Love comes along, casting a spell Will it sing you a song Will it say a farewell Who can tell?

Her marriage to fellow Tony winner Christian Borle ended in 2010. Like the character she plays in Bunheads, Foster feels she is starting over again in Los Angeles. She has also started over as a dancer. She said she stopped studying dance at the age of 19, although she has tap-danced her way through many shows since then. But as a ballet teacher on TV, she headed back to the barre. “The whole cast takes ballet class together two or three times a week,” she said. “It’s soul breaking, so hard. My body is going, What are you doing? But it’s also really fun to be in dance class again.”

While her character on Bunheads may be seriously flawed — not exactly the kind of role model most parents would want for a teenage daughter — Foster said in real life she enjoys being a mentor to the young actresses in the show. “I want to be a good example to them. I watch my behavior.

I want them to be hard workers and to respect the hard work of others.”

If Bunheads fails to last another season, will Foster head immediately back to the Great White Way? “I have no idea,” she said. “I hope the show runs for a long time.” ◀

details ▼ Sutton Foster, presented by the Santa Fe Concert Association ▼ 7:30 p.m. Thursday, Dec. 27 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $20-$75 (discounts available); 988-1234, www.ticketssantafe.org

All AP photos; left to right, Jeff Christensen; Boneau/Bryan-Brown, Joan Marcus; Helene Davis Public Relations, Carol Rosegg; Center Theater Group, Craig Schwartz; Kathy Willens; photo of Sutton Foster, ABC Family, Andrew Eccles

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PASA TEMPOS

album reviews

THE RESPECT SEXTET Respect in Yule (Mode/Avant) There are bits of recognizable yule music on this disc, but they’re embedded in completely crazy cocoons of sonic fuzz. (The virtuosic breakneck cover of Misha Mengelberg’s “Hypochristmutreefuzz” is just one of 11 titillating tracks.) The Respect Sextet, formed 11 years ago at the Eastman School of Music in Rochester, New York, opens with “Christmas Must Be Tonight,” a heavy, funky bass-and-drum intro yielding to feral tenor sax and Hammond organ solos, with trumpet and trombone accents.

Christmas music is not the first thing you’ll think of, but listening to the original version by The Band was a long holiday tradition for pianist Red Wierenga’s family, so here you go. The sextet segues into a short, frenzied party number by Loudon Wainwright III, “Suddenly It’s Christmas,” and then suddenly it’s time for the slow dance and some wonderfully low-key playing. Next up is a cover of John Tavener’s “The Lamb.” A great bass solo starts this gentle chaos of a song, which adds wacky strings to the streusel. With “Sevion/I Have a Little Dreidel,” the sextet’s plodding dirge accelerates to cacophony and some remarkable playing by Wierenga and others. The band’s “Let It Snow! Let It Snow! Let It Snow!” is nothing less than splendid screaming anarchy. More adventures follow, including the closer, Thelonious Monk’s “A Merrier Christmas.” — Paul Weideman JINGLE CATS Meowy Christmas ( Jingle Cats Recordings) Originally released in 1993 on CD and cassette, Meowy Christmas — now available as an iTunes download — owes its continued success to Cheese Puff, a kitten who wandered into a Hollywood recording studio and inspired engineer Mike Spalla to lay down the young castrato’s heaven-sent vocal stylings. “Jingle Bells,” Spalla’s debut feline masterpiece, incorporated more than 1,000 meows in 20 melodies. In a 1993 Los Angeles Times article, David Wharton explains, “By tightening and relaxing the muscles in its mouth and throat, the common house cat can produce a rich variety of phonetic and tonal patterns, according to a 1944 study published in the American Journal of Psychology.” That vocal dexterity is put to good use on Meowy Christmas, although it must be noted that sometimes dogs and clumsy string players show up to ruin the show. Opening with “Silent Night,” the album showcases the inimitable talent of Mew York Metropolitan Paw-pera contralto and British diva Lady Edith Thick-Coats, who shined as Auntie in the 2010 production of Benjamin Mitten’s PETA Grimes. Any professional ballerina worth her salt would be enraptured to perform The Nutcracker’s pas de deux accompanied by Meowy Christmas’ “Dance of the Sugarplum Fairies,” which highlights Frizz Wonderlick’s otherworldly tenor, one that falls far from the weighty Wagnerian style of the canine tenors and baritones backing him up. Of the 20 tracks presented here, none but Tchaikovsky’s “Waltz of the Flowers” breaches the four-minute mark, which is to the listener’s detriment. Clocking in at 5:23, the song barters feline vocal artistry for minimally interesting string arrangements provided by the Royal Philharmeownic Orchestra. Once again, the holiday season and a few Chihuahuas wreck a classical favorite. — Rob DeWalt EDIE ADAMS The Edie Adams Christmas Album (Omnivore Recordings) The work of the late comic Ernie Kovacs remains an acquired taste, but in his heyday — the mid-1950s to the very early 1960s — he was a flawed genius in the field of television comedy. If Kovacs remains overlooked today, his wife, actress/singer/comedienne Edie Adams (who died in 2008), is probably totally forgotten. But she was a talent in her own right in the 1950s and 1960s, with her Edie Adams Show picking up Emmy nominations and her turn as Daisy Mae in the 1950s Broadway production of Li’l Abner earning her a Tony Award. Her son, Joshua Mills, helped put together this CD compilation of holiday tunes showcasing Adams’ melodious voice (with Kovacs sometimes pitching in, for better or worse — or both) from 1950s and 1960s studio and television recordings. The “scratchy record” sound and background voices of studio artists interjecting comments every now and then add a comfortable improvisatory feel to the album, which features such traditional tunes as “Santa Claus Is Comin’ to Town,” “Winter Wonderland,” and “It’s a Marshmallow World.” (At one point, Adams seems to stumble over the lyrics to that last one, evoking laughter from studio technicians — a nice touch.) Her takes on “Have Yourself a Merry Little Christmas” and “I’ll Be Home For Christmas” are particularly touching, with her rendition of the latter evoking a yearning feeling that suggests she didn’t make it home. The Edie Adams Christmas Album will make a good, unexpected gift for those who enjoy old-time Christmas records, but it’s unlikely to win new converts for the Kovacs/Adams cult. — Robert Nott JEREMY HALADYNA Mayan Time, Mayan Tales (Innova) By and large, composers write for posterity, or hope to. I am ignorant of the personal beliefs of Jeremy Haladyna of the University of California-Santa Barbara, but if I learned that he assumed it would all be for naught as of Dec. 21, I wouldn’t be surprised. Maya culture and doctrine is his obsession. This collection of music composed from 1999 to 2011 comprises nine pieces, which are merely a third of his Mayan Cycle. On a programmatic level, his three-movement suite The Princess of the 9 Cave, for marimba four-hands, electronics, and vocalist (Allison Bernal), involves a cave with nine altars that played a crucial role at the moment when the Spanish conquered the Maya nation. For his musical realization, Haladyna creates what he calls the 2012 scale, a 37-note scale, not based on octaves, in which the lowest tone is mathematically tied to 3114 B.C. and the highest to A.D. 2012 — plus it incorporates the number 819 (the multiple of 7 x 9 x 13), which was the length of the Maya day-count cycle. Most of the music is haunting and soothing. Its generally abstract

22

December 21-27, 2012

character makes room for touches of habanera and distant salon music.

Other movements deal with a sacred bird, a crystal skull (performed with glass crystals), a totem god, and even a primordial version of the renowned ghost La Llorona. — James M. Keller

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’Twas the Night Before Hanukkah (The Idelsohn Society) Originally conceived as a collection of songs mapping the elevation of Hanukkah from a small occasion to a widely celebrated Jewish holiday in America, ’Twas the Night Before Hanukkah became a box set with broader themes. The Idelsohn Society for Musical Preservation — a nonprofit made up of academics and music-industry professionals whose mission is to relate and preserve Jewish history through recorded music — felt it was necessary to include Christmas songs in the collection. While searching for Hanukkah music, society members realized that many Christmas tunes were recorded, written, and produced by Jews, and they began to wonder, according to the liner notes, “Are the Hanukkah songs the Jewish songs? Or are the Christmas songs the most Jewish songs of all? Are the Christmas songs proof of full-scale assimilation and Jewish invisibility? Or, as Philip Roth suggested in Operation Shylock, are they in fact Jewish covert ops, sonic strikes on gentile America?” The notes also tell the fascinating story of the Jewish campaign in the U.S. to “beef up” Hanukkah as a national holiday, a task begun by a group known as The American Hebrews. The two discs cover vast musical territory, from The Ramones’ “Merry Christmas (I Don’t Want to Fight Tonight)” and The Ames Brothers’ “I Got a Cold for Christmas” to Cantor Yossele Rosenblatt’s stirring 1916 recording of “Yevonim” and Don McLean’s country rocker “Dreidel.” Good news: Adam Sandler’s “The Hanukkah Song” is nowhere to be found. — Rob DeWalt

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WILLIE NELSON The Classic Christmas Album (Columbia Legacy) This new compilation of seasonal music contains all of Willie Nelson’s 1979 recording Pretty Paper and a few other tunes, some from his obscure 1997 recording Hill Country Christmas, with sister Bobbie Nelson at the piano. Not all the tunes are Christmas specific. “A Dreamer’s Holiday” makes the cut because, well, it has the word holiday in the title. And what would a collection of celebratory music be without Willie’s version of “What a Wonderful World”? Pretty Paper producer Booker T. Jones of Booker T and the MGs — he also produced Nelson’s classic Stardust recording — made that recording shiny and bright ( Jones also contributes soulful organ).

Nelson is surprisingly spirited on secular music, especially that directed at children. When he sings “Frosty the Snowman,” you can almost see that corncob pipe. Nelson wrote “Pretty Paper” in the early ’60s — it was a hit for Roy Orbison in 1963 — and its message of seasonal bustle and contrasting loneliness makes for the best melancholy holiday tune since “Blue Christmas” (which is the following number in this collection).

Nelson addresses carols like he doesn’t quite believe what he’s singing.

He should have tackled “Joy to the World” in a bit lower key — it would have saved him some vocal strain and embarrassment. Not surprisingly, the best tune here is an instrumental: Nelson and Jones’ “Christmas Blues,” which, of course, follows “Blue Christmas.” — Bill Kohlhaase

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TERRELL’S TUNE-UP Steve Terrell

How does your Soundgarden grow?

Years before Nirvana came to symbolize the Seattle sound — and something called “grunge,” a label that no “grunge” band actually embraced — a group called Soundgarden seemed perched to conquer the world. It started out in the mid ’80s, recording on venerable independent labels like SST and, yes, Sub Pop. With a fresh metallic punch — too derivative, in the early days, of Led Zeppelin and Black Sabbath — by the early ’90s Soundgarden had evolved into a powerful musical force.

The band’s album Badmotorfinger, released in October 1991, was nothing short of a headtwister. With songs like “Rusty Cage,” “Jesus Christ Pose” and “Outshined,” it was metal, all right, and but it was metal hurling itself into exciting, unexplored directions. But in what definitely was a case of bad timing, this album was released just after Nirvana’s breakthrough Nevermind, which (sorry) outshined Soundgarden’s album in terms of national attention and critical acclaim But then and now I believe Badmotorfinger was the superior album. And, in fact, I still like it even more than Superunknown, Soundgarden’s most popular album, which came out in 1994.

Soundgarden called it quits in 1997. But they’re back. The musicians reunited for some live shows a couple of years ago. And late this year they unleashed King Animal, an album of all-new material. Hair-metal casino acts, nu-metal pretenders, indie-rock shoegazers, and emo wimps should flee in fear. This album, especially the first half, is a doozie.

If Soundgarden fans back in, say, 1999 could have heard King Animal, they probably

26

December 21-27, 2012

Late this year, Soundgarden unleashed ‘King Animal,’ an album of all-new material. Hair-metal casino acts, nu-metal pretenders, indie-rock shoegazers, and emo wimps should flee in fear.

would have been delighted, but they would not have been shocked. Thankfully, there’s no self-conscious effort to update the band’s basic sound. No fancy, zingy technological touches are noticeable.

Granted, there are some signs of maturity on this record. The band employs a little more acoustic guitar than it did in the old days on songs like “Black Saturday” and “Bones of Birds” (which reminds me of Temple of the Dog, an early ’90s album that included Soundgarden members.)

But singer Chris Cornell still wails — if not quite as loud as in the old days. Kim Thayil’s guitar still leads the screaming life. And drummer Matt Cameron and bassist Ben Shepard are still one brawny rhythm section.

King Animal starts off, appropriately enough, with a rocker called “Been Away Too Long.” It’s the lament of someone returning to his hometown, though it’s hard not to see it as a metaphor about going back to a “town” called Soundgarden.

“I’ve been away for too long/Though I never really wanted to stay.” The next song, “Non-State Actor,” is also a pounder, with Cornell seemingly giving voice to some underground populist movement: “We’re not elected but we will speak/We’re not the chosen, but we believe/And we settle for a little bit more than everything.”

The thumping “Blood on the Valley Floor” is Soundgarden at its most Black Sabbath-like, while the opening strains of “By Crooked Steps” might remind you of early U2, until the entire band bursts in. The song starts out with Cornell singing about “stealing love” and declaring, “I’m a walking believer/I’m a ghost and a healer/I’m the shape of the home inside your mind.” That sounds nice and positive. But this ain’t no New Age ballad. The narrator soon reveals a harsher sider. “Blood raining down/Cuts a deep, deep river/And we’re diving.”

The album ends with “Rowing,” a five-minute slow burner that almost suggests an old chaingang chant. “Don’t know where I’m going, I just keep rowing” goes the refrain.

Let’s hope Soundgarden keeps on rowing through the murky river of modern music. Row on over to www.soundgardenworld.com.

Also recommended: Sideshow EP by The Frontier Circus. Here’s a four-song disc from a group I currently consider the best cover band in America. This is a nifty follow-up to the Conway, Arkansas, group’s debut album, A Little Bit Psycho ... A Little Bit Western, released last year. That one featured the Circus’ feedback-drenched psychedelic/punk versions of songs by Johnny Paycheck, Jefferson Airplane, Wanda Jackson, and Roky Erickson, among others. My favorite there is a loud, grating mash-up of “A Horse With No Name” and “Cool Clear Water.”

On Sideshow, Frontier Dan and his combo perform crazy versions of songs made famous by Nancy Sinatra, The Velvet Underground, Cher, and fellow Arkansas native Glen Campbell.

They’re all good, but the best is the visionary take on the Lee Hazlewood-penned “Some Velvet Morning,” on which Dan sings both the Nancy and Lee parts while the guitars sound like a Martian attack. It’s kind of funny when Dan sings “White men always called me ‘Indian squaw’ ” on Cher’s “Half-Breed,” but this is one rocking tune.

“All Tomorrow’s Parties” retains the folk-rock jangle of the Velvets’ original, and Campbell’s “Rhinestone Cowboy” is pure joy (even though my favorite cover is still local boy Joe West’s version.)

My only complaint is that this is a four-song EP and not a full album. This might just be a sideshow, but I’m looking forward to seeing what’s inside the big top for The Frontier Circus. Check out the band’s records at www. maxrecordings.com. ▼ Christmas is a comin’: By the time you read this, the 2012 Big Enchilada Podcast’s Christmas Special will be sliding down the chimneys of computers all over the internet. Get a big dose of my special brand of musical holiday cheer.

Check that out, plus all the other 50-plus episodes at www.bigenchiladapodcast.com.

And tune into Terrell’s Sound World at 10 p.m. on Sunday, Dec. 23, for the 89th annual Steve Terrell Christmas Special. That’s on KSFR-FM 101.1 and streaming online at www.ksfr.org. ◀ ▼

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ON STAGE THIS WEEK Bell-issimo: Chancel Bell Choir Few things herald the holidays like the deep ringing of bells in crisp winter air. Traditionally, bells ring from a church’s bell tower. At 5:30 p.m. Friday, Dec. 21, the First Presbyterian Church’s Chancel Bell Choir rings out all bells at the church (208 Grant Ave.). Singing such holiday classics as “O Come All Ye Faithful” and “Little Drummer Boy,” the choir promises a resonant evening with performers from the Bell Choir of Westminster Presbyterian Church and the Santa Fe Women’ men’s Ensemble. Admission is by donation. Call 982-8544.

No humbugs here At 7 p.m. Saturday, Dec. 22, the Zia Players present a reading of Charles Dickens’ A Christmas Carol based on the Dec. 24, 1939, live broadcast of the popular tale on the Campbell Playhouse radio show. In the original broadcast, Lionel Barrymore took the role of Scrooge and was accompanied by a group of actors from the Mercury Theatre, while Orson Welles handled narration. The music was composed and conducted by Bernard Herrmann, who went on to work with Alfred Hitchcock on a little film called Psycho. The Zia Players read from the radio script, available online at www.sheeplaughs. com/scrooge/radioscript.htm. Special sound effects will also be included in the performance, which takes place at Zia United Methodist Church (3368 Governor Miles Road, 471-0997). Tickets are $5, $20 per family, at the door.

The

Swinging Ornaments

Swing low and high with The Swinging Ornaments The Swinging Ornaments aren’t your average Christmas-music crooners. Celebrating three years of entertaining local holiday revelers, the ensemble is made up of a wide range of players, including singer-songwriter Josh Martin, upright-bass aficionado Johny Broomdust, cellist Michael Kott, drummer David Waldrop, guitarist Greg Butera, autoharpist/banjo player Michael Barker, and, according to Martin, “pretty much anyone who wants to play with us. Christmas music is the new folk music — and that’s coming from a Jew!” Hear The Swinging Ornaments play selections such as “Merry Christmas, Baby,” “Santa Claus Is Coming to Town,” and “I’ll Be Home for Christmas” at Cowgirl BBQ (319 S. Guadalupe St., 982-2565) from 5 to 7:30 p.m.

Friday, Dec. 21, and 2 to 5 p.m. Saturday, Dec. 22. Catch Martin and friends for a special holiday show from 5 to 7:30 p.m. Monday, Dec. 24. There is no cover for the shows.

Vocals at Vanessie The annual Young Voices holiday program at Vanessie (427 W. Water St., 982-9966) presents an excellent opportunity to enjoy opera in an informal setting. High-school students who have participated in the advanced musical-education program offered by Santa Fe Opera’s staff perform traditional carols, holiday-themed music, and operatic arias at 6:30 p.m. Friday, Dec. 21. You may want to warm up our vocal chords at the piano bar before the singers arrive, because there may be a few singalongs as well. There is a $5 cover, and a portion of the evening’s proceeds will benefit Santa Fe Opera.

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Rob DeWalt I The New Mexican

n c e l a m t u o r n e G Cu ll

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illia W

rom the mines of Cornwall, England, to the swampy mangroves of Nigeria’s Yorubaland, stories passed down through the ages tell of small, mysterious beings prone to make mischief and magic.

Taking their name from the ancient Greek gnome, or knowledge — because they were thought to have occult knowledge of the earth — gnomes are described as elemental creatures who shy away from human contact and can travel through solid ground with ease.

(Although New Mexico prairie dogs could be described in a similar fashion, they don’t quite measure up in the magic department.)

Be it the obnoxious garden gnome, the Travelocity gnome, or those in the horrid animated film Gnomeo & Juliet, the gnome is a pop-culture reference that will never fade away. J.R.R. Tolkien used the term gnome in The Book of Lost Tales to describe a race of people known as the Noldor. Sadly, Hollywood’s tastemakers do not seem to be mining the world’s gnome-centric folk tales. If they bothered to pick up a copy of Marcia Lewandowski’s The Gnome Lexicon (Pukwudje Publications), with illustrations by Nathan Vieland, they’d find a treasure trove of material at their disposal.

Gnomes first enchanted Lewandowski when she was a child. She spent summers exploring her grandparents’ North Dakota farm. “It was, in hindsight, a rather treacherous place for little girls,” Lewandowski writes in the book’s foreword, “who could become easily lost in the lush growth of reeds that hid deep pools & tangled roots. But the greatest danger, my Grandma Rose cautioned me, was a company of rather cantankerous gnomes that made their home within the borders of the wetlands.”

Lewandowski, a graduate of the University of Minnesota and a fiber artist who has written two other books (Folk Mittens and Andean Folk Knits), moved to a village in South America with her son when he was 6 years old. There, she knitted him a 1-foot-tall creature as a toy. When a villager saw the figure, he mentioned that Lewandowski’s son had a duende, a Latin American gnome-like creature.

30

December 21-27, 2012

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That encounter spurred Lewandowski to travel in search of other gnome folklore, which she compiled in The Gnome Lexicon. “It’s not really a book one sits down and just reads front to back, although I suppose you could,” Lewandowski told Pasatiempo by phone from her Athens, Ohio, home. “It’s more of an encyclopedia of gnome folklore divided into cultural origins and sources.”

The Gnome Lexicon includes descriptions of 70 gnomes from 59 different cultures, assembled in an illustrated book with hand lettering by Kelly Lincoln. Toward the end of the book, Lewandowski includes several fairy tales based on gnome folklore, and she admits to taking a few liberties with her storytelling. Lewandowski interviewed numerous people in South America, the United States, and Mexico for her research, and although she was unable to travel to Africa and a few other spots, she contacted foreign students in the U.S. and asked them to share gnome tales from their home cultures.

“In many places, a lot of the gnome folklore has kind of been left behind within the last generation, but many of these students’ parents still hold on to the stories,” Lewandowski said. “I was also able to comb through the diaries of Catholic missionaries involved in first contact with some of the cultures mentioned in the book, and these missionaries often wrote down the stories — what they called superstitions — from cultures they visited. In the U.S., I got to interview people who still have somewhat of a belief in gnomes. I had to be very careful in interviewing some people and not frame the question as, Well, what other tales do you have? — because these folks actually believe that gnomes are out there in the woods.”

One young man told Lewandowski that a friend had encountered a gnome in the equatorial rain forest region of Africa. The gnome, or nburu, challenged the man to a game of wits. If he answered the nburu’s riddle correctly, he would be granted one wish. “His wish was to study engineering here in the U.S., and a couple of years after answering the gnome’s riddle, the wish was granted, and continued on Page 32

Whatí s in a gnome?

Illustrator Nathan Vieland — a 2010 Ohio University graduate with a degree in painting and a minor in philosophy — has been drawing for most of his life, and given his interest in fantasy, storytelling, and comics, his collaboration with Marcia Lewandowski on The Gnome Lexicon was a perfect fit. “I drew gnomes here and there as a teenager,” Vieland said, “but at that point I just saw them as funny-looking creatures.This book made me see them in a different light.” While working toward his degree, Vieland picked up random construction jobs, and one of them happened to be at Lewandowski’s home.“She mentioned that she needed an illustrator, and I basically told her, Here I am.”

Vieland worked on the illustrations for the book — his first big literary project — for about two years, working from printed text sent to him by Lewandowski. In 2010 he set up a drawing studio in Lewandowski’s home to finish the project.

Vieland is influenced by British illustrator Arthur Rackham and German artist Albrecht Dürer, and he also cites his Ohio University professor ArtWerger as an inspiration. Much ofVieland’s work in The Gnome Lexicon has a woodcut feel.

“I’ve learned a lot about pen-and-ink technique through this project,” he said,“which is serving me well in my work with the Maine-based Beehive Collective” — a group of graphic designers motivated by grassroots political action.Vieland’s latest contribution to the collective is his work on a double-sided poster titled Mesoamerica Resiste. It documents efforts in Mexico and Panama to resist Proyecto Mesoamérica, a huge infrastructure project that is meant to increase global trade throughout Colombia, Central America, and Mexico and is stripping those places of natural resources, uprooting entire communities, and placing poor populations in debt. illustrator, and most of his work is done on a computer using vector-graphics software instead of ink and paper.You can view more of his artwork and read his poetry at www.behance.net/ nathanvieland and www.nathanvieland.com.

Left, Jack Frost; above, the saci-pererê of Brazil; below, the Scandinavian gårdsrå; opposite page, Micronesia’s dwende; illustrations by Nathan Vieland, from The Gnome Lexicon

PASATIEMPO

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Illustrations by Nathan Vieland

For the past two years,Vieland has been working as a patent

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Gnomes, continued from Page 30 Nathan Vieland: The Sandman, or Wee Willie Winkie, as he is known in Scotland

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December 21-27, 2012

he came to study engineering here at the University of Ohio.

Now, who knows if this is the way things happened or if this is just another tale influenced by folk traditions? And really, who cares? Gnomes are often used to explain things that can’t be understood or explained easily. Lose your car keys? A gnome took them. It’s still a common excuse in some places.”

Many gnomes are tied to the holiday season, and Lewandowski refers to these as yuletidegnomes. They tend to appear in accordance with the 12 days of Christmas, she said, showing up around the first day and sticking around until the Day of the Three Kings (Jan. 6). Surprisingly, Jack Frost doesn’t fall under the yuletide category and instead sits in the “Gnomes of the Frost and Gale” chapter, with the North African nuberu and Sicily’s salvanello. Lewandowski explains that Frost, an artist and relative loner who paints with ice crystals, occasionally seeks out others to make snow angels and frolic in the snow with him. If no one will join him, he’s liable to sew the doors to their homes shut with a needle made of ice. Frost is also there to warn us of the dangers of cold, Lewandowski writes, noting that, “His best lesson is saved for anyone foolish enough to touch a tongue to frozen metal surfaces outside. ... I found out the hard way that the tongue can only be retrieved from his grip with some warm water ... or by tugging it off, leaving a goodly part of it behind.”

Lewandowski’s favorite yuletide gnome is Greece’s kallikantzaroi, who rides from home to home on a white chicken. “He’s more mischievous than most,” she said. “He’ll make a mess of your house. One of the ways to keep them out of the house is to put a colander on the front stoop. For some reason, the kallikantzaroi is compelled to count every hole in the colander; it’s sort of an unspoken rule. Well, the kallikantzaroi is horrible at counting and has to constantly start over.” If he gets inside, however, you can look forward to your pets being taunted, your countertops and floors muddied — and he’ll eat all your pork. Beyond just mischievous, he’s considered malicious.

The closest thing to a gnome in Southwestern folklore is perhaps the duende, Lewandowski said. The creature is told of in Iberian and Latin American folklore, with a strong cultural presence in Argentina and Bolivia.

Some believe the duende inhabits the walls of homes and tempts children into doing bad things. The duende may also try to clip children’s toenails, sometimes clipping off an entire toe or foot. Duendes are also said to barter with mothers for their naughty children, which they like to eat. Seen as an environmental protector, the tata-duende of Belize, with his large cane, will “dispense swift punishment upon anyone who intentionally causes harm to any [of] the plants or wildlife that live in his forest. ... Even a light tap of the tata-duende’s stick results in angry red welts that will cover your neck, face, and hands.”

Interestingly, Santa Fe may have a few duendes of its own, but they are nothing to fear. Or are they? Among Gustave Baumann’s marionettes at the New Mexico Museum of Art is a mischievous duende named Freckles, who has a twin brother named Wart. The hermanos generally come out in time for the museum’s annual holiday open house, which occurred on Dec. 16 this year. On that note: Have you counted your child’s toes lately? ◀

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35

VIAJES PINTORESCOS Y ARQUEOLÓGICOS Khristaan D. Villela

Maya Apocalypse 2012, or not If you are reading this column, then we have survived the Maya Apocalypse of 2012. Or have we? It all depends on whether we have correctly correlated the Maya calendar with our own. What if we are off by a day or three?

Or what if the apocalypse happened 260 years ago? What cruel irony to be certain that there was time to walk the dog, do laundry, or make New Year’s resolutions, and then BAM! That’s all, folks. The 2012 apocalypse phenomenon was created by the modern interpretation of the meaning of certain ancient Maya calendar cycles. But since there are no ancient Maya walking around still using the ancient calendar, the 2012 apocalypse predictions also depend upon how our calendar might be correlated to those last used in Mexico and Central America almost a thousand years ago.

As discussed in this column in July, the 2012 apocalypse predictions are linked to the ancient Maya calendar that modern scholars call the Long Count. We do not know what the Maya called it, very likely something like “the day count,” since it is at its most fundamental level a continuous tally of days stretching infinitely into both the past and the future. Here’s a brief recap. The Long Count consists of time periods large and small, all based upon groups of single days. The lowest and most commonly used periods counted single days, months of 20 days, and years of 360 days. This calendar was unrelated to the solar year, hence the figure of 360 days, rather than 365 or 365.242 days, the true length of the so-called tropical year on Earth. Most ancient Maya dates, and there are hundreds, even thousands, use two additional larger time periods, which are units of 20 and 400 years (20 x 360 = 7,200 days, and 400 x 360 = 144,000 days). The ancient Maya used the Long Count to fix immovably in time events in the lives of the elite in cities such as Tikal, Copan, and Palenque: births, marriages, rituals, battles, and deaths. They never used the Long Count or their hieroglyphic writing to record commercial transactions or any details of life outside the palaces of the kings and nobles. The dates are unmovable and unrepeatable because the cycles are so long, just as the date Dec. 21, 2012 will never come again, unless someone in the remote future decides to reset our calendar.

Archaeologists believe that the earliest Maya lived about 500 B.C., and their civilization experienced 1,200 years of expansion, a time period comparable to the entire span of Republican and Imperial Rome. In the 8th century, Maya city-states began to fail. The collapse of what archaeologists call Classic Maya society was caused by a combination of drought, environmental degradation, and unsustainable populations. (For more detailed information on the topic, read David Webster’s 2002 book The Fall of the Ancient Maya instead of, or at least before reading, Jared Diamond’s 2005 Collapse.) There was a several-hundred-year renaissance in northern Yucatán, at Chichén Itzá, Uxmal, Mayapán, and elsewhere. But by the time the Spanish began invading Mexico in the early 16th century the Long Count was in disuse, probably because the elite culture with which it was so closely associated was so attenuated.

T

his thumbnail sketch of Maya history is to note that the entire span of pre-Columbian Maya culture falls within the roughly 5,000-year (5,126 to be exact) period that anchors the five lowest periods of the Long Count, beginning on a date in our calendar corresponding to Aug. 11, 3114 B.C. There were no Mayas in Mexico and Central America at this time, and archaeologists’ best guess is that this date was selected because it was a mathematically predictable point of confluence between many cycles they were tracking, among them the periodicities of the moon and visible planets. But this was not the beginning of the Long Count, just the start of a significant cycle of human agency. That is, there are no human actors named as subjects of any of the many Maya texts that cast deep into the past and far into the future, only gods and the deified ancestors of the elite.

We write that anchor date of Aug. 11, 3114 B.C. as 13.0.0.0.0, which tells us that on this date 13 periods of 400 years were finished. To the right of the 13, the places for periods of 20 years, single years, months, and days are empty because they are already completed. The next day was 13.0.0.0.1, the next month 13.0.0.1.0, and the next year 13.0.1.0.0. When 400 years passed, the number in that place reset to zero. But Maya dates that have just these five time periods were an abbreviation of a much longer date, which we find written out on a few monuments, for example, Stela 1, from the site of Cobá, Mexico. There, instead of just giving us the five lowest time periods, 19 additional and higher periods are given. The 3114 B.C. date is thus expressed: 13.13.13.13.13.13.

13.13.13.13.13.13.13.13.13.13.13.13.13.13.0.0.0.0, or 19 places with 13, and then the 13.0.0.0.0, or five lowest time periods which are most often given in Maya inscriptions. Each of these higher periods is a factor of 20 larger. After the Baktun, or period of 400 years, the fifth from the right here, we find counts of 8,000 years of 360 days (2,880,000 days), 160,000 years of 360 days (57,600,000 days), 3,200,000 years of 360 days (1,152,000,000 days), 64,000,000 years of 360 days (23,040,000,000 days), and so on. If we expanded this date to learn when the continued on Page 38

36

????. ? - ?, 2012

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Viajes, continued from Page 37 24th period to the left began, it takes us 28 octillion years before the present (an octillion is 1027, or 1 followed by 27 zeros), and so far beyond the currently understood date for the Big Bang creation of our universe, 14 billion years ago, as to be incomprehensible, even if you have a computer. So whatever the ancient Maya thought happened in 3114 B.C., it was not the beginning of their calendar. On Dec. 21, 2012 the 13th period of 400 years since 3114 B.C. will end. But in a like manner, it is not the calendar’s terminus. Several Maya dates are cast far into the future. One from Palenque looks forward to the next significant Long Count period ending, in A.D. 4772; another, from Quiriguá, Guatemala, discusses the actions of gods 400 million years hence. It seems straight out of H.G. Wells’ The Time Machine.

T

he Franciscan friar Diego de Landa left Maya studies a critical document in his Relación de las Cosas de Yucatán, an account of his adopted country that he composed to defend himself from charges that he had illegally began his own inquisition in 1562 and had many Mayas interrogated, tortured and even killed for backsliding into paganism. Though clearly guilty (his superiors thought he had cracked), back in Spain, Landa was exonerated and was later named the first bishop of Yucatán.

Landa used noble Yucatec Maya as informants, and they gave him much data about their history and culture. They told him that when the Spanish arrived in Yucatán, the calendar period called K’atun 11 Ajaw had just begun. In the several centuries preceding the Spanish conquest of Mexico, the Maya of Yucatán adopted what scholars call the Short Count, a cycle of 13 K’atuns, or periods of 20 Long Count years, or

JULIAN DAY NUMBERS FOR JANUARY 1 OF THE GREGORIAN CALENDAR YEARS, A.D. 1-2000 Year Julian Day Number Year Julian Day Number Year Julian Day Number 1..............................1,721,060 ................................ 700 ..............................1,976,730 ...............................1400............................. 2,232,400 100..............................1,757,585 ................................ 800 ..............................2,013,254 ...............................1500............................. 2,268,924 200..............................1,794,109 ................................ 900 ..............................2,049,779 ...............................1600............................. 2,305,448 300..............................1,830,633 ..............................1000 ..............................2,086,303 ...............................1700............................. 2,341,973 400..............................1,867,157 ..............................1100 ..............................2,122,827 ...............................1800............................. 2,378,497 500..............................1,903,682 ..............................1200 ..............................2,159,351 ...............................1900............................. 2,415,021 600..............................1,940,206 ..............................1300 ..............................2,195,876 ...............................2000............................. 2,451,545 ......................................................................................................................................................................... 12/21/12............................. 2,456,282

In 1920, Santa Fe’s part-time Maya archaeologist Sylvanus G. Morley wrote in his Inscriptions at Copan that all of Maya history could be completely understood if but one point of convergence between the Long Count and the Gregorian calendar could be discovered. To date scholars have advanced more than three dozen serious proposals to correlate the Maya Long Count with our calendar. The points of convergence Morley sought have been found in two places: the records made by the Maya and Spanish after the conquest of Yucatán in 1542, and in pre-Columbian references to astronomical phenomena, such as solar eclipses that we can check using modern eclipse tables. The reason the Maya calendar correlation remains unsettled today is because the data from early colonial sources is confusing, mainly because the Long Count was no longer used and had been replaced by an abbreviated count of 20-year periods. But the family of correlation constants that most scholars agree is correct all cluster a day or two before and after (mostly after) 584,283. As a preview for the tough going that follows, if this figure is correct, then the so-called Maya apocalypse will happen on Dec. 21. If the correlation constant is 584,285 — a figure preferred by many scholars — then it will be on Dec. 23. A correct correlation should agree with all of the solar eclipses the ancient Maya predicted or observed as well as with the phases of the moon they often recorded along with the Long Count dates. None of the proposed correlations agrees exactly with all of these data points.

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7,200 days. Landa’s source also noted that in 1553, the beginning of the Maya year (365-day calendar) occurred on July 16, or 12 K’an 1 Pop in the Maya calendars. Using the statement that K’atun 11 Ajaw had just begun in 1541, and that the date July 16, 1553, was 12 K’an 1 Pop, we can project back to a secure Long Count date of 11.16.0.0.0 13 Ajaw 7 Xul for a date in the year 1539. Calculating the interval between the days generates 11.16.13.16.3 as the Long Count for July 16, 1553. Scholars have turned to the Julian day count for the next step. Proposed in 1583 by the French astronomer Julius Scaliger, the Julian day count numbers every day from a fixed starting point: Jan. 1, 4713 B.C. It is useful to astronomers because, like the Long Count, it counts single days without any need to make reference to years, which are not composed of a whole number of days. The true length of the year, the so-called tropical year, is 365.242 days, hence the need for leap days every fourth year in our modern calendar.

There is no need for fractions or leap years in the count of single days. The Julian Day Number ( JDN) of July 16, 1553 is 2,288,488. If we subtract the total number of days in the second Long Count date above — 11.16.13.16.3 is 1,704,203 days, or (11 x 144,000) + (16 x 7,200) + (13 x 360) + (16 x 20) + (3 x 1) — we arrive at the correlation constant of 584,285 (2,288,488 - 1,704,203). This places the beginning of the current cycle of 400-year Long Count periods at 584,285 days after Jan 1, 4713 B.C., or Aug. 11, 3114 B.C.

This correlation’s author, the great 20th-century archaeologist J. Eric S. Thompson, believed that for a variety of reasons the calendar recorded by Landa and other Spanish Colonial had slipped by two days. He later introduced arguments for a 584, 284 correlation and then a 584, 283 correlation.

That latter correlation has become fixed in popular culture, and it produces the Dec. 21 doomsday date.

However, many scholars prefer the original 584,285 figure, which places the Baktun ending on Dec. 23.

Using this constant to convert Maya dates to dates in our Gregorian calendar is complex, and we suggest using one of the many online programs or smartphone apps, but it can also be done with a calculator or with pencil and paper, as Morley would have done it. Here’s how. This explanation follows that presented in The Ancient Maya by Robert Sharer and Loa Traxler — the sixth edition of the book Morley originally wrote in 1946, which has been revised so much that the Santa Fean’s name is no longer on the title page. You first find the total number of days in a Long Count date. For example, 9.15.6.14.6 multiplies out to 1,406,446 days. We add this figure to the correlation constant to arrive at the corresponding Julian Day Number — 1,990,729 = 1,406,446 + 584,283. Referring to the chart on this page, next subtract the nearest smaller Julian Day Number — 1,976,730, found on the line corresponding to the year 700 in the modern Gregorian calendar. 1,990,729 - 1,976,730 = 13,999 days, or 38 years and 129 days. The Long Count date 9.15.6.14.6 thus corresponds to the year 738 in our calendar. To calculate the exact date we must subtract the number of leap days our Gregorian calendar adds every fourth year of those 38 years (the Julian Day Numbers do not use leap days). Subtracting the nine leap days in 38 years yields 120, and the 120th day of the year is May 1.

Finally we arrive at the correlated date: 9.15.6.14.6 is May 1, 738. Converting Gregorian calendar dates to Maya Long Count reverses the process, though it is somewhat more complicated.

So are we still doomed? No matter what correlation we wish to use to connect our calendar to the ancient Maya Long Count, most of us will probably live to see 2013. Whew! If the ancient Maya were here they would likely record that they celebrated the end of the 13th Baktun, amid much hoopla, on Dec. 21, 2012.

Then they would very likely connect this event to the next great period, ending on Oct. 21, 4772. ◀ For further reading Exploring the 584,286 Correlation between the Maya and European Calendars by Simon Martin and Joel Skidmore, Precolumbian Art Research Institute Journal 13, No. 2 (2012). Available online; see www.mesoweb.com/pari/publications/journal/1302/ Correlation.pdf Maya Hieroglyphic Writing by J. Eric S. Thompson, University of Oklahoma Press The Decipherment of Maya Script by David Kelley, University of Texas Press Skywatchers of Ancient Mexico by Anthony Aveni, University of Texas Press

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Tadashi Mori: Exuberance!, Touching Stone, 539 Old Santa Fe Trail, 988-8072; through Dec. 28

E

arlier this year, the Paramita Museum in Japan hosted a 50-year retrospective of the work of respected Japanese ceramist Tadashi Mori. Some of the objects in that exhibit are on show at Touching Stone. Working with Oribe ware, known for its emerald-green copper glaze, Mori has transformed the ceramic tradition through abstract works that are often simultaneously functional and sculptural or sometimes purely sculptural.

Part of what makes Mori’s ceramics unique is his use of a red Oribe glaze, which is far less common than the deep green glaze. The bright, vibrant red the artist achieves has become associated with his work and is known in Japan as Mori red. Mori covers his work with swirling circular and semicircular designs, some derived from traditional kimono patterns. He often gives his sculptures a painterly surface treatment with splashes and drips that are reminiscent of Abstract Expressionistic work.

Among the more functional pieces is a series of stacked boxes that can be arranged in various combinations, flower vases, and incense burners, all of which offer some surprises. Mori’s work practically demands to be handled.

He adds his exuberant colors and patterns to the inside, sometimes juxtaposing a plain outer surface with a richly decorated interior. Or he will paint the underside of a piece, adding sheets of silver leaf or a sudden flash of color. Such playful aspects make a Mori sculpture a work of discovery.

At Touching Stone, visitors have an opportunity to see objects as they might look in a home: on a coffee table, a console table, or a bookshelf, as opposed to a gallery vitrine. The older work, from a series inspired by the story of a 16th-century Zen monk called Enku, has a rough and less ornamental quality. Mori crafted the pieces quickly, in the manner in which Enku is said to have carved wooden Buddha sculptures he made on his travels from village to village — many of which can still be seen in Japan. Mori’s Enku-inspired objects are glazed in combinations of red, silver, white, and gold — colors often used in historic sculptural representations of Buddha.

What is interesting about the more functional objects on view is that function follows form, rather than the other way around. When lidded, Mori’s incense burners, for instance, are highly abstracted amorphous shapes. Part of what makes his work stand out is its loose, impromptu, and gestural feel.

Mori is among the contemporary Japanese ceramists who have redefined ceramic traditions without rejecting them altogether. Touching Stone is attracted to such innovators and regularly features their work.

— Michael Abatemarco

sto r e ≠ w i d e s a l e Ball

505.992.0200 | wcwtimepieces.com

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Left, Toubako No. 3, red, black and white four-layered box, 2012, 17 x 7.5 x 5.5 inches

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40

December 21-27, 2012

Tadashi Mori: Mizusashi No. 13, with unglazed lid, 2012, 7 x 6 x 6 inches

2019 Galisteo Street, Unit A4 ï 505.988.3338

THANK YOU! The Las Campanas Community Fund & The Club at Las Campanas Scholarship Fund wish to thank all the supporters of the

Second Annual ‘Play It Forward’ Event held August 5 & 6, 2012 at

ChristmasEve

Concert

To Our Partners in the Collaborative Benefit Event:

To Our Co-Presenting Sponsors:

LAND HOLDINGS

And To Our Other Sponsors and To Underwriters Who Contributed Auction Items, Including: Merrill Lynch Hutton Broadcasting David & Pamela Albin Garcia Automotive Group and Mercedes Benz of Santa Fe Gillespie, Robinson & Grimm, Inc., Financial Counsel Bell Tower Properties Galpert-Ortega Investment Consulting Group of Wells Fargo Advisers Packard’s Zlotnick, Sandoval & Laws, PC Northern Insurance Barney’s New York of Scottsdale Beauchamp Jewelers BMW of Santa Fe The Bull Ring Randy Chitto Pueblo de Cochiti GC Jim Duncan, Jr. Gabriel’s Sotheby’s International Realty Foundation Gusterman Silversmiths Pat Rehorn

Hotel Parq Central Richard Hertz Hotel Santa Fe Jinja Restaurant La Choza Paul Margetson Maria’s Nedra Matteucci Galleries Paa-Ko Ridge GC Ranch House Fritz Penwell Rio Chama Steakhouse Susannah Sale Roseta Santiago/Blue Rain Gallery The Shed Santa Fe Country Club Ralph Tingle Things Finer Santa Fe Dining Towa Golf Resort Whole Hog Cafe

Congratulations to the following children of employees of The Club at Las Campanas who are the initial recipients of scholarships funded by proceeds from Play It Forward: Brittany Brewer: Pensacola Christian College, Pensacola FL Cedar Elford-White: Fort Lewis College, Durango, CO Sierra Miller: University of New Mexico Fabian Nevarez: Santa Fe Community College Luis Terrazas: University of New Mexico

Play It Forward 2013 Event: July 28 & 29

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PASATIEMPO

41

ART OF SPACE Paul Weideman

Anvil chorus Here is a new book with a splendidly long title, containing within itself totally apt descriptivenesses of its messy yet vividly unmurky and actually brightly creative contents: Humble Homes, Simple Shacks, Cozy Cottages, Ramshackle Retreats, Funky Forts and Whatever the Heck Else We Could Squeeze in Here. The book dates back, in less formally booklike form, to 2009, when author Derek “Deek” Diedricksen made copies in his Boston-area basement. Possessing only limited backgrounds in building and architecture, he was astounded that it gained some renown. The “new triple-caffeinated expanded edition” was published in February by Lyons Press/Globe Pequot Press.

What it is is an idea manual filled with hand-drawn plans for the types of structures alluded to in the title. Also present is humor. One of the fun things is Diedricksen’s disclaimer, “If you build any of these cabins and they collapse on you, or you hacksaw your thumb off, I’m in no way responsible.” That’s more like it. We’ve all had enough of all those sissy disclaimers that everything comes with these days.

Now, the author anticipates that some readers will complain — as others already have — that the drawings and measurements for the book’s dozens of house plans are not as specific as they could be. These potential persons, he whimsically suggests, should “head-butt an anvil at least five or six times to see who’ll win. If you lose, please try and try again, as no one likes a quitter!” Meanwhile, his book “aims to provide one more option for those truly interested in tiny homes and dwellings, and to showcase a few others who’ve built modest digs of their own.”

42

December 21-27, 2012

Diedricksen is a huge advocate of seat-of-the-pants architectural inventiveness, and perhaps of granola-fueled hands-on constructiveness. The first phrase in the book is, “There’s something so very satisfying about the simple act of driving a nail soundly.” And concerning those potential complainers about nonspecificity, that very point is Diedricksen’s whole point: he intends only to make suggestions that will stimulate the reader to actually build something like this or that, not necessarily this or that exactly.

Before we get into a little detail on his home/shack/cottage/retreat/fort suggestions, the “granola” reference should be explained. Diedricksen is only too happy to harp on and on about the virtues of recycling and composting and growing your own veggies and about the damnedness of littering and of building and buying big houses.

This guy’s a genius at using salvaged items and making useful things cheaply, among them plastic-jug windows, outdoor showers, deck chairs, a sawdust toilet, rainwater-harvesting devices, and a child-safe mouse trap.

The author’s psychic reference points include growing up sharing a 12-by-12-foot bedroom with his brother; receiving a copy of the book Tiny, Tiny Houses when he was a young boy; and having a grandfather who was thrifty, a pack rat par excellence, and who introduced him to Mad magazine. That latter fact is fabulously obvious in Humble Homes’ hand-drawn illustrations, which also recall Peter Aschwanden’s artwork in the iconic 1969 tome How to Keep Your Volkswagen Alive: A Manual of Step-by-Step Procedures for the Compleat Idiot. Diedricksen is also a fan continued on Page 44

Right, Derek Diedricksen’s dwelling suggestion A New Angle Opposite page, left to right, Sandy Foster’s shabby-chic getaway in the Catskill Mountains; Diedricksen in his GottagiddaWay disaster relief shelter Images courtesy Lyons Press/Globe Pequot Press

PASATIEMPO

43

Art of Space, continued from Page 42 of the Edward Abbey book Desert Solitaire, the journal Mother Earth News, and the documentary film Garbage Warrior, about Taos Earthship pioneer Michael Reynolds.

A few examples from the many Diedricksen has stuffed into the book’s 104 pages: The Owl’s Nest, a dwelling that can be set on blocks or fastened into a tree, has a floor and deck made of wood from recycled pallets and windows that look like an owl’s eyes and beak. The New Angle is a triangular houselet (which gets almost square when the pop-up roof is raised) built on a big “X” of bolted and welded steel supports anchored in concrete. A chair hangs from the floor, providing a swell coffee-sipping perch next to the doghouse built around the bottom half of the “X.” “Dare Ye Enter!?” is the admonition topping the page on which the author describes The Coffin. This is a simple plywood box big enough for sleeping and a storage platform on four posts, the “roof” usable as a workbench or table. (Can you picture sleeping in a closed wooden box in the woods? It gives me the willies.) He suggests including one window to look out of and says this would be an alternative to a tent to stay in while you’re building a house. The structure he calls Down at Big Lee’s Swamp is a fully enclosed lean-to with an entire wall of salvaged windows, the whole planted on a deck and situated for bucolically watery views at the edge of a pond.

Also herein are treehouses, underground houses, the Junk-Car Cabin, and the Inverted A-Frame, complete with wood stove, homemade windows, a little greenhouse with solar-heat hatch into the cabin, and a decorative tin/plywood star on the exterior.

Experience more at www.relaxshacks.com.

Barn stormers Another new architecture-related book, Barns From the Land of Enchantment (published by Artemesia), has a similarly “homey” treatment but with a dramatic stylistic contrast. Written and illustrated by Jerry R. Davis, it is rigorously consistent (dare I say dry?) in its presentation, with a full-page black-and-white drawing on the left page and text about the barn on the right page. I daren’t say dry, because this is such a cool survey of a relatively recondite corner of New Mexico’s built environment.

Previous books by Davis, a native Michigander who relocated to Albuquerque in 1997, include Master of None: A Love-Hate Affair With Home Remodeling and Michigan Barns, Et Cetera: Rural Buildings of the Great Lake State. Some of the barns he discovered traveling around his adopted state (often in the company of his good friend and research assistant Michael Perlin) reminded him of those in Michigan, but most were quite different.

Davis proposes a description of the typical New Mexico barn. It has a tall section in the center and lean-tos on either side that are divided into stalls for livestock. It has a gabled roof with small clerestory windows under the eaves 44

December 21-27, 2012

of the taller section and large doors, moving on tracks, at both ends. Inside is a central aisle, and there is hay storage on a second level.

Although the earliest of his illustrations was of the unusual Round Barn at Ojo Caliente, Davis began the survey close to Albuquerque. His first jaunt was up Río Grande Boulevard, where he was grabbed (figuratively) by the white solos and barns of Los Poblanos Historic Inn & Organic Farm, and then by at least seven other barns along that rather idyllic road.

Ye barn builders of yore, he came to realize, used what was there: stone when that was available in rock outcroppings on the land nearby; logs and planks when there was an abundance of trees; and adobe bricks when there was an abundance of earth. One of the 50 barns depicted in the book is, Davis believes, unique in the United States: the Garcia barn in Bernalillo County, because it was built with terrones. Like adobes, these are sun-dried bricks, but they’re cut from river bottoms or swampy land and are stronger than adobe due to the presence of roots in the material. The Garcia barn is also one of the rare examples of a New Mexico barn with a gambrel-style roof.

The author has a theory about why such roofs have not often been used in this state. The voluminous gambrel-enclosed hay loft is de rigueur in rainy, snowy climes, while dry New Mexico has a reduced need for protected alfalfafeed storage. Based on his review of archival photographs, Davis intriguingly surmises that farmers would even store hay on top of flat-roofed barns; there it provided winter insulation, warming the animals within, and was gradually used as feed until it was gone, and the weather warmer, in the spring.

He resurrects a claim by the late builder Myrtle Stedman, who, in the pages of her book Rural Architecture of the American Southwest, says New Mexico had more log buildings than any other state. When it comes to barns, Davis agrees, although they’re often disguised with plaster. One of these is a mud-plastered despensa, or grain-storage building, adjoining a small wooden barn near the village of Chamisal — this example was drawn by Davis from a 1943 picture

by Farm Security Administration photographer John Collier.

A more modern example is a Los Ranchos horse barn with a short wall element (between the two roofs) that is lined with south-facing clerestories for passive-solar heating.

In his epilogue, Davis expresses his fear that many of the barns in the book will be gone in a decade. “In my estimation, they add much to the beauty and variety of rural America. Because I am rather passionate about preservation of historic buildings in general and of barns in particular, I used this book to do what I could toward that end in my own small way.” ◀

From left, the Chamisal Barn and Despensa; Ojo Caliente Round Barn; images courtesy Artemesia Publishing

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45

EDITORIAL | PHOTOGRAPHY | BREAKING NEWS | FEATURES | ADVERTISING

THE BEST OF NEW MEXICO just got a little better.

NEWSEUM

2012 Local Media Association

RUNNER≠ UP

ì Best Newspaperî IN THE NATION

ELECTION 2012

!! !!!

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Wednesday, August 24, 2011

www.santafenewmexican.com 75¢

Police: Ex≠ boyfriend shoots, kills woman A dredger pulls burned debris out of Nambe Lake on Tuesday following recent flooding in the wake of the Pacheco Fire. CLYDE MUELLER/THE NEW MEXICAN

2012 INDUSTRY HONORS

— F E A T U R E D — The Newseum, November 7, 2012, Washington D.C.

TOP 10 FRONT PAGE OF NEWSPAPERS FROM AROUND THE WORLD

— W I N N E R — 2012 New Mexico Press Association E.H. Shaffer Award for

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PRESIDENT WINS SECOND TERM, VOWS ë BEST IS YET TO COMEí

46

December 21-27, 2012

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Complete results at www.santafe newmexican.com /election

Buoyed by familiesí support and encouragement, couple with Down syndrome say ë I doí to love and life

SANTA FE PUBLIC SCHOOLS

A rare romance

U.S. SENATE

51% 45 4

Funding school at Tierra Contenta could delay work at other sites The New Mexican

Santa Fe Public Schools is considering a plan to build a new elementary school on the south side of town as the cityí s population continues to grow in that area, but funding the project could affect renova≠ tions and expansions planned at other school sites.

The district would pay for the $19 million project with funds from current general obligation bonds.

The Board of Education is scheduled to vote Tues≠ day on a recommendation by the districtí s Citizens Review Committee ó an advisory board comprising 11 citizens ó that would re≠ prioritize the financing of some current school≠ construction projects to pay for the new building.

The new site would ease overcrowding at south≠ side elementary schools, eliminate most of the por≠ tables on south≠ side campuses and diminish the need to expand other sites. ì It will relieve overcrowding in a part of the district that has needed a new facility, and it should have a cascading impact on the school population and den≠

55% 45

STATE HOUSE DISTRICT 43

By Staci Matlock

Fired cop: City manager, U.S. rep linked to federal cocaine probe Romero, Luj· n deny allegations by ex≠ detective at arbitration hearing

By Tom Sharpe

A former Santa Fe police detective says he believes he was fired because he was working on a federal investigation into cocaine involving City Manager Robert Romero and U.S. Rep. Ben Ray Luj· n, D≠ N.M. Romero and Luj· n, who both grew up in the Pojoaque Valley, denied the allegations, saying they know of no such investigation and believe it is a ruse to distract the public from the former detectiveí s problems.

James Vigil, 31, made the allegations at a Tuesday arbitration hearing at which he seeks reinstatement as a police detective. The off≠ duty officer was charged with driving while intoxicated after he was stopped by a state police officer for swerving between lanes on N.M. 599 on May 29, 2010. His blood alcohol level was tested at 0.15 ó nearly twice the legal limit for driving.

Please see PROBE, Page A≠ 5

Index

Calendar A≠ 2

Classifieds B≠ 6

Comics C≠ 6

Crowded south side may get new K≠ 6

By Robert Nott

Griego (D) Dunn (R)

Garcia Richard (D) Hall (R) Elida Tarango of Santa Fe, center, sister≠ in≠ law of Patricia Cisneros, is comforted Tuesday by friends and family outside Casitas de Santa Fe mobile≠ home park. Police say Cisneros was shot and killed early Tuesday by her ex≠ boyfriend. LUIS S¡ NCHEZ SATURNO/THE NEW MEXICAN

By Geoff Grammer and Sandra Baltazar MartÌ nez The New Mexican

P

atricia Cisneros celebrated her 34th birthday on Monday night.

The working mother of three spent the evening out with family and then enjoyed a snack of red≠ chile enchiladas ó her favorite dinner prepared by her mother ó early Tuesday morning in her home off Airport Road.

It was her last meal.

Police say her ex≠ boyfriend, JosÈ MelÈ ndez≠ Trillo, 39, an undocumented immigrant from Mexico who used the name Jose Soto when working around Santa Fe and on his state≠ issued driverí s license, shot and killed Cisneros around 3 a.m. Tuesday.

Her family says the shooting caught them off guard, as MelÈ ndez≠ Trillo was having a conversation with Cisneros ó who had been

Pasapick Faust Gounodí s Romantic≠ era opera, 8 p.m., Santa Fe Opera, 7 miles north of Santa Fe off U.S. 84/285, tickets start at $35; family nights at the opera, $25, kids $12; 986≠ 5900, santafeopera.org.

More events in Calendar, A-2 and Fridays in Pasatiempo

at her home, watching their three children for the evening ó when he walked out to his truck, retrieved a rifle and returned to shoot the woman before abducting their 5≠ year≠ old son, CÈ sar. ì In a second he came back in [the home] with a rifle and shot her,î said Josefina Dur· n, Patriciaí s mother. ì Oh God, it was awful. I froze and saw my daughter fall to the ground, covered in blood.î An arrest warrant charging one open count of murder has been issued for MelÈ ndez≠ Trillo.

Santa Fe County Sheriffí s Lt. Adan Mendoza admits investigators are still trying to pinpoint a motive for the shooting, as MelÈ ndez≠ Trillo has no known criminal history and the family mem≠ bers report they are unaware of any physical harm he has committed in the past.

Cisneros and MelÈ ndez≠ Trillo are both from

Please see KILLED, Page A≠ 6

Dolores M. Archuleta, Santa Fe, Aug. 22 Jacob ì Jake the Snakeî T. Chavez, 38, Aug. 20 Elmer J. Sanches, 73, Santa Fe, Aug. 21 Lucille S. Whitehead, 89, Las Cruces, July 31 PAGE A≠ 10

A platinum season For 75 years, the Santa Fe Concert Association has brought the best in music, dance and theater to Santa Fe. Discover whatí s happening at the con≠ cert association with the Santa Fe Con≠ cert Association special publication.

!"#$" %&

Opinion A≠ 11

By Deborah Busemeyer For The New Mexican

Easley (D) Miller (R)

By Melanie Mason, Richard Simon and Tina Susman

Today

Chicago Tribune

MINERAL, Va. ó Buildings emptied, monuments closed, trains and planes were halted, and people ran in terror into the streets after a rare earthquake mea≠ suring 5.8 jolted the Eastern United States, stunning millions who consider temblors a California problem and who, in many cases, simply couldní t believe what was happening. ì This is an ACTUAL EARTHQUAKE ALERT,î read a notice posted on New Yorkí s emergency man≠ agement website minutes after the quake sent the cityí s high≠ rises and bridges swaying and prompted rumors that the Washington Monument was tilting. ì Simply not correct,î said Bill Line of the National Park Service, which closed the monuments on Wash≠ ingtoní s National Mall just in case. But late Tuesday

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Please see JITTERY, Page A≠ 4

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INSIDE u Trinidad, Colo., residents shaken by quake. PAGE A≠ 4

Police notes A≠ 10

Managing editor: Rob Dean, 986≠ 3033, rdean@sfnewmexican.com Design and headlines: Brian Barker, bbarker@sfnewmexican.com

Sports B≠ 1

Time Out C≠ 5

Travel C≠ 4

Main office: 983≠ 3303 Late paper: 986≠ 3010

A

56% 44

CONSTITUTIONAL AMENDMENTS Cisneros, a mother of three, cel≠ ebrated her 34th birthday on Monday night. COURTESY PHOTO

Partly sunny with a chance of thunderstorms in the afternoon.

High 92, low 63.

PAGE B≠ 12

INSIDE TODAY

Lotteries A≠ 2

Desiree Romeroí s bridesmaids help her prepare for her wedding day at her motherí s home in Tesuque. Desiree and Ryan Hanson, who both have Down syndrome, were married Sept. 3 at the Cathedral Basilica of St. Francis of Assisi. Hanging on the wall to the left are three of the 100 Special Olympics medallions Desiree has won over the last 18 years. PHOTOS BY NATALIE GUILL… N/THE NEW MEXICAN

East Coast jittery after rare temblor

Obituaries

Please see SCHOOL, Page A≠ 4

50% 49

STATE HOUSE DISTRICT 50

Three sections, 30 pages

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%

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

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 ó President Barack Obama rolled to re≠ election Tuesday night, van≠ quishing former Massachu≠ setts 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 opti≠ mism for the next four years. ì 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,î he said.

Romney made his own graceful con≠ cession speech before a disappointed crowd in Boston. He summoned all Americans to pray for Obama and urged the nightí s political winners to put parti≠

san bickering aside and ì reach across the aisleî to tackle the nationí s problems.

Still, after the costliest ó and one of the nastiest ó campaigns in history, divided government was alive and well.

Democrats retained control of the Sen≠ ate with surprising ease.

Republicans did the same in the House, ensuring that Speaker John Boehner of Ohio, Obamaí 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 Yorkí s Times Square, at Faneuil Hall in Boston and near the White House in Washington, drivers joy≠ fully honking as they passed by.

With returns from 84 percent of the nationí s precincts, Obama had 53.7 mil≠ lion, 49.6 percent of the popular vote.

Romney had 53 million, or 48.9 percent.

Please see OBAMA, Page A≠ 6

ELECTORAL COLLEGE

POPULAR VOTE

303 206 50% 49% Obama

Romney

Obama

Romney

56,129,652

54,674,214

s young children, Desiree and Ryan Hanson both dreamed of finding love and getting married. Yet, when each was born, doctors provided little hope for the childí s future, let alone for dreams.

It was the norm back then to expect that a child born with Down syndrome would never walk or talk. In 1983, the year Desiree was born, the life expectancy for a person with the disorder was only 25.

With the support of their families, how≠ ever, the newly married Desiree, 28, and Ryan, 25, are looking forward to a long future together.

When Ryan talks about Desiree, words arení t enough. He clutches his chest, squeezes his hands into fists and pumps the air. He looks at her adoringly, holds her hand in both of his, then strokes her arm. ì She lets my soul come out,î he says.

Desiree and Ryaní s wedding has served as an inspiration for parents who have children

INSIDE ◆ Motherí s age is only known risk for child to be born with Down syndrome. PAGE A≠ 5

Ryan helps Desiree with her dress before they take their wedding vows at the cathe≠ dral. Their ceremony, attended by about 700 people, was followed by a reception at the Buf≠ falo Thun≠ der Resort & Casino in Pojoaque.

with Down syndrome, such as Gay Romero, a friend of Desireeí s mother, Magdalena Romero. ì The wedding is more of an illustration that these things are possible and to not let some≠ one else tell us or tell her that her dreams and ambitions are limited,î Gay Romero said of her 11≠ year≠ old daughter, Elena.

Star with a winning streak

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

162nd year, No. 236 Publication No. 596≠ 440

Beating the odds by defying the doctor When a doctor told Magdalena Romero that her newborn, Desiree, had Down syn≠ drome, she had never heard of the condition.

Brad Pitt speaks on life with Angelina, private pain, and the les≠ sons heí s learned from his kids.

Pasapick More events in Calendar, A≠ 2

Index

Calendar A≠ 2

Scientist David Suzuki speaks on climate change with indigenous≠ rights activist Clayton Thomas≠ M¸ ller, 7 p.m.; Lensic Performing Arts Center, 211 W. San Francisco St.; $3 and $6; 988≠ 1234, ticketssantafe.org.

Classifieds D≠ 4

Comics B≠ 6

Lotteries A≠ 2

Opinion A≠ 7

Police notes C≠ 2

Editor: Rob Dean, 986≠ 3033, rdean@sfnewmexican.com Design and headlines: Brian Barker, bbarker@sfnewmexican.com

Alfredo Archuleta, 83, Santa Fe, Nov. 2 Jerre King

Sports B≠ 1

Bowles, 91, Santa Fe, Nov. 4 Thomas Ilg, Los Alamos, 54, Nov. 2 Judge William

Time Out B≠ 5

Wayne Kilgarlin, 79, Nov. 5 Frank H. Rooms, 85, Santa Fe, Nov. 3 PAGE C≠ 2

Taste D≠ 1

Main office: 983≠ 3303 Late paper: 986≠ 3010

Dems say proposal meets rules for population, minority strength

By Barry Massey

The Associated Press

Republicans are lining up against a Democratic≠ backed proposal for redistricting New Mexicoí s utility regulatory agency.

Republicans complained Saturday that proposed district boundary changes for the Public Regulation Commission will make it harder for GOP candidates to compete in some parts of the state.

The House Judiciary Committee endorsed the pro≠ posal on a party≠ line vote and sent it to the full House for consideration. Speaker Ben Luj· n said the House may debate the measure on Sunday.

Two Republicans and three Democrats currently serve on the PRC, which regulates utilities, telecom≠ munications and insurance. ì I believe quite firmly that we should make it pos≠ sible for voters to elect their elected representatives and not have elected representatives basically pre≠ determine the outcome,î said Rep. Cathrynn Brown, R≠ Carlsbad. ì I really believe there could have been an effort, if there had been a spirit to do it, of making

Pasapick Second Annual Native Treasures Collectorsí Sale Native American art from private collections; 9 a.m. to 4 p.m., Meem Auditorium, Museum of Indian Arts & Culture, Museum Hill, no charge.

More events in Calendar, Page A-2 and Fridays in Pasatiempo

INSIDE

Index

GOP: Plan for PRC districts shuts party out

Please see ROMANCE, Page A≠ 6

Fair with a Spanish flair The fourth annual Renaissance festival at El Rancho de las Golondrinas showcases a mix of bygone eras. LOCAL NEWS, C≠ 1

Please see PRC, Page A≠ 4

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On opposite sides of the broad basin between the Sangre de Cristo and Jemez mountain ranges, Nambe Pueblo and Bandelier National Monument are dealing with the aftermath of summer wildfires and recent floods.

Rains in the last couple of weeks sent tons of massive logs, whole trees, ash and branches into Nambe Lake, the 56≠ acre reservoir in the Sangre de Cristo Mountains.

The reservoir is owned by the pueblo and provides water for more than 700 downstream irrigators.

A thunderstorm in the Jemez Mountains over the weekend sent a wall of water down Frijoles Canyon, turning over concrete barriers and threatening to flood into the Bandelier National Monument visitor center.

Crews were at both places Tuesday, removing debris, taking stock of the damage and trying to pre≠ pare in case another deluge arrives.

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Bandelier: Visitors center spared from Sunday flash flooding

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47

MOVING IMAGES pasa pics

— compiled by Robert Ker

THE GOLD RUSH The holiday celebration of the work of Charlie Chaplin continues with his 1925 film about a man who takes to the wild in search of gold.

The movie has a few slow patches but contains some of Chaplin’s most famous bits, including the cabin that isn’t properly balanced and the turkey costume.

Screens in 35 mm. Not rated. 72 minutes. Center for Contemporary Arts, Santa Fe. (Robert Ker)

Turn your head and Goth: Sean Penn in This Must Be the Place, at Center for Contemporary Arts in Santa Fe

opening this week CAFÉ DE FLORE This is a supernatural story about love that takes place in ’60s Paris and contemporary Montreal. The film opens in the present, with the seemingly perfect life of Antoine (Kevin Parent), a DJ with two daughters and a sexy girlfriend. The second story follows Jacqueline (Vanessa Paradis) a single mother struggling to raise her 7-year-old son, Laurent, who has Down syndrome.

The two are happy, and very close, until Laurent meets a girl who also has Down syndrome, and Jacqueline becomes jealous of her son’s new relationship. Though thoughtful, unusual, and set to an eclectic score, Café de Flore takes a turn for the worse when it tries to bring the two stories together. Rated R. 120 minutes.

In French with subtitles. The Screen, Santa Fe. (Adele Oliveira) See review, Page 52.

CIRQUE DU SOLEIL: WORLDS AWAY Those of you who have always wanted to see a Cirque Du Soleil performance in three dimensions without having to drive all the way to Las Vegas, your wait is over. This movie crafts a loose narrative from several of the company’s most beloved acts. Not rated. 91 minutes.

Screens in 3-D only at Regal Stadium 14, Santa Fe. Screens in 3-D and 2-D at Regal Stadium 14 beginning on Tuesday, Dec. 25. (Not reviewed) 48

December 21-27, 2012

DJANGO UNCHAINED Quentin Tarantino’s first film since 2009’s Inglourious Basterds is an homage to the Spaghetti Western, but it mixes, matches, and mismatches ideas, themes, and music from a lot of other movies as well. Django ( Jamie Foxx) is a freed slave who partners with a bounty hunter (Christopher Waltz) to find and free Django’s still-enslaved wife.

The performances are solid and often quite terrific (as with Leonardo DiCaprio’s foppish Southern plantation owner), and the blood and humor flow openly throughout. Still, it’s about 25 minutes longer than it ought to be. Opens Tuesday, Dec. 25. Rated R. 165 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos.

(Robert Nott) See review, Page 62.

THE FLAT When Arnon Goldfinger’s 98-year-old grandmother died a couple of years ago, she left behind a lifetime of possessions in her Tel Aviv flat. But it was the secrets she took with her that supply the haunting narrative of this documentary. When Goldfinger discovers an old newspaper clipping about his grandfather traveling to Palestine before the war with a Nazi official named von Mildenstein, the plot thickens, and the movie opens can after can of ethical worms. Goldfinger leaves his audience with a lot to think and talk about. Not rated.

97 minutes. In English, Hebrew, and German, with subtitles. Center for Contemporary Arts, Santa Fe. (Jonathan Richards) See review, Page 54.

GREGORY CREWDSON: BRIEF ENCOUNTERS Ben Shapiro’s documentary is a fascinating glimpse into the working methods of photographer Gregory Crewdson, who creates enigmatic visions of small-town America.

The creation of each photo is an elaborately staged affair, shot on location in western Massachusetts using models, lighting technicians, and set designers. In between scenes of Crewdson on the set, Shapiro, who shot the documentary over the course of a decade, weaves in biographical content that in itself holds little interest. Watching each image from its inception to the final printed photograph is mesmerizing, however, and Crewdson is an artist with a clear sense of what he wants to say. Not rated. 77 minutes. The Screen, Santa Fe. (Michael Abatemarco) JACK REACHER Tom Cruise plays the title character of this movie, which looks as generic as the character’s name. Reacher is one of those ex-Army specialists that you get when you need something fixed. When an ex-Army sniper ( Joseph Sikora) is arrested for murder, possibly on false charges, it’s time for some fixing. Robert Duvall and Werner Herzog are among the co-stars. Rated PG-13. 130 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) LES MISÉRABLES The stage musical version of Victor Hugo’s great novel is the longestrunning musical of all time. It has been seen by more than 60 million people in all sorts of languages and countries. This movie could put an end to all that.

In the hands of director Tom Hooper, who guided The King’s Speech with such subtlety and grace, it is garish, shrill, and breathtakingly over the top. The songs are still there, up close and personal like you’ve never seen and heard them, and be careful what you wish for. The cast (headed by Hugh Jackman and Russell Crowe) performs bravely, if not always wisely or too well. Opens Tuesday, Dec. 25. Rated PG-13.

158 minutes. Regal Stadium 14 and Regal DeVargas, Santa Fe; DreamCatcher, Española; Storyteller, Taos. ( Jonathan Richards) See review, Page 58.

PARENTAL GUIDANCE Billy Crystal and Bette Midler play an aging couple who try their hand at helping to raise their grandkids, often to comic effect. Rods are spared, children are spoiled, and everyone learns

life lessons. Expect observations about the evolution of parenting techniques across generations, coupled with shots of Crystal getting hit in the groin. Opens Tuesday, Dec. 25. Rated PG. 105 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos.

(Not reviewed) PERFORMANCE AT THE SCREEN The series of high-definition screenings of performances from afar continues with a showing of The Nutcracker, danced by members of London’s Royal Ballet. This production is choreographed by Peter Wright. Roberta Marquez and Steven McRae star. 11 a.m. Sunday, Dec. 23, only. Not rated. 130 minutes, with one intermission. The Screen, Santa Fe. (Not reviewed) THIS IS 40 Pete (Paul Rudd) and Debbie (Leslie Mann), characters spun off from Judd Apatow’s Knocked Up (2007), are turning 40, and their lives are not much fun. Sex can sometimes be good, but just as often not. They have money problems. They have different tastes. They still love each other, but the spark is gone. Mann is Apatow’s wife, and with their two children playing Pete and Debbie’s kids in this movie, it’s no stretch to hazard a guess that Rudd is standing in for Apatow in a story based at least in part on his family life. It may be more about the Apatows than you really want to know.

There is a smattering of good laughs in this midlife comedy, but stretched over two hours and a quarter they wear thin. Rated R. 134 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) See reviews, Page 60.

THIS MUST BE THE PLACE In this jumbled drama, Sean Penn morphs into yet another oddball character, this time playing semi-retired rock star Cheyenne, whose wrinkles, addled speech, and slow gait hint at a celebrity who has seen his fair share of the rock ’n’ roll lifestyle.

When his father dies, Cheyenne heads to the U.S. to take up dad’s favorite pastime: Nazi hunting. Director Paolo Sorrentino is prone to David Lynch-ian forays into the absurd, leaving a bulk of the story’s dramatic tension susceptible to a trip down the subplot rabbit hole. Penn’s comedy-tinged performance is strong, however, as is that of Frances McDormand, who plays Cheyenne’s wife. Rated R. 118 minutes. Center for Contemporary Arts, Santa Fe. (Rob DeWalt)

now in theaters ANNA KARENINA This is not like any Anna Karenina you’ve ever seen.

Director Joe Wright (Atonement) and

screenwriter Tom Stoppard have reimagined and restructured the classic story with a stunningly original vision that treads the border between triumph and disaster and manages to keep miraculously to the side of the angels. An Anna Karenina soars or sinks with its heroine, and while Keira Knightley can charm, swoon, and rage, when it comes to plumbing the depths of Tolstoy’s tragic heroine, she shows the strain of acting.

She hits all the notes, but she doesn’t manage to play between the notes. Rated R. 129 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) ARGO Ben Affleck takes a true story by the throat and delivers a classic seatsquirming, pulse-pounding nail-biter.

In 1980, as the world watched the hostages in the U.S. embassy in Tehran, a small group of Americans made it to the Canadian ambassador’s residence and hid out there while the White House and the CIA desperately tried to figure out how to spirit them out of the country. The plan? Pretend to be making a sci-fi film and disguise the Americans as members of a Canadian location-scouting crew. A terrific cast is headed by Affleck as the CIA operative, with Alan Arkin and John Goodman at the Hollywood end.

Rated R. 120 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) BROOKLYN CASTLE Katie Dellamaggiore’s documentary is much like the game of chess: slow, deliberate, determined, and something that requires a lot of patience. And no wonder, as it follows the paths of five junior-high students who need to plan their every move, both as chess players at I.S. 318, an inner-city Brooklyn school, and as young dreamers who want a shot at a good life. The underlying theme is the importance of after-school programming and how budget cuts can affect the well-being of participants in such programs.

Rated PG. 101 minutes. Center for Contemporary Arts, Santa Fe. (Robert Nott) CLOUD ATLAS If you see only one film this year, perhaps it should be Cloud Atlas — not because it’s the best movie, but because it’s six movies for the price of one. It serves up some of your favorite actors, sometimes heavily disguised, in a half dozen different roles apiece. David Mitchell’s centuries-spanning 2004 bestseller is a complex challenge that the author thought could never be translated into a movie, and as he himself recently admitted, “I was half right.” Still, there’s no denying the film’s entertainment value and its technical accomplishment. Rated R. 172 minutes.

Regal DeVargas, Santa Fe. ( Jonathan Richards) THE GUILT TRIP If you’re one of the few people who fall into the center slice of the Venn diagram of Seth Rogen fans and Barbra Streisand fans, then you’re in

Jack Reacher

luck. In this comedy, the two actors play a lovingly bickering mother-son duo who take a cross-country road trip and bond over outlandish adventures.

Rated PG-13. 96 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) HITCHCOCK Anthony Hopkins dons a fat suit to play the Master of the Macabre at a critical moment in Hitchcock’s career, the making of Psycho (1960). Nobody liked the idea — the studio wouldn’t finance it — so Hitch mortgaged his house, and went a little crazy making what many consider his masterpiece. Was this the real Hitchcock? Nobody seems to have known him very well. In the end what matters is how well this movie makes its case. For the most part the movie entertains.

But there are lapses in judgment, timing, and artistry that keep reminding us that great moviemaking isn’t as simple as it looks. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) THE HOBBIT: AN UNEXPECTED JOURNEY If you’re a longtime fan of J.R.R. Tolkien with a personal connection to the work, you’ll be thrilled just to return to Peter Jackson’s imagining of Middle Earth. This is the first of Jackson’s three films based on Tolkien’s 1937 children’s novel about a hobbit named Bilbo (Martin Freeman) who is recruited by the wizard Gandalf (Ian McKellen) and 13 dwarfs to help slay a dragon. continued on Page 50

PASATIEMPO

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continued from Page 49

The Hobbit is a breezier book than the Lord of the Rings trilogy, and so the movie is more lighthearted than Jackson’s earlier adaptations — sometimes awkwardly so. Still, the attention to detail, the magnificent effects, the warm cast, and the heartfelt themes make The Hobbit a journey full of expected delights. Rated PG-13. 169 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) See review, Page 56.

monster world — lacks the instant-classic charm of some of Pixar’s more beloved films. But it’s had staying power, in part because of the plush-toy-ready design of the creatures and the loving tribute to movie magic, which is evoked through the monsters’ scare factory.

This rerelease expands that magic to three dimensions.

Rated G. 92 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española.

Screens in 3-D at Storyteller, Taos. (Robert Ker)

LIFE OF PI Ang Lee’s adaptation of Yann Martel’s best-selling novel is an intriguing exercise in going toward, intense being, and going away. The first and last are the frame in which the story, of a boy on a lifeboat with a Bengal tiger in a wild ocean, is set. That middle part is a fabulous creation of imagination and CGI, and it is riveting. The lead-in sets it up with a promise of a story “that will make you believe in God.” The recessional discusses what we have seen, what it means, what may or may not be true, and what we’ve learned. Whether or not it makes you believe in anything is up to you.

Suraj Sharma and Irrfan Khan play Pi, young and older.

The real star is a collection of electronic impulses that will make you believe in tigers, at least. Rated PG. 127 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Jonathan Richards)

RISE OF THE GUARDIANS This animated adventure stars a super team made up of Santa Claus (Alec Baldwin), the Easter Bunny (Hugh Jackman), the Tooth Fairy (Isla Fisher), and the Sandman. They join together with newbie Jack Frost (Chris Pine) to combat an evil spirit named Pitch (Jude Law). The plot is tightly woven, the jokes hit, the animation is captivating, and the world is realized with great depth and wonder. I would even say the film is magical — for adults and children alike. If you’re open to a swordwielding Santa this holiday season, you’ll be won over by this fable. Rated PG. 97 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker)

LINCOLN Steven Spielberg’s Lincoln is a surprisingly small film, considering its subject. With the Civil War as background, it focuses on the passage of the 13th Amendment to the Constitution and what was required, politically, to achieve it. The president deals with the false choice of ending the war and ending slavery, criticism from his political enemies, and dysfunction in his own family. Daniel Day-Lewis looks and sounds the part of the 16th president, though sometimes his words and the cadences at which they come feel self-conscious.

Sally Fields as Mary Todd Lincoln and Tommy Lee Jones as abolitionist Thaddeus Stevens stand out from the ensemble cast. Rated PG-13. 149 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Bill Kohlhaase) MONSTERS, INC. Pixar’s 2001 outing — about two beasts (voiced by John Goodman and Billy Crystal) who accidentally bring a young girl (Mary Gibbs) into their

spicy bland

medium

mild

heartburn

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

50

December 21-27, 2012

A ROYAL AFFAIR In the 1760s, well-read English princess Caroline Mathilde (Alicia Vikander) is betrothed to Christian VII (Mikkel Boe Følsgaard), the mentally unstable king of Denmark and Norway. Christian hires a German physician, Johann Friedrich Struensee (Mads Mikkelsen), who comes to court, tends to the king’s health, and (ahem) cures what’s ailing the queen as well. This is an exemplary — if not gripping — period melodrama, with dewy-complexioned women, steely-eyed heroes, and a sweeping score. Rated R. 137 minutes. In Danish, German, and French with subtitles. The Screen, Santa Fe. (Laurel Gladden) SEARCHING FOR SUGAR MAN Malik Bendjelloul’s film about the search for a talented musician named Sixto Diaz Rodriguez is a portrait of a humble man, a rock documentary, and a detective story all in one. It follows the triumphs and frustrations of a journalist and a record-store owner in their efforts to shed light on the mystery surrounding Rodriguez, a superstar in South Africa but virtually unknown in his native United States. The film packs an emotional wallop.

Rated PG-13. 85 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) THE SESSIONS Mark O’Brien ( John Hawkes), a West Coast poet and journalist, has spent most of his life confined to an iron lung. He has a working head attached to a useless rag doll of a body, and he decides at the age of 38 to experience sex with a woman before his use-by date runs out. This movie tells the true story of his sessions

with a sex surrogate (Helen Hunt) and recalls, with wry humor and touching tenderness, something of the extraordinary bond of connection and self-awareness that the sex act can access. Rated R. 95 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) SILVER LININGS PLAYBOOK This story centers on Pat Solatano (Bradley Cooper), who after being released from a mental institution moves in with his parents (Jacki Weaver and Robert De Niro) and vows to win back his estranged wife. When friends invite him to dinner, he meets Tiffany ( Jennifer Lawrence), who also has a couple of screws loose. She agrees to help him patch things up with his wife — but only if he will agree to be her partner in a dance competition.

The story swerves hilariously around clichés, and finely honed dialogue, attention to detail, and impressive performances make the film perfect oddball comic relief for the holiday season. Rated R. 122 minutes.

Regal DeVargas, Santa Fe. (Laurel Gladden) SKYFALL In Daniel Craig’s third outing as James Bond, a terrorist declares war on MI6, and the agents go underground, holing up beneath the streets of London. Javier Bardem makes for a memorable, if campy, villain, and the acting from the British cast (including Judi Dench, Ralph Fiennes, and Ben Whishaw) is superb, but the crisp dialogue holds up better than the overall plot.

Cinematographer Roger Deakins gives the film a polished, sumptuous look. Rated PG-13. 143 minutes.

Regal Stadium 14, Santa Fe. ( Jeff Acker) THE TWILIGHT SAGA: BREAKING DAWN — PART 2 In this final installment of “As the Vampire Turns,” our newly bloodsucking heroine Bella (Kristen Stewart) learns to hunt and discovers that her werewolf pal Jacob (Taylor Lautner) has “imprinted” on her newborn daughter, which means they will be mates for life. Twi-hard fans will appreciate the film’s fidelity to the novel.

The rest of us should thank our lucky stars for the levity screenwriter Melissa Rosenberg injects into the story and a gripping battle scene. Rated PG-13.

115 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Laurel Gladden) WAGNER & ME Actor Stephen Fry, who adores Wagner’s operas, invites viewers to join him on a pilgrimage to the theater the composer opened in 1876 in Bayreuth, Bavaria — the holiest of Wagnerian shrines — and watch him exude the besotted awe of a schoolboy in love.

He affords a generally interesting glimpse into the theater but drops occasional factual inaccuracies that will drive devoted Wagnerians crazy. Wagner & Me is pleasant enough as a travelogue, but don’t expect more than that. Not rated. 89 minutes. Center for Contemporary Arts, Santa Fe. (James M. Keller) ◀

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Call theaters or check websites to confirm screening times.

CCA CINEMATHEQUE AND SCREENING ROOM

1050 Old Pecos Trail, 982-1338, ccasantafe.org Brooklyn Castle (PG) Fri. 5 p.m. Sat. and Sun. 5:30 p.m. Wed. and Thurs. 4:45 p.m.

The Flat (NR) Fri. 12:45 p.m., 7:15 p.m.

Sat. and Sun. 1:15 p.m., 7:45 p.m. Wed. and Thurs.

2:30 p.m., 7 p.m.

The Gold Rush (NR) Sat. and Sun. 12:30 p.m.

Wed. 6 p.m.

Searching for Sugar Man (PG-13) Fri. 1:45 p.m., 6:15 p.m. Sat. and Sun. 2:30 p.m. Thurs. 6 p.m.

This Must Be the Place (R) Fri. 3:45 p.m., 8:15 p.m.

Sat. and Sun. 4:30 p.m., 7 p.m. Wed. and Thurs.

1 p.m., 3:30 p.m., 8 p.m.

Wagner & Me (NR) Fri. 3 p.m. Sat. and Sun. 3:30 p.m.

REGAL DEVARGAS

562 N. Guadalupe St., 988-2775, fandango.com Anna Karenina (R) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:45 p.m. Sun. and Mon. 1 p.m., 4 p.m., 7 p.m.

Tue. to Thurs. 1 p.m., 4 p.m., 7 p.m., 9:45 p.m.

Argo (R) Fri. and Sat. 1:20 p.m., 4:20 p.m., 7:10 p.m., 9:55 p.m. Sun. and Mon. 1:20 p.m., 4:20 p.m., 7:10 p.m. Tue. to Thurs. 1:20 p.m., 4:20 p.m., 7:10 p.m., 9:55 p.m.

Cloud Atlas (R) Fri. to Mon. 12:50 p.m., 4:15 p.m., 7:40 p.m. Tue. to Thurs. 3 p.m., 9:05 p.m.

Hitchcock (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 9:50 p.m. Sun. and Mon. 1:30 p.m., 4:30 p.m., 7:30 p.m. Tue. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m., 9:50 p.m.

Les Miserables (PG-13) Tue. to Thurs. 12:30 p.m., 4 p.m., 7:30 p.m.

The Sessions (R) Fri. and Sat. 12:55 p.m., 3:10 p.m., 5:25 p.m., 7:50 p.m., 10 p.m. Sun. and Mon. 12:55 p.m., 3:10 p.m., 5:25 p.m., 7:50 p.m. Tue. to Thurs. 12:40 p.m., 6:50 p.m.

Silver Linings Playbook (R) Fri. and Sat. 1:10 p.m., 3:50 p.m., 6:50 p.m., 9:40 p.m. Sun. and Mon. 1:10 p.m., 3:50 p.m., 6:50 p.m. Tue. to Thurs.

1:10 p.m., 3:50 p.m., 6:50 p.m., 9:40 p.m.

REGAL STADIUM 14

3474 Zafarano Drive, 424-6296, fandango.com Cirque du Soleil:Worlds Away 3D (PG) Fri. to Mon. noon, 7 p.m.

Django Unchained (R) Tue. to Thurs. 12:15 p.m., 4:15 p.m., 8:15 p.m.

The Guilt Trip (PG-13) Fri. to Sun. 11:45 a.m., 2:15 p.m., 4:45 p.m., 7:15 p.m., 9:50 p.m.

Mon. 11:45 a.m., 2:15 p.m., 4:45 p.m., 7:15 p.m.

The Hobbit:An Unexpected Journey (PG-13) Fri. to Sun. 11:30 a.m., 2 p.m., 3:30 p.m., 7:30 p.m.

Mon. 11:30 a.m., 2 p.m., 3:30 p.m., 7:30 p.m.

The Hobbit:An Unexpected Journey 3D (PG-13) Fri. to Sun. 10:15 a.m., 11 a.m., noon, 3 p.m., 4 p.m., 6 p.m., 7 p.m., 8 p.m., 10 p.m. Mon. 10:15 a.m., 11 a.m., noon, 3 p.m., 4 p.m., 6 p.m., 7 p.m., 8 p.m.

Jack Reacher (PG-13) Fri. to Sun. 10:30 a.m., 1:35 p.m., 3:30 p.m., 4:35 p.m., 7:40 p.m., 9:45 p.m., 10:40 p.m. Mon. 10:30 a.m., 1:35 p.m., 3:30 p.m., 4:35 p.m., 7:40 p.m.

Les Miserables (PG-13) Tue. to Thurs. 11:30 a.m., 3:15 p.m., 7 p.m., 10:30 p.m.

Life of Pi (PG) Fri. to Sun. 10:20 a.m., 4:15 p.m., 10:15 p.m. Mon. 10:20 a.m., 4:15 p.m.

Life of Pi 3D (PG) Fri. to Mon. 1:15 p.m., 7:15 p.m.

Lincoln (PG-13) Fri. to Sun. 12:10 p.m., 3:45 p.m., 7:10 p.m., 10:30 p.m. Mon. 12:10 p.m., 3:45 p.m., 7:10 p.m.

Monsters, Inc. (G) Fri. to Mon. 1:50 p.m.

Monsters, Inc. 3D (G) Fri. to Sun. 11:20 a.m., 4:30 p.m., 7:05 p.m., 9:30 p.m. Mon. 11:20 a.m., 4:30 p.m., 7:05 p.m.

Parental Guidance (PG) Tue. to Thurs. 11:20 a.m., 2:15 p.m., 4:40 p.m., 7:15 p.m., 9:50 p.m.

Rise of the Guardians (PG) Fri. to Sun. 11:45 a.m., 2:40 p.m., 5:10 p.m., 7:40 p.m., 10:10 p.m.

Mon. 11:45 a.m., 2:40 p.m., 5:10 p.m., 7:40 p.m.

Skyfall (PG-13) Fri. to Sun. 10 a.m., 1 p.m., 4:10 p.m., 7:35 p.m., 10:40 p.m. Mon. 10 a.m., 1 p.m., 4:10 p.m., 7:35 p.m.

This Is 40 (R) Fri. to Sun. 10:40 a.m., 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:40 p.m. Mon. 10:40 a.m., 1:40 p.m., 4:40 p.m., 7:40 p.m.

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THE SCREEN

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, thescreensf.com Café de Flore (NR) Sat. and Sun. 2 p.m., 7:15 p.m.

Tue. to Thurs. 2 p.m., 7:15 p.m.

Gregory Crewdson: Brief Encounters (NR) Sat. noon Tue. to Thurs. noon A Royal Affair (R) Sat. and Sun. 4:30 p.m.

Tue. to Thurs. 4:30 p.m.

London’s Royal Opera House:The Nutcracker (NR) Sun. 11 a.m.

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The GuiltTrip (PG-13) Fri. to Sun. 1:05 p.m., 4:15 p.m., 7:15 p.m., 9:20 p.m. Mon. 1:05 p.m., 4:15 p.m., 7:15 p.m. Tue. and Wed. 1:05 p.m., 4:15 p.m., 7:15 p.m., 9:20 p.m. Thurs. 1:05 p.m., 4:15 p.m., 7:15 p.m., 9:20 p.m.

The Hobbit:An Unexpected Journey (PG-13) Fri. 12:45 p.m., 4:10 p.m., 7:40 p.m. Sat. and Sun. 12:45 p.m., 4:10 p.m., 7:40 p.m. Mon. 12:45 p.m., 4:10 p.m. Tue. to Thurs. 12:45 p.m., 4:10 p.m., 7:40 p.m.

The Hobbit:An Unexpected Journey 3D (PG-13) Fri. 1:15 p.m., 4:45 p.m., 8:10 p.m. Sat. and Sun. 1:15 p.m., 4:45 p.m., 8:10 p.m. Mon. 1:15 p.m., 4:45 p.m. Tue. to Thurs. 1:15 p.m., 4:45 p.m., 8:10 p.m.

Jack Reacher (PG-13) Fri. to Sun. 1:10 p.m., 4:05 p.m., 7:05 p.m., 9:50 p.m. Mon. 1:10 p.m., 4:05 p.m., 7:05 p.m. Tue. to Thurs. 1:10 p.m., 4:05 p.m., 7:05 p.m., 9:50 p.m.

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Sun. 7:10 p.m.

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Monsters, Inc. 3D (G) Fri. 4:45 p.m., 7:05 p.m., 9:40 p.m. Sat. 2:05 p.m., 4:40 p.m., 7:05 p.m., 9:40 p.m. Sun. 2:05 p.m., 4:40 p.m., 7:05 p.m.

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Rise of the Guardians (PG) Fri. 4:50 p.m., 7:20 p.m., 9:35 p.m. Sat. 2:10 p.m., 4:50 p.m., 7:20 p.m., 9:35 p.m. Sun. 2:10 p.m., 4:50 p.m., 7:20 p.m.

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MOVING IMAGES film reviews

Flore show Adele Oliveira I The New Mexican Café de Flore, double romance, rated R, in French with subtitles, The Screen, 2 chiles The folksy, popular-with-Lilith-Fair-fans-in-the-’90s duo the Indigo Girls might not be the first logical association when watching contemporary French Canadian cinema. But during Café de Flore, directed by the Quebecois filmmaker Jean-Marc Vallée (The Young Victoria), it’s hard not to recall the band’s 1992 anthem “Galileo.” “Then you had to bring up reincarnation over a couple of beers the other night,” croons singer Emily Sailers. “And now I’m serving time for mistakes made by another in another lifetime.” When the chorus comes in, it really ramps up the existential drama, asking, “How long till my soul gets it right?”

Reliving past mistakes and trying to break the damn reincarnation cycle is a theme that runs through Café de Flore, which takes place in late-’60s Paris and present-day Montreal. At the beginning of the film, the two stories are presented separately, until they dovetail near the end. As the film opens, Antoine (Kevin Parent) is about to turn 40 and has a seemingly perfect life: two beautiful daughters, an attractive girlfriend (Evelyne Brochu), and a cool gig as an internationally performing DJ. Things are a little messy with his ex-wife, Carole (Hélène Florent), whom he met when they were preteens and fell in love with while making out to vinyl. Carole is still convinced that their pairing was “written in the stars” and is having a hard time getting over the breakup.

But overall, life for Antoine is swell; and invasive sporadic narration assures us that he is happy.

Evelyne Brochu and Kevin Parent

The second storyline follows Jacqueline (Vanessa Paradis), a single mother struggling to raise her 7-year-old son, Laurent (Marin Gerrier), who has Down syndrome and who, the narration tells us, is also happy. At first, this pair feels familiar: we watch Jacqueline rush to get her son to school on time, argue with his teachers (who don’t understand his behavior), and put in long hours at the beauty parlor where she’s a hair stylist. Their small, supportive community gathers in Jacqueline’s apartment when Laurent has a birthday, all smiles as the boy blows out a drippy mass of candles. But Jacqueline takes a dark turn when Laurent meets Véronique (Alice Dubois), a little girl who also has Down syndrome.

The kids immediately become attached, clinging to each other and loudly refusing to let go when it’s time to go home at the end of the school day.

Whenever Laurent is not with Véro, he is asking his mother when he can see her again.

Jacqueline is increasingly jealous of her son’s attachment to Véronique and insecure around

Children Marin Gerrier and Alice Dubois with Vanessa Paradis

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December 21-27, 2012

the girl’s parents, who are well-off and the kind of people who regularly visit specialists about their daughter. Jacqueline, on the other hand, wouldn’t visit specialists even if she could afford to — she’s independent, a little anti-social, and clearly determined to raise her boy on her own. The film’s title comes from an outing the children take with their mothers to Paris’ lovely and grand Café de Flore.

Laurent’s love for Véro is unconquerable, no matter how many times his mother tells him he can’t visit her anymore. We see a similar devotion in Carole’s lingering attachment to Antoine. Flashback scenes show the two of them as teens, kissing for the first time (young Antoine wears eyeliner) and dreamily gazing into each other’s eyes. These sequences are among the film’s most irritating; the young actors (while convincing in their sloppy kissing techniques) are self-consciously moony.

The film is reminiscent of David Lynch’s work in its attention to small, odd details (we’re supposed to pay attention to things like recurring tattoos), a sense of general confusion, and a tendency toward the surreal and supernatural. Throughout, Café de Flore is visually interesting, though one wishes the filmmaker had stayed away from cliché artsy shots, like Antoine’s underwater forays in his backyard swimming pool, eyes closed, trying to escape his perfect life for as long as he can hold his breath.

Music plays an important role throughout, and the audience is treated to expressive tunes by Pink Floyd, Sigur Rós, and The Cure, among others.

Café de Flore is supposed to be about the enormous power of love, both in terms of its ability to uplift and to destroy. But hokey plotlines and a need to push the idea that everything is connected undermine two stories that would have done better on their own. The plot takes a turn for the worse as soon as a psychic shows up, and the merging of the two stories feels forced. Still, when compared to unspeakably awful romantic flicks (such as Playing for Keeps, currently in theaters), Café de Flore is an au courant take on a love story. ◀

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MOVING IMAGES film reviews

Family plot Jonathan Richards I For The New Mexican The Flat, documentary, not rated, in English, German, and Hebrew with subtitles, Center for Contemporary Arts, 3 chiles When Arnon Goldfinger’s 98-year-old grandmother died a couple of years ago, she left behind a lifetime of accumulated possessions in her Tel Aviv flat. But it was the secrets she took with her that supply the haunting narrative of this documentary.

After Gerda Tuchler’s death, the family descended on her apartment to divide up the spoils, and Goldfinger came along with his camera to record the onslaught. Much of the early part of the movie is a reflection on the shallowness of contemporary Israeli society and the disconnect between today’s generation and the life lived by Gerda and her husband, Kurt, a respected judge in Germany before the Nazis put an end to all that.

What does a life add up to? None of Goldfinger’s cousins know much about their grandparents. The young people hoot with laughter at the artifacts left behind — closets full of handbags, the fox furs the youthful Gerda must have worn with such a sense of style and sophistication to prewar Berlin nightclubs long since gone. “How can you hoard so many things?” they ask. “I realized,” Goldfinger reflects, “that my family lived totally in the present.”

“Why is it,” muses an old friend of Gerda’s, “that only third-generation Jews ask questions?” But in fact, of that generation in this family, only Goldfinger seems to have the bug. His mother never asked questions of her parents about their past, the war,

Director Arnon Goldfinger

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December 21-27, 2012

Gerda and Kurt Tuchler in Baden-Baden

and the Holocaust. It was just something you didn’t talk about. Nor does she seem much bothered by her lack of curiosity, despite her son’s disapproval.

“Either you have it or you don’t,” she shrugs. “You can’t learn it.”

Second-hand dealers come and make offers on the furniture. A used-book dealer sorts through the Tuchler library. “Nobody reads Shakespeare any more,” he scoffs, tossing the works of the Bard onto the discard pile. “Nobody reads Balzac.

Goethe? Please.”

Is this the story Goldfinger came to tell? He’s not a prolific filmmaker. Apart from a 2000 documentary, The Komediant, his only listed directing credit is a 1993 television series called The Benny Zinger Show.

But as Goldfinger and his mother, Hannah, sift through boxes of papers and memorabilia, they come across a couple of things that send this story in a very different direction. There is a commemorative coin with a Star of David on one side and a swastika on the other. And there’s a copy of a right-wing German newspaper from the ’30s, with a headline that reads “A Nazi Travels to Palestine.”

The Nazi was an official named von Mildenstein.

And his traveling companion was Kurt Tuchler. The two men seem to have been good friends, and their wives get along well. What was this trip to Palestine all about? In the phrase popularized during the recent Republican primaries, it was about self-deportation.

As an old scholar observes, “It was a temporary mutual interest. The Nazis wanted to get rid of the Jews; the Zionists wanted to go to Palestine.” So the von Mildensteins and the Tuchlers traveled amicably together, with their fox furs and their cigarette holders, discussing literature and the prospects of creating a Jewish settlement in Palestine. Then of course the war came, and Germany’s approach to its Jewish population changed.

Goldfinger learns of the existence of von Mildenstein’s daughter, Edda, an elderly woman living in Berlin. He calls her. She recognizes the

Tuchler name immediately and responds with warmth. He goes to see her, and together they reminisce and look at her family photos and journals. There are many references to her parents’ friends the Tuchlers, both before and after the war.

And now Goldfinger’s account takes another, darker turn. Her father, Edda von Mildenstein remembers happily, wanted nothing to do with the Nazis. When things got ugly, he resigned his post, left the country, and traveled abroad for the next five years. After the war, he returned, and eventually became the head of the German office of an American soft-drink company.

But Goldfinger’s research turns up a different story. From Edda he learns of the tragic fate of his mother’s grandmother. And the more he discovers about the wartime record of his grandfather’s old friend, the more conflicted he becomes. These people, Edda and her husband, are nice, generous, warm-hearted. Does he destroy her illusions? Does he rub her face in her father’s Nazi history?

“I don’t know if it’s nice to mention it,” he says with alarming naiveté to his mother, who replies “Would you tell a friend his father was a murderer if he didn’t know it?”

Once again, a friendship is growing between the two families, but this time the dynamic and the power to do harm has shifted. And still, the question that gnaws at Goldfinger is the very persistence of his grandparents’ relationship with the German aristocrat. Why, after the war, after everything that had happened, did they renew their friendship?

The Flat can indulge in passages that are no more interesting than your neighbors’ travel slides, but it opens can after can of ethical worms, and it is to Goldfinger’s credit that he does not shy away from the ones that might reflect questionably upon himself. He leaves his audience with a lot to think and talk about.

“When you start talking about the past,” someone says, “it’s impossible to stop.” ◀

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MOVING IMAGES film reviews

Feliz hobbitad Robert Ker I For The New Mexican The Hobbit: An Unexpected Journey, fantasy, rated PG-13, Regal Stadium 14, 3.5 chiles Christmas is the time of year when baubles and trinkets stand in for tradition, family, and affection — from the ancient ornament on the tree to the sparkly jewelry you bought for a loved one to the cookies concocted from the recipe on grandma’s old stained index card. It makes sense, then, that the halls of 2001, 2002, 2003, and now 2012 are decked with movies based on that ultimate ode to object fetishization, J.R.R. Tolkien’s saga about one particularly powerful ring.

Unlike Hitchcock’s famous MacGuffin — the element that serves no function other than to set the plot in motion — the ring of Tolkien’s title is one of the story’s main characters, conferring great power to those who possess it and driving men mad with desire as it passes from one “bearer” to the next. It’s not alone; the world of Middle Earth is full of such aweinspiring artifacts and talismans. Things like swords and armor are spoken of with reverence, are passed between the characters, and represent rich corners of the realm’s lore.

So it is with Tolkien’s writings themselves itself.

The stories, beginning with the 1937 novel The Hobbit, have become intertwined with our collective imagination and made manifest through numerous editions of the books and an endless stream of ancillary products. When I was a boy, I saved all of my father’s Tolkien calendars and let my imagination run wild over the evocative illustrations of Alan Lee and John Howe. Now my son plays with the Treebeard figurine that watches over my home office. Millions have passed through this world over roughly four generations now. Tolkien’s work has become like the myths he studied so passionately.

Ian McKellen 56

December 21-27, 2012

This’ll put hair on your feet: Martin Freeman

The phenomena reached a crest in the early ’00s, when Peter Jackson’s film treatment of the Lord of the Rings trilogy grossed billions of dollars worldwide and collected numerous awards. At the time, many filmgoers were jaded, thanks to years of mostly wishy-washy blockbusters in the 1990s, and the Rings movies were a revelation; big Hollywood movies that actually exceeded expectations, showed us new images, and left us feeling like kids again.

“My precious,” indeed.

So how does one with this history objectively critique Jackson’s The Hobbit: An Unexpected Journey, the first film in a planned trilogy, in which a halfling named Bilbo (Martin Freeman) is recruited by the wizard Gandalf (Ian McKellen) and 13 dwarfs to help slay a dragon? The answer is that I can’t. If you’re like me, you’ll feel a warm glow from the moment you hear Howard Shore’s familiar score and see McKellen’s twinkling eyes. You can take that rating up there, boost it up to four chiles, add some lembas bread, wash it down with an ent-draught, and then have it all again for a second breakfast.

If you’re not bringing this attitude with you to the theater, then the film will be slightly more problematic. The Hobbit is a shorter and breezier book than the Rings trilogy, but the movie brand — the formula that people can expect to see continue — requires the films to be long and serious. And so the final product is front-loaded with exposition, and attempts to create a sense of gravity with a rousing speech or orchestral swell don’t always ring true.

Nods to the earlier films, including material not in the Hobbit book, can make the movie feel like a concert by a veteran rock group, in which the band wants to play new material but knows the audience expects the hits. At least the addition of Cate Blanchett’s Galadriel gives the film one female character, if only for a few minutes.

Among the “hits” is the return of Gollum, one of the most iconic figures of the trilogy. In 2002’s The Two Towers, the computer-generated character — built around a motion-captured performance by Andy Serkis — was far more realistic-looking than

any of his peers at the time. Prior to Gollum, characters like Jar-Jar Binks were weirdly lit, blubbery jokes. Gollum was the first CGI creation to look like he existed on the same screen as the humans — and to give a performance that made audiences care about his fate. Ten years later, most such effects still haven’t caught up with that level of realism, and Jackson’s effects team takes Gollum another giant leap forward here. In the memorable riddle scene with Bilbo, Gollum displays a range of facial expressions that is flatly astonishing.

Freeman makes the perfect Bilbo and sets the gentle tone of the film. Unlike the more dramatic Elijah Wood, Freeman got his big break in comedy, becoming famous for his work on the original version of The Office. Nobody is better at playing delightfully put upon, which makes him the ideal foil for the 13 singing, belching, and clowning-around dwarfs.

Despite the different tone, Jackson and his cowriters stay true to the themes that they’ve always conveyed through Tolkien’s world, particularly the need to get out of one’s house and experience the world and the virtues of empathy, kindness, and mercy. The action is also as strong as ever. Some of the orc-slashing gets tiring, but the party’s swashbuckling escape from the Great Goblin’s lair plays like an official plea to put Jackson in charge of the Indiana Jones franchise.

As with the Rings films, much of the charm of The Hobbit comes from the obvious care put into every single object in it. With the first films, Jackson called in blacksmiths, carpenters, tailors, artists, and craftsmen from all over New Zealand to build Middle Earth from scratch — using the illustrations and advice of Lee and Howe. The crew paid such attention to detail that they included inscriptions on the insides of helmets and other places that audiences would never see. And apart from the action sequences, Jackson holds his shots for several seconds, letting audiences savor their handiwork and get comfortable in the world. The chance to purchase return admission to it is one of the best Christmas gifts we could ask for. ◀

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MOVING IMAGES film reviews

Up close and miserable Jonathan Richards I For The New Mexican Les Misérables, musical, rated PG, Regal Stadium 14, onion I should begin with a disclaimer. I am not among those who love Les Misérables — the stage musical, not Victor Hugo’s great novel of crime, punishment, and redemption. I saw a production of the ClaudeMichel Schonberg/Alain Boubil musical years ago when the play was in its infancy, only beginning its gargantuan rise on its way to become “the world’s longest running musical, seen by over 60 million people,” as the film’s website proclaims. They used to say 60 million Frenchmen couldn’t be wrong.

I don’t think they still say that. In any case, these can’t all be Frenchmen.

I saw a performance of Les Misérables from the last rows of a vast auditorium in Los Angeles, and I was inclined to make allowances for my disappointment on the grounds that not much could be expected from that distance. It seemed like a bunch of people stomping around a postage-stamp stage in the semidarkness singing urgent, endless, unmemorable songs. If I had seen it from the expensive seats, I thought, it might have held up better.

Now I have seen the movie, and I realize what a bullet I dodged back then. The close-ups! The prosthetic veins standing out on Hugh Jackman’s forehead! The tears and mucous glistening on Anne Hathaway’s face below a skull of brutally hacked hair! Russell Crowe’s grim brooding stare as he gamely pushes uncertain sounds from his untrained throat! And all this magnified to several stories of

Hugh Jackman

58

December 21-27, 2012

Dormez-vous? Amanda Seyfried and Eddie Redmayne

height and acres of breadth on an enormous screen; well, it’s something to threaten with to keep unruly children in line.

The Les Misérables musical is much beloved, and love is a thing that can’t be explained. But to the ear tuned to the works of Cole Porter, Frank Loesser, and Stephen Sondheim, it comes as chalk on a blackboard to hear a lyric like: “Well, of course he now denies it,/You’d expect that of a con,/But he couldn’t run forever,/No, not even Jean Valjean!”

The bones of Hugo’s stirring epic find the convict Jean Valjean ( Jackman) serving out a sentence of 20 years at hard labor in the prison galleys — five years for stealing a loaf of bread to feed his sister’s starving family, the rest tacked on for attempts to escape.

Paroled, but unable to find work or shelter because of his convict’s passport, he steals the church silver from a priest who has shown him kindness. When he is apprehended, the priest tells the police he gave Valjean the silver, sparing him from a return to prison for life.

It is impossible here to sum up the serpentine twists and turns of one of literature’s greatest, and longest, novels. Valjean changes identity, becomes a respected citizen, adopts Cosette, the child of the dying Fantine (Hathaway), raises her to lovely womanhood as his beloved daughter (Amanda Seyfried), selflessly saves the unfortunate, but cannot escape his past. He is pursued by Inspector Javert (Crowe), an obsessive instrument of the law for whom the word implacable might have been coined. The Paris student revolt of 1832 erupts, Cosette falls in love with one of its leaders, Marius (Eddie Redmayne), a lot of people are killed, and much misery is endured before it all rolls, tragically but happily, to a close.

The Hugo story is a cherished classic. But the execution here, in the hands of director Tom Hooper, who guided The King’s Speech with such subtlety and grace, is garish, shrill, and breathtakingly over the top. Hooper never misses a chance to worship at the shrine of the obvious, from the bearded Valjean silhouetted beneath a cross on a Calvary-like hill to a plucky urchin dying on the barricades.

One of the ballyhooed features of this production is that it presents its singing (and it is virtually all singing) live — which is to say that the actors perform the songs directly in front of the cameras, not lip-synching to recording studio-produced efforts as is the traditional practice. This does give immediacy to the performances, but it also exposes the weaknesses of the voices, even the good ones, and they’re not all good. Crowe in particular suffers from this lack of cover. Jackman, with his musicaltheater roots, probably fares the best, although they all hit some notes that will set your teeth on edge.

Sacha Baron Cohen and Helena Bonham Carter provide the comic relief, such as it is, in the form of the unscrupulous innkeepers the Thénardiers, roles they attack with such unrestrained gusto that it becomes an avalanche of elements of Sweeney Todd, Cinderella, and the Three Stooges.

It may be that the stage musical’s legions of fans will embrace this movie in spite of its grievous shortcomings. The songs that thrilled those 60 million are still there, up close and personal like you’ve never seen and heard them, and be careful what you wish for. The cast performs bravely, if not always wisely or too well. Hathaway sacrifices her hair and a few teeth in a grand gesture of selflessness, although her return at the end will reassure audiences that hair continues to grow, and be groomed, after death. ◀

Santa Fe’s only not-forprofit, community-supported independent theatre, showing the best in world and independent cinema.

SANTA FE’S HOTTEST LATIN BAND!

1050 Old Pecos Trail ï 505.982.1338 ï ccasantafe.org

TICKETS $30 per person plus $4 service fee $50 per couple plus $6.50 service fee Ticket price includes $5 OFF NEW Manzanares CD, light snacks, party favors and Champagne toast at midnight.

DAZZLING TO BEHOLD.”

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FOR TICKETS: www.holdmyticket.com/event/126778

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A FORMER ROCKSTAR IS HUNTING DOWN A NAZI CRIMINAL. THIS COULD BE HIS GREATEST HIT.

Tickets sold online only and are limited.

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FROM AWARD-WINNING DIRECTOR

PAOLO SORRENTINO

WINNER

CANNES FILM FESTIVAL PRIZE OF THE ECUMENICAL JURY

HARRY DEAN STANTON JUDD HIRSCH EVE HEWSON AND FRANCES MCDORMAND ThisMustBeThePlaceFilm.com ARTWORK©2012 THE WEINSTEIN COMPANY. ALL RIGHTS RESERVED.

ëë

Goes from intriguing to astonishing by way of unfathomable. What makes it universal is what it says about families everywhere.í í -Joe Morgenstern, THE WALL STREET JOURNAL

A FILM BY ARNON GOLDFINGER WWW.SUNDANCESELECTS.COM

A Very Chaplin Holiday:

GOLD RUSH

12:30p Sat & Sun 12/22-23 & 6:00p Weds 12/26 New Year’s Day Foods

Fri Dec 21 12:45p - The Flat* 1:45p - Sugar Man 3:00p - Wagner and Me* 3:45p - This Must Be the Place 5:00p - Brooklyn Castle* 6:15p - Sugar Man 7:15p - The Flat* 8:15p - This Must Be the Place

Sat-Sun Dec 22-23 12:30p - Chaplin: Gold Rush 1:15p - The Flat* 2:30p - Sugar Man 3:30p - Wagner and Me* 4:30p - This Must Be the Place 5:30p - Brooklyn Castle* 7:00p - This Must Be the Place 7:45p - The Flat*

Mon-Tues Dec 24-25

Weds Dec 26

Thurs Dec 27

Closed for holidays!

1:00p - This Must Be the Place 2:30p - The Flat* 3:30p - This Must Be the Place 4:45p - Brooklyn Castle* 6:00p - Chaplin: Gold Rush 7:00p - The Flat* 8:00p - This Must Be the Place

1:00p - This Must Be the Place 2:30p - The Flat* 3:30p - This Must Be the Place 4:45p - Brooklyn Castle* 6:00p - Sugar Man 7:00p - The Flat* 8:00p - This Must Be the Place

* indicates show will be in The Studio at CCA

Concessions Provided by WHOLE FOODS MARKET PASATIEMPO

59

MOVING IMAGES film reviews

You’ve lost that funny feeling Jonathan Richards I For The New Mexican This Is 40, comedy, rated R, Regal Stadium 14, 2 chiles This Is 40 is a comedy like Raisin Bran is a box of raisins. There is comedy in the mix, there are bursts of wit and ripples of laughter. But scattered through two and a quarter hours of bulk, they don’t provide much nourishment.

Judd Apatow, for better or for worse, seems to be the voice of today’s school of cinematic comedy. He is the Frank Capra of his generation, the Woody Allen, the Mel Brooks. He offers a comic sensibility that reflects the tastes and attitudes of an age. Starting with his debut feature The 40-Year-Old Virgin, he has directed a string of hits and written and produced a much longer string. Apatow sits in the catbird seat of contemporary movie comedy.

Now, with his 40th birthday receding in his rear-view mirror, he has made a reflective midlife comedy that can easily be interpreted as containing at least a few scoops of raisins worth of autobiography. Spinning off from their secondary roles in an earlier Apatow effort, Knocked Up (2007), are Paul Rudd as Pete and Leslie Mann as his wife, Debbie. Mann is Apatow’s real-life wife, and with their two children Iris and Maude playing Pete and Debbie’s kids in this movie, it’s no stretch to hazard a guess that Rudd is standing in for Apatow in a story based at least in part on his family life.

The family circus that Apatow shows us is not much fun to be around. The film opens with a sex-in-theshower scene in which it is revealed that Pete relies on Viagra, and Debbie is as horrified as if he had copped to a venereal disease. It doesn’t get much better after that. The event being celebrated is their mutual 40th birthday, although Debbie will only admit to 38.

Leslie Mann and Megan Fox 60

December 21-27, 2012

Happy and hemorrhoid free (for now): Paul Rudd and Leslie Mann

Debbie sneaks cigarettes. Pete binges on cupcakes and spends an inordinate amount of time sitting on the toilet with his iPad, playing Scrabble. Toilet humor is something difficult to escape in the Apatow canon.

Debbie wants to ban gluten, sugar, and anything else that might be appetizing from their diet. Pete lies naked on the bed with his legs in the air and asks Debbie to inspect him for a hemorrhoid. The magic would seem to be gone from this marriage.

Debbie owns a dress shop where one of her employees is embezzling. Pete has left a record-company job to start his own label. Interestingly, Apatow’s maternal grandfather was the record executive Bob Shad, who produced Charlie Parker, Janis Joplin, Dinah Washington, Billy Eckstine, the Clifford Brown/Max Roach Quintet, the Platters, Lightnin’ Hopkins, and many other greats. Things aren’t going as well at Pete’s label. He’s putting most of his effort into promoting a washed-up old rock ’n’ roll icon (Graham Parker) whom nobody wants to hear. Debbie certainly doesn’t. She and Pete seem to have no inkling, after a decade and a half of marriage and his career in the record business, of each other’s musical tastes. (“Lady Gaga?”) They bicker and fight, and at one point Pete,

talking with a friend, muses idly on the benefits of being a widower. Debbie wonders if he would have ever married her if she hadn’t been pregnant, and Pete doesn’t have a ready answer.

They don’t relate to their kids much better than they do each other, and the kids (nicely played by the Apatow daughters) roll their eyes and storm off or get into squabbles with each other. It’s all very spontaneous and improvisational, which is depressing in itself, and while it may resonate with intimations of real-life problems, these are the problems you go to the movies to get away from.

They have money worries that are more serious than Debbie realizes and more serious than Pete will admit to. They also have fathers. Pete’s is Albert Brooks, and he’s a mooch who is into his son for about $80,000, a circumstance Pete is hiding from Debbie. Debbie’s father is John Lithgow, who has been absent all her life, dropping in occasionally for a cup of coffee. Both fathers have young wives and children younger than Pete and Debbie’s.

The material is the quotidian angst of a vaguely loving but sparkless marriage, played for jokes, and some of the jokes are funny. But despite Pete and Debbie’s getaway to a spa for a little romantic R & R with a box of hash brownies, they have to come home eventually, and their troubles are all still there.

The movie is strewn with odd cameos, and in one of them, Melissa McCarthy shows up as the deus ex machina inserted to get Pete and Debbie out of their doldrums and focused on a common enemy. Debbie interferes in the social problems of her older daughter at middle school, and a showdown takes place in the principal’s office, with McCarthy as the mother of the girl’s tormentor. It’s a mildly funny, deeply scatological scene, and its improvisational aspect is underlined by an outtake inserted in the film’s end credits, where you get to see what fun they all had coming up with this stuff.

Apatow can be very funny, and maybe now that his bout with 40 is behind him, he can get back to making us laugh. ◀

Christmas at St. John’s

St. Johní s United Methodist Church

Sunday Morning Worship, December 23 8:30 & 11:00 am services ì Lessons and Carolsî

Choirs, Youth Worship Band, Wind Ensemble

Christmas Eve, December 24 5 pm - The Christmas Story

6 pm - Food, Fellowship, and Friends

7 pm - Lessons, Carols, and Communion 9 pm - Contemplative Christmas

POINTS OF LIGHT PENDANT - YANTRA COLLECTION - 2.4” Dia.

1200 Old Pecos Trail Church Office: 982-5397 Website: www.sfstjohnsumc.org

Amy Conway 505-992-1041 • www.amyconway.com Desert Son of Santa Fe • 725 Canyon Rd. Santa Fe, NM 87501

A Season of HOPE. A Time of NEED. For more than three decades, the Empty Stocking Fund has served as a critical safety net for those experiencing financial challenges in the community. The Empty Stocking Fund provides support of housing assistance, car repair, home heating, utility bills, and more, to help our friends and neighbors experience a holiday season that is truly merry and bright.

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

Empty

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

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

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

Founded by The Santa Fe New Mexican and jointly administered by

stocking NA fund ®

PASATIEMPO

61

MOVING IMAGES film reviews

That ain’t spaghetti sauce, pilgrim Robert Nott I The New Mexican Django Unchained, Tarantino Western, rated R, Regal Stadium 14, 3 chiles “What do you like about this bounty business?” a character asks Django ( Jamie Foxx), a former slave turned bounty hunter, early in Quentin Tarantino’s Django Unchained, which is set in 1850s Texas and Mississippi.

“You kill white people and get paid for it. What’s not to like?” Django replies.

Django is a man armed with freedom and a gun.

Or two guns. Or maybe, by film’s end, several guns plus a load of dynamite. One could almost imagine a sequel in which Django’s son or grandson founds The Black Panthers — were it not for the fact that this Django is on a personal mission that has little to do with race and class and more to do with how people treat one another, regardless of race and class. And that element makes Django Unchained much more than a traditional revenge Western.

Django wants his wife back. And if 20 or 30 or 40 stupid and stubborn men of any color get in the way of his mission to free his wife (a slave), well, somebody better get to work building the coffins and mopping up all the blood.

The movie features horses and gunplay with old-time revolvers and lots of cool cowboy hats and dusters. And yet it’s less a Western and more an American take on the German (or Nordic) myth of the brave Siegfried facing and

Leonardo DiCaprio

62

December 21-27, 2012

Dressed to emancipate: Christoph Waltz and Jamie Foxx

overcoming a number of obstacles — including a fire-breathing dragon — to rescue his beloved maiden Brünnhilde. (In the film, Broomhilda is the name of Django’s wife.) Despite borrowing a character, a title, and the original theme music of Sergio Corbucci’s 1966 spaghetti Western Django, Tarantino’s movie is not quite an homage to the European Western of the 1960s and 1970s. “You can’t really do a spaghetti Western anymore,” Tarantino recently told The New York Times.

“Spaghetti Westerns were a thing of their time.”

Yet as a nod toward the earlier film, Tarantino cast Franco Nero, the original Django, in a small role.

It makes for a weak in-joke to tie the two pictures together.

Django Unchained bears a tighter relationship to late-1950s and early-1960s American Westerns that mixed gray (in terms of moral ambiguity and tone) and red (as in blood) into the usual palate of black and white that often categorizes the genre.

Django actually has a lot in common with Ethan Edwards, the character played by John Wayne in John Ford’s 1956 film The Searchers, insofar as Edwards seeks a kidnapped child and lets no one stand in the way of his mission. Django Unchained also relies on the classic “buddy” formula, teaming Django with his emancipator, the German-born Dr. King Schultz (Christoph Waltz), who teaches Django the murderous ways of the bounty trade.

The two men bond quickly in a friendship that emphasizes respect, trust, and love, regardless of skin color. Both men despise the slave trade, which makes things kind of bloody for those who profit from that business.

The acting in the film is always solid and sometimes fantastic. Waltz’s work is just superb.

He delivers his dialogue as if it is his own and not Tarantino’s (the director also wrote the screenplay) and plays Schultz as a performer who sees life as an epic theater piece that never ends. Every action he takes is about playing a part, which not only makes his job fun and challenging but also reminds the audience that sometimes this cowboy-hero stuff is just a lot of silly nonsense. Foxx plays Django as a quick study when it comes to surviving, killing, and keeping cool under fire in order to rescue his wife. He underplays his character’s varied temperament beautifully. Leonardo DiCaprio, who plays the foppish owner of an isolated plantation, gets more and more interesting as an actor as he ages.

Like Schultz, his character is well aware of the part he needs to play in the world — his world, that is.

“Keep it funny,” he tells a foul-tempered underling at one point, a line that reinforces Tarantino’s use of dark humor to offset the tension inherent in the situation. The film includes a lengthy and hilarious scene in which hooded members of a clan of racist night riders pause to bicker and argue about the quality of their garb — a bit seemingly right out of a Mel Brooks movie.

This is a very good two-and-a-half-hour film.

Unfortunately, it runs close to three hours, and the last 20 minutes are extraneous, diminishing the movie’s power. It also loses impact when it begins to kid a genre that kidded itself into extinction.

Look fast and hard to spot Lee Horsley, Russ Tambyln, Bruce Dern, Robert Carradine, and Michael Parks in small roles. And yes, that’s Jonah Hill as a befuddled night rider. There’s funny stuff here, followed within seconds by lots of shooting and explosions. After all, the rider and his boys are up against Django — unchained. ◀

1812-2012 Celebrate the 200th anniversary of Charles Dickens’ birth Antique collectors’ set of Dickens’ writing said to be his favorite edition,

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Special Holiday Menus for Christmas Eve & Christmas Day New Year’s Eve & New Year’s Day

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Reservations 982.4353

653 Canyon Road

compoundrestaurant.com PASATIEMPO

63

RESTAURANT REVIEW Susam Meadows I For The New Mexican

Saintly succor Café Pasqual’s 121 Don Gaspar Ave., 983-9340 Breakfast 8 a.m-3 p.m., lunch 11 a.m.-3 p.m. daily; dinner 5-9:30 p.m. Sundays-Thursdays, 5-10 p.m. Fridays & Saturdays Vegetarian options Noise level: fiesta Beer & wine Handicapped-accessible Credit cards, no checks

!

The Short Order When chef-owner Katharine Kagel opened Café Pasqual’s in 1979, she transplanted a little of her native Bay Area to Santa Fe, including a dedication to organic farm produce in the vein of her Berkeley soul sister Alice Waters. Along with her able kitchen and dining-room staff, Kagel serves a fresh, eclectic menu borrowing primarily from Asian, Latin American, and New Mexico traditions and offering a selection of dishes you are unlikely to find elsewhere. Some offerings are pricey, but many surprise with their generosity.

Go during off-peak hours if you don’t like to wait; dinner reservations will help get you past that crowd at the door. Recommended: Amy’s Hippie Dippie Green Drink, Yucatán chicken salad, Vietnamese scallop salad, haddock with saffron-ginger sauce, cochinita pibil, Italian chocolate budino, and blackberry cobbler.

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.

64

December 21-27, 2012

Café Pasqual’s has always emanated a San Francisco hippie-chic vibe. Maybe it’s the eclectic menu, where Asian influences share space with primarily Latin American- and New Mexico-inspired dishes (wisely, the kitchen sticks to one side of the Pacific per plate).

Many vegetarian options are available, and the food is generally fresh and organic. Some prices, particularly for drinks, seem high — it’s easy to spend more than $50 on breakfast for two. The wait can be long at breakfast and lunch, when you can’t make reservations (as you can at dinner). Café Pasqual’s is very popular with visitors, who regard it as authentic Santa Fe — which, after 33 years, it certainly is — although chefowner Katharine Kagel hails from Berkeley, California.

Colorful murals, tiles, posters, and hanging decorations create a fiesta atmosphere, as does the noise level when the place is packed, which it usually is. The lack of a foyer creates quite a draft in winter, when the crowd jostles in and out of the small entryway and is forced uneasily into the table space — it’s a mass-transitat-rush-hour effect. But this feeling is embraced by Café Pasqual’s faithful, and it jibes well with the large communal table in the center of the room, beamed straight in from the Summer of Love.

At lunch a shot of Amy’s Hippie Dippie Green Drink — apple juice blended with lemon, ginger, parsley, cilantro, and kale — served as a palate-awakening starter. Of the braised beef and lamb tacos served with fresh corn tortillas, black beans, and house salsa, the lamb won on flavor, but the overwhelming brown softness of everything on the plate cried out for something with color and crunch. In contrast, the Yucatán chicken salad came in modern Technicolor, the slices of marinated chicken breast offering a bright, warm spicy flavor akin to cloves — though I was assured none were used, just citrus and achiote (an evergreen seed used for coloring and as a spice). Fresh greens, avocado, jicama, and orange slices added color and flavor, as did a wellbalanced citrus and olive oil dressing.

The Mexican hot chocolate was good, but I’d prefer a shorter, denser cup with less sweetness and more chocolate flavor. The fresh-fruit liquado was a disappointing smoothie that tasted mostly of banana with a hint of citrus; organic fruit didn’t justify the price.

The Vietnamese salad of flash-sautéed scallop was a generous, colorful, and tasty dish enlivened by undertones of fish sauce and citrus. At dinner, it could be a main course or shared as a first course. The cold greenbean salad with hazelnuts was just that. The mature beans were dressed with mustard vinaigrette and scattered with hazelnuts. They came with a cheese crisp bonus, as tasty as the wedges of Turkish flat bread

on the table, which happily reminded me of pie dough crisps my mom used to make.

Hosannas for the haddock in saffron-ginger sauce (a special on one visit) and the cochinita pibil, deeply satisfying pork with spices, most notably cinnamon, braised in a banana leaf. These were balanced with a garden of accompaniments — greens in flaky pastry and sautéed bok choy with the fish; cilantro rice, habanero-marinated onions, and calabacitas alongside the pork.

The wine list is skewed to higher prices, but the markup on a Paul Dolan 2010 zinfandel was refreshingly low at only about twice retail. It is also true to Kagel’s organic and sustainability principles. Big fruit on the front fortunately disappeared quickly as sufficient tannins appeared for an almost flinty finish.

The wine paired well with everything but the scallops, as expected.

The small dessert sampler surprised, with full portions each of apple butter cake, blackberry cobbler, Italian chocolate budino with olive oil and sea salt, caramel ice cream, and house-made chocolate almond bark, indicating that the large sampler must serve eight. My vote is for the almost-cheesecake-like budino, but I liked the cobbler, too.

The graciously professional service was essential (and a feat), because there is no time or room for mistakes at Café Pasqual’s. Peace. Love. Pass the salsa. ◀

Check, please Lunch for two at Café Pasqual’s: Amy’s Hippie Dippie Green Drink ................$ Tacos barbacoa .............................................$ Yucatán chicken salad....................................$ Fresh fruit liquado ........................................$ Mexican hot chocolate ..................................$ TOTAL ..........................................................$ (before tax and tip)

3.00 15.50 16.00 11.00 4.95 50.45

Dinner for two, another visit: Vietnamese scallop salad ..............................$ 15.00 Green bean salad ..........................................$ 11.00 Cochinita pibil ..............................................$ 31.00 Haddock special ...........................................$ 29.00 Dessert sampler, small ...................................$ 21.00 Bottle, zinfandel ............................................$ 38.00 TOTAL ..........................................................$ 145.00 (before tax and tip)

pasa week 21 Friday

CLASSICAL MUSIC Santa Fe Desert Chorale Carols and Lullabies, 8 p.m., Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Pl., $20-$65, discounts available, ticketssantafe.org, 988-1234.

Santa Fe Pro Musica Baroque Orchestra A Baroque Christmas, music of Purcell, Vivaldi, and Corelli, featuring mezzosoprano Deborah Domanski, 6 and 8 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $20-$65, discounts available, ticketssantafe.org, 988-1234, encores through Monday, Dec. 24.

GALLERY/MUSEUM OPENINGS Galleries at Inn and Spa at Loretto 211 Old Santa Fe Trail. Winter solstice holiday open houses at Faircloth-Adams, Little Bird, Eclectic Image, Handwoven Originals, and Timbavati, reception 6-8 p.m.

Get Framed 418 Cerrillos Rd., Suite 3, Design Center, 424-6996. New paintings by Judy Ortiz and Robb Rael, reception 5-8 p.m.

Henington Fine Art 802 Canyon Rd., 690-9160. Lopez Love, works by the Lopez family, reception 5-7 p.m., through Jan. 25.

Meyer East Gallery 225 Canyon Rd., 983-1657. Holiday Show, paintings by Michael Workman, reception 5-7 p.m., through Jan. 4.

Nüart Gallery 670 Canyon Rd., 988-3888.

Figurations, group show of paintings, reception 5-7 p.m., through Jan. 6.

Selby Fleetwood Gallery 600 Canyon Rd., 992-8877. Winter Gathering 2012, group show, reception 5-7 p.m.

Waxlander Gallery 622 Canyon Rd., 984-2202. Holiday Aglow, group show, reception 5-7 p.m., through Jan. 1.

William & Joseph Gallery 727 Canyon Rd., 982-9404. Connectivity, new paintings by Marci Erspamer, reception 5-7 p.m., through Jan. 5.

IN CONCERT Alan Arkin and Bruce Dunlap The actor and the guitarist team up for an evening of poetry and music, 7:30 p.m., doors open at 7 p.m., Gig Performance Space, 1808-H Second St., $30 at the door, gigsantafe.com.

THEATER/DANCE

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

La Fiesta Lounge at La Fonda Syd Masters & the Swing Riders, Western swing, 8-11 p.m., no cover.

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

Pranzo Italian Grill Pianist Robin Holloway, 6-9 p.m., $2 cover.

San Francisco Street Bar & Grill Blues band Gary Farmer and the Troublemakers, 9 p.m.-close, $7 cover.

Second Street Brewery Annual Christmas blues show with Country Blues Revue, 6-9 p.m., no cover.

Tiny’s Local blues/rock guitarist Alex Maryol’s albumrelease party for Six, 9 p.m.-close; no cover.

Vanessie a Santa Fe Opera’s high school program members, Young Voices, 6:30-8:30 p.m., $5 cover. John Rangel Duo, jazz, 8:30 p.m.-close; call for cover.

‘Bingo! Episode 2!’

Theater (and bingo game) series presented

by Meow Wolf and Santa Fe Performing Arts; featured pieces include Novelty by Vince Kadlubek and War Torn by Megan Burns and Joshua Laurenzi, 7 p.m., Armory for the Arts, 1050 Old Pecos Trail, $15, discounts available, 984-1370, Friday-Sunday through Dec. 30.

‘A Christmas Carol’ Zia Players presents an adaptation of The Campbell Playhouse 1939 radio production of Charles Dickens’ tale, 7 p.m., Zia United Methodist Church, 3368 Governor Miles Rd., families $20, individuals $5, tickets available at the door, 471-0997.

Golden Dragon Acrobats Chinese troupe in Cirque Zíva, 1 and 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$35, discounts available, ticketssantafe.org, 988-1234.

‘A Musical Piñata for Christmas’ Bilingual evening of live music, carols, and Oscar Hijuelos’ short play Fantasia de Navidad presented by Teatro Paraguas, 4 p.m., Teatro Paraguas Studio, 3205 Calle Marie, donations welcome, 424-1601, teatroparaguas.org, continues Sunday, Dec. 23.

‘The Weir’ Santa Fe Playhouse presents Conor McPherson’s Irish ghost story, 7:30 p.m., 142 E. DeVargas St., $15 and $20, 988-4262, final weekend.

22 Saturday

BOOKS/TALKS

Christmas Means a Little Bit More …, by Theodor Seuss Geisel, Pop Gallery, 142 Lincoln Ave.

Golden Dragon Acrobats Chinese troupe in Cirque Zíva, 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$35, discounts available, ticketssantafe.org, 988-1234, encore Saturday, Dec. 22.

‘The Weir’ Santa Fe Playhouse presents Conor McPherson’s Irish ghost story, 7:30 p.m., 142 E. DeVargas St., $15 and $25, 988-4262, final weekend.

CLASSICAL MUSIC Santa Fe Desert Chorale Carols and Lullabies, 8 p.m., Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Pl., $15-$60, discounts available, ticketssantafe.org, 988-1234, encore Saturday, Dec. 22.

Santa Fe Pro Musica Baroque Orchestra A Baroque Christmas, music of Purcell, Vivaldi, and Corelli, featuring soprano Liesl Odenweller, 6 and 8 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $20-$65, discounts available, 988-1234, ticketssantafe.org, encores through Monday, Dec. 24.

TGIF choir recital First Presbyterian Church of Santa Fe’s Chancel Bell Choir and the Bell Choir from Westminster Presbyterian Church with the Santa Fe Women’s Ensemble perform Christmas music arranged

by Cynthia Dobrinski, Michael Ryan, Derek K. Hakes, and Arnold Sherman, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544.

EVENTS Winter Solstice Festival Annual after-hours event hosted by the Santa Fe Children’s Museum; luminaria labyrinth, flying farolitos, storytelling, and warm snacks, 6-8 p.m., 1050 Old Pecos Trail, $6, 989-8359.

NIGHTLIFE

THEATER/DANCE ‘Bingo! Episode 2!’ Theater (and bingo game) series presented by Meow Wolf and Santa Fe Performing Arts; featured pieces include Novelty

by Vince Kadlubek and War Torn by Megan Burns and Joshua Laurenzi, 7 p.m., Armory for the Arts, 1050 Old Pecos Trail, $15, discounts available, 984-1370, Friday-Sunday through Dec. 30.

Pasa’s Little Black Book......... 66 Elsewhere............................ 67 Exhibitionism...................... 68 At the Galleries.................... 69 Libraries.............................. 69 Museums & Art Spaces........ 69

compiled by Pamela Beach, pambeach@sfnewmexican.com

(See Page 66 for addresses) Anasazi Restaurant & Bar Classical guitarist Roberto Capocchi, 6:30 p.m., no cover. ¡Chispa! at El Mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30 p.m., no cover.

Club 139 at Milagro DJ Alchemy, sol therapy and Chicanobuilt, 9 p.m., $5-$7 cover.

Cowgirl BBQ Local all-stars band The Swinging Ornaments, 5-7:30 p.m., no cover. White Buffalo, southern rock and country, 8:30 p.m., $5 cover.

El Farol John Carey, New Orleans blues, 9 p.m., $5 cover.

In the Wings....................... 70 People Who Need People..... 71 Under 21............................. 71 Short People........................ 71 Sound Waves...................... 71

GALLERY/MUSEUM OPENINGS Baca Street Studios 730 Baca St., 614-5215. Holiday pottery sale, 9 a.m.-5 p.m., continues Sunday, Dec. 23.

Evoke Contemporary 130-F Lincoln Ave., 995-9902. Louisa McElwain, artist’s profile film-release party, reception 5-7 p.m.

Craig Varjabedian Exhibit talk, Q & A, and book signing with the photographer of Landscape Dreams, a New Mexico Portrait, 3:30-5:30 p.m., William R. Talbot Fine Art, 129 W. San Francisco St., second floor, 982-1559. ▶▶▶▶▶▶▶▶

calendar guidelines Please submit information and listings for Pasa Week

no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. Follow Pasatiempo on Facebook and Twitter.

PASATIEMPO

65

Robert Mayer The local author signs copies of his novel, Confessions of a Rain God, 2 p.m., Alla Bookstore, 102 W. San Francisco St., second floor, 988-5416.

EVENTS Contra dance New England folk dance with live music by Megaband and calls by Lewis Land, beginner classes 7 p.m., dance 7:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $8, students $4, 820-3535.

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

Santa Fe Children’s Museum holiday market Gift sale and fundraiser, handmade glass beads, jewelry, and hand-knit accessories; children are welcome to participate in a makeyour-own crafts station; 11 a.m.-3 p.m., no admission charge but donations welcome, 1050 Old Pecos Trail, 989-8359, Ext. 111.

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

A Very Chaplin Holiday Center for Contemporary Arts presents a Charlie Chaplin film festival through Jan. 2, Gold Rush, 12:30 p.m., 1050 Old Pecos Trail.

Schedule available online at ccasantafe.org, $9.50 general admission, discounts available, tickets and passes available in advance by calling the box office, 982-1338.

NIGHTLIFE (See addresses below) ¡Chispa! at El Mesón Tierra Soniquete, flamenco and jazz fusion with Joaquin Gallegos and J.Q. Whitcomb, 7:30-10:30 p.m., no cover.

PASA’S LITTLE BLACK BOOK d Wine Bar 315 Restaurant an 986-9190 il, Tra Fe a 315 Old Sant nt & Bar Anasazi Restaura Anasazi, the Rosewood Inn of e., 988-3030 113 Washington Av nch Resort & Spa Bishop’s Lodge Ra ., 983-6377 Rd 1297 Bishops Lodge ón es M El at ¡Chispa! e., 983-6756 213 Washington Av gro Club 139 at Mila St., 995-0139 o isc nc Fra n Sa .

W 9 13 Cowgirl BBQ , 982-2565 319 S. Guadalupe St. lton El Cañon at the Hi 811 8-2 98 , St. al 100 Sandov Rd., 983-9912 El Farol 808 Canyon ill El Paseo Bar & Gr 848 2-2 208 Galisteo St., 99 Evangelo’s o St., 982-9014 200 W. San Francisc Santa Fe Hotel Chimayó de 988-4900 e., Av ton ing ash W 5 12 Hotel Santa Fe ta, 982-1200 1501 Paseo de Peral rcy St., 982-3433 La Boca 72 W. Ma ina La Casa Sena Cant 8-9232 98 e., Av e lac 125 E. Pa

66

December 21-27, 2012

Club 139 at Milagro DJ Poetics, hip-hop/house/Latin, 9 p.m., $5-$7 cover.

Cowgirl BBQ Local all-stars band The Swinging Ornaments, 2-5 p.m., no cover. Felix y Los Gatos, zydeco/ Tejano/juke-swing, 8:30 p.m., $5 cover.

El Farol R & B band Boulevard Lane, 9 p.m.-close, $5 cover.

Hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover.

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

La Fiesta Lounge at La Fonda Syd Masters & the Swing Riders, Western swing, 8-11 p.m., no cover.

La Posada de Santa Fe Resort and Spa Jazz vocalist Whitney and guitarist Pat Malone, 8-11 p.m., no cover.

The Mine Shaft Tavern C.W. Ayon’s one-man blues band, 7-11 p.m., no cover.

Pranzo Italian Grill Pianist David Geist’s holiday sing-along, 6-9 p.m., $2 cover.

San Francisco Street Bar & Grill Blues band Gary Farmer and the Troublemakers, 9 p.m.-close, $7 cover.

Stats Sports Bar & Nightlife DJ Feathericci spinning cross-genre dance music, 10 p.m.-2 a.m., no cover, 21+.

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

Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover.

Vanessie Selections from the Great American Songbook with pianists Doug Montgomery (6-8 p.m.); Andy Kingston Trio, jazz (8:30 p.m.close); call for cover.

23 Sunday GALLERY/MUSEUM OPENINGS Baca Street Studios 730 Baca St., 614-5215.

Holiday pottery sale, 10 a.m.-5 p.m.

CLASSICAL MUSIC Melismata Costumed madrigal singing ensemble performing music of the Renaissance and early Baroque eras, 11 a.m.-noon, refreshments served, Collected Works Bookstore, 202 Galisteo St., no charge, 988-4226.

Santa Fe Pro Musica Baroque Orchestra A Baroque Christmas, music of Purcell, Vivaldi, and Corelli, featuring soprano Liesl Odenweller, 6 p.m., and mezzosoprano Deborah Domanski, 8 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $20-$65, discounts available, 988-1234, ticketssantafe.org, encores Monday, Dec. 24.

Schola Cantorum of Santa Fe The sacred music ensemble in Noël Nouvelet — The First Christmas, 7 p.m., Shrine of Our Lady of Guadalupe, 417 Agua Fría St., no charge, 474-2815.

THEATER/DANCE ‘Bingo! Episode 2!’ Theater (and bingo game) series presented by Meow Wolf and Santa Fe Performing Arts; featured pieces include Novelty

by Vince Kadlubek and War Torn by Megan

Burns and Joshua Laurenzi, 4 p.m., Armory for the Arts, 1050 Old Pecos Trail, $15, discounts available, 984-1370, Friday-Sunday through Dec. 30.

‘A Musical Piñata for Christmas’ Bilingual evening of live music, carols, and Oscar Hijuelos’ short play Fantasia de Navidad presented by Teatro Paraguas, 6 p.m., Teatro Paraguas Studio, 3205 Calle Marie, donations welcome, 424-1601, teatroparaguas.org.

Performance at The Screen The series continues with a premiere broadcast of The Nutcracker by London’s Royal Ballet, 11 a.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $20, discounts available, 473-6494.

‘The Weir’ Santa Fe Playhouse presents Conor McPherson’s Irish ghost story, 2 p.m., 142 E. DeVargas St., $15 and $20, 988-4262, final performance.

EVENTS The Flea at El Museo Holiday Market 9 a.m.-3 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through Dec. 30.

International folk dances 6:30-8 p.m. weekly, followed by Israeli dances 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, beginners welcome.

Railyard Artisans Market 10 a.m.-4 p.m. weekly; live music with balladeer Michael Combs all day, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, railyardartmarket.com, 983-4098.

Santa Fe Farmers Market Shops 10 a.m.-4 p.m., 1607 Paseo de Peralta, 983-4098.

A Very Chaplin Holiday Center for Contemporary Arts presents a Charlie Chaplin film festival through Jan. 2, Gold Rush, 12:30 p.m., 1050 Old Pecos Trail.

Schedule available online at ccasantafe.org, $9.50 general admission, discounts available, tickets and passes available in advance by calling the box office, 982-1338.

NIGHTLIFE La Fiesta Lounge at La Fonda 100 E. San Francisco St., 982-5511 La Posada de Santa Fe Resort and Spa 330 E. Palace Ave., 986-0000 The Legal Tender at the Lamy Railroad Museum 151 Old Lamy Trail, 466-1650 Lodge Lounge at The Lodge at Santa Fe 750 N. St. Francis Dr., 992-5800 The Matador 116 W. San Francisco St., 984-5050 The Mine Shaft Tavern 2846 NM 14, Madrid, 473-0743 Molly’s Kitchen & Lounge 1611 Calle Lorca, 983-7577 The Palace Restaurant & Saloon 142 W. Palace Ave, 428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 986-0022 Pranzo Italian Grill 540 Montezuma Ave., 984-2645 Rouge Cat 101 W. Marcy St., 983-6603 San Francisco Street Bar & Grill 50 E. San Francisco St., 982-2044

Santa Fe Sol Stage & Grill 37 Fire Pl., solofsantafe.com Second Street Brewer y 1814 Second St., 982-3030 Second Street Brewer y at the Railyard Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 989-3278 The Starlight Lounge RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781 Stats Sports Bar & Nightlife 135 W. Palace Ave., 982-7265 Taberna La Boca 125 Lincoln Ave., Suite 117, 988-7102 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 Tortilla Flats 3139 Cerrillos Rd., 471-8685 The Underground at Evangelo’s 200 W. San Francisco St., 577-5893 Upper Crust Pizza 329 Old Santa Fe Trail, 982-0000 Vanessie 427 W. Water St., 982-9966 Zia Diner 326 S. Guadalupe St., 988-7008

(See addresses to the left) Cowgirl BBQ Gerry Carthy, tenor guitar and flute, 8 p.m., no cover.

El Farol Nacha Mendez and guests, pan-Latin rhythms, 7 p.m.-close, no cover.

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

La Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7-10 p.m., no cover.

The Mine Shaft Tavern Americana guitarist Gene Corbin, 3-7 p.m., no cover.

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

24 Monday GALLERY/MUSEUM OPENINGS Gallery 822 822 Canyon Rd., 989-1700. Group holiday show, reception 5-8 p.m.

CLASSICAL MUSIC Emily Bear and the Santa Fe Concert Association Orchestra Jazz, classics, and original compositions by the young pianist, 5 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $25-$95, discounts available, 988-1234, ticketssantafe.org.

27 Thursday

Santa Fe Pro Musica Baroque Orchestra A Baroque Christmas, music of Purcell, Vivaldi, and Corelli, featuring mezzosoprano Deborah Domanski, 6 p.m., and soprano Liesl Odenweller, 8 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $20-$65, discounts available, ($5 premium for Christmas Eve) ticketssantafe.org, 988-1234.

Schola Cantorum of Santa Fe The sacred music ensemble performs Gregorian chants during Christmas Eve Mass, 5 p.m., San Miguel Mission, 401 Old Santa Fe Trail, no charge, 474-2815.

IN CONCERT Sutton Foster The Broadway artist performs Cole Porter hits and other show tunes, 7:30 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$75, discounts available, ticketssantafe.org, 988-1234, (see story, Page 20).

NIGHTLIFE (See Page 66 for addresses) ¡Chispa! at El Mesón Pianist John Rangel in duets with guests, 7-9 p.m., no cover.

Club 139 at Milagro Noches Latinas with DJ Dany, 9 p.m., $5-$7 cover.

Cowgirl BBQ Eric George & Man No Sober, roots-rock duo, 8 p.m., no cover.

El Farol Teri True Trio, Americana and R & B, 9 p.m., no cover.

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

La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio with Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 7-10 p.m., Staab House Salon, no cover.

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

Tiny’s Old-school rockabilly band Rob-A-Lou, 8 p.m., no cover.

Vanessie Pianist Doug Montgomery, selections from the Great American Songbook, 6-8 p.m., no cover. Jazz pianist Bert Dalton and his ensemble, 8:30 p.m.-close, call for cover.

EVENTS Annual Christmas Eve Farolito Walk Join the revelers on Canyon Road and soak up some holiday cheer from roving carolers while sipping hot cider at participating galleries; around dusk; pedestrian-only event.

CHRISTMAS EVE NIGHTLIFE (See Page 66 for addresses) Cowgirl BBQ Josh Martin and friends, all-star lineup of Americana musicians, 5-7:30 p.m., no cover.

Cowgirl karaoke with Michele Leidig, 9 p.m., no cover.

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

La Fiesta Lounge at La Fonda Country singer/songwriter Bill Hearne, 7:30-11 p.m., no cover.

Taberna La Boca Flamenco guitarist Chuscales, 7-9 p.m., no cover.

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

25 Tuesday

▶ Elsewhere ALBUQUERQUE

26 Wednesday

Museums/Art Spaces

EVENTS A Very Chaplin Holiday Center for Contemporary Arts presents a Charlie Chaplin film festival through Jan. 2, Gold Rush, 6 p.m., 1050 Old Pecos Trail.

Schedule available online at ccasantafe.org, $9.50 general admission, series pass $30 (discounts available for both), tickets and passes available in advance by calling the box office, 982-1338.

NIGHTLIFE (See Page 66 for addresses) ¡Chispa! at El Mesón Flamenco guitarist Joaquin Gallegos, 7-9 p.m., no cover.

Club 139 at Milagro DJ MayRant and friends, electronic dance music, 9 p.m., $5-$7 cover.

Cowgirl BBQ Third Seven, Billy Nickelson’s one-man band, 8 p.m., no cover.

El Farol Salsa Caliente, 9 p.m., no cover.

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

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

El Pez Volador, by Marcelo Suaznabar, GF Contemporary, 707 Canyon Rd.

La Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7-10 p.m., no cover.

The Pantry Restaurant Acoustic guitar and vocals with Gary Vigil, 5:30-8:30 p.m., call for cover.

Taberna La Boca Jazz guitarist Pat Malone, 7-9 p.m., no cover.

Vanessie Pianist Doug Montgomery, selections from the Great American Songbook, 6-8 p.m., no cover.

Pianist David Geist, Broadway show tunes, 8 p.m.-close, call for cover.

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

Indian Pueblo Cultural Center 2401 12th St. N.W., 866-855-7902. 100 Years of State & Federal Policy: The Impact on Pueblo Nations, through February ï Challenging the Notion of Mapping, Zuni map-art paintings, through August. Open 9 a.m.-5 p.m. daily; adults $6; NM residents $4; seniors $5.50.

National Hispanic Cultural Center 1701 Fourth St. S.W., 505-246-2261. Via Nuestros Maestros: The Legacy of Abad E. Lucero (1909-2009), paintings, sculpture, and furniture, through January ï Stitching Resistance: The History of Chilean Arpilleras, a collection of appliqué textiles crafted between 1973 and 1990, longterm ï ¡Aquí Estamos!, items from the permanent collection. Open 10 a.m.-5 p.m. Tuesday-Sunday; adults $3; seniors $2; under 16 no charge; Sundays no charge.

New Mexico Museum of Natural History & Science 1801 Mountain Rd. N.W., 505-841-2804. ISEA2012 Albuquerque: Machine Wilderness, international group show of prints, interactive installations, and sculpture, part of the International Symposium of Electronic Art, through Jan. 6 ï Dinosaur Century: 100 Years of Discovery in New Mexico, showcases of new finds change monthly through 2012. Open 9 a.m.-5 p.m. daily; adults $7, seniors $6, under 12 $4; NM seniors no charge on Wednesdays.

pasa week

continued on Page 71

PASATIEMPO

67

EXHIBITIONISM

A peek at what’s showing around town

Elena Zolotnitsky: Renaissance Boy, 2012, oil, gold leaf, and encaustic on panel. Selby Fleetwood Gallery (600 Canyon Road) presents its annual Winter Gathering exhibition, featuring work by gallery and guest artists including Elena Zolotnitsky, Gigi Mills, Joyce Gehl, James Koskinas, Stephanie Hargrave, and Linda Ray. The show opens with a 5 p.m. reception on Friday, Dec. 21. Call 992-8877.

Lori Faye Bock: Heaven on Earth, 2012, acrylic on Baltic birch punnet.

Waxlander Gallery presents Holiday Aglow, an exhibition of new work by gallery artists including Lori Faye Bock, Bruce King, and Suzanne Donazetti. There is a 5 p.m. reception on Friday, Dec. 21. The gallery is at 622 Canyon Road; call 984-2202.

Craig Varjabedian: Buddy Holly’s Microphone, Norman Petty Recording Studio, Clovis, New Mexico, 2010, photograph. William R. Talbot Fine Art (129 W. San Francisco St., second floor) presents a gallery talk and book signing by photographer Craig Varjabedian in conjunction with the exhibition Landscape Dreams, a New Mexico Portrait, a celebration of more than a quarter century of his work. The event is at 3:30 p.m. Saturday, Dec. 22.

Call 982-1559. Image © Craig Varjabedian.

Marci Erspamer: Lean Into, 2012, acrylic on canvas.

Connectivity, an exhibition of new work by Marci Erspamer, opens at The William and Joseph Gallery (727 Canyon Road, 982-9404 ) with a 5 p.m. reception on Friday, Dec. 21. She was recently selected for the residency program of the Santa Fe Art Institute. “I use acrylic to paint familiar objects that appear other worldly and mysterious,” writes the artist.

Vincenzo Calli: Partenze (Departures), 2012, oil on canvas. An exhibit of new figurative paintings by Michael Bergt, Vincenzo Calli, Alberto Gálvez, and John Tarahteeff opens at Nüart Gallery (670 Canyon Road) on Friday, Dec. 21, with a 5 p.m. reception. From the dreamlike imagery of Tarahteeff to the large-scale portraits by Alberto Gálvez, Figurations explores the human figure in a range of styles. Call 988-3888.

68

December 21-27, 2012

AT THE GALLERIES A Gallery Santa Fe 154 W. Marcy St., Suite 104, 603-7744. Journeys West, watercolor landscapes by Heinz Emil Salloch (1908-1985), through Jan. 1.

Argos Studio & Santa Fe Etching Club 1211 Luisa St., 988-1814. The Portrait in the History of Printmaking, group show, through Jan. 11.

Charlotte Jackson Fine Art 554 S. Guadalupe St., 989-8688. Beyond, abstracts by Max Cole, through Dec. 30.

Eight Modern 231 Delgado St., 995-0231.

Strong Winds May Exist, gouache paintings on paper by Siobhan McBride, through Jan. 5.

GF Contemporary 707 Canyon Rd., 983-3707. Small Works Holiday Group Show.

New Concept Gallery 610-A Canyon Rd., 795-7570. Winter Scenes, group show of paintings and photographs, through Jan. 19. Sideshows, group show of small works presented by Jay Etkin Gallery, through Jan. 11.

Photo-eye Gallery 376-A Garcia St., 988-5152. Here Far Away, photographs by Pentti Sammallahti, through Feb. 9.

Pippin Contemporary 125 Lincoln Ave., 795-7476. Holiday Presence, small works group show, through Jan. 1; 10 percent of sales benefits the Santa Fe Children’s Museum.

Pop Gallery 142 Lincoln Ave., Suite 102, 820-0788.

Ted Geisel originals and production work from the 1966 film How the Grinch Stole Christmas, through Jan.1.

Radius Books 227-W E. Palace Ave., 983-4068. Sharon Core: Early American, exhibit of photographs, through December.

Santa Fe Clay 545 Camino de la Familia, 984-1122. Beginning to End, works by Christine Golden, Aisha Harrison, and Clayton Keyes, through Jan. 19.

School for Advanced Research Boardroom hallway, 660 Garcia St., 954-7203.

Underscore_Views: Photograms, Pinhole Photographs, and Stereoscopic Views, works

by Jessica Calzada, Jon Lewis, and Jason S. Ordaz, through Jan. 1.

Touching Stone Gallery 539 Old Santa Fe Trail, 988-8072. Exuberance!, selected masterworks by Tadashi Mori, from the Paramita Museum exhibit, through Dec. 28 (see review, Page 40).

Vivo Contemporary 725 Canyon Rd., 982-1320. 14 Exceptions to the Rule, group show, through Jan. 1.

Waxlander Gallery 622 Canyon Rd., 984-2202. Holiday Aglow, gallery artists show, through Jan. 1.

William R. Talbot Fine Art, Antique Maps & Prints 129 W. San Francisco St., second floor, 982-1559. Landscape Dreams, a New Mexico Portrait, photographs by Craig Varjabedian, through Dec. 29.

Yares Art Projects 123 Grant Ave., 984-0044.

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

LIBRARIES Beaumont and Nancy Newhall Library Marion Center for Photographic Arts, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5052. Open by appointment only.

Catherine McElvain Library School for Advanced Research, 660 Garcia St., 954-7200. Open Monday-Friday, call for hours.

Chase Art History Library Thaw Art History Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6569. Open Monday-Friday, call for hours.

Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 984-6041. Visit stjohnscollege.edu for hours of operation. $20 fee to nonstudents and nonfaculty.

Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 476-5090. Open 1-5 p.m. Tuesday-Friday.

Laboratory of Anthropology Library Museum of Indian Arts & Culture, 476-1264.

Open 1-5 p.m. Monday-Friday, by museum admission.

New Mexico State Library 1209 Camino Carlos Rey, 476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. Monday-Friday.

Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 467-6825. Rare books and collections of metaphysical materials.

Open Monday-Friday, call for hours.

Santa Fe Community College Library 6401 Richards Ave., 428-1352. Open MondayFriday, call for hours.

Santa Fe Institute 1399 Hyde Park Rd., 984-8800. 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., 955-6780. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday, 1-5 p.m. Sunday.

Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 955-4860. Open 10 a.m.-8 p.m. Monday-Wednesday, 10 a.m.6 p.m. Thursday-Saturday. Closed Sunday.

Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 955-2810. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday. Closed Sunday.

Supreme Court Law Library 237 Don Gaspar Ave., 827-4850. Online catalog available at supremecourtlawlibrary.org.

Open 8 a.m.-5 p.m. Monday-Friday.

MUSEUMS & ART SPACES Refer to the daily calendar listings for special events. Museum hours subject to change on holidays and for special events.

Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. Forget Your Perfect Offering, installation (and rotating performance series) by Sydney Cooper and Edie Tsong, through Jan. 27 ï Connecting Liminal Nowhere: Land Arts of the American West 2012, UNM student art program; Goldmines!, works by Patrick Kikut, David Jones, and Shelby Shadwell; through Dec. 30.

Gallery hours available by phone or online at ccasantafe.org, no charge.

Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Georgia O’Keeffe and the Faraway: Nature and Image, through May 5. Open 10 a.m.-5 p.m. Saturday-Thursday, open 10 a.m.-7 p.m. Fridays. $12; seniors $10; NM residents $6; students18 and over $10; under 18 no charge; NM residents free 5-7 p.m. first Friday of the month.

Santa Coleta/St. Colette, attributed to Pedro Antonio Fresquís (1749-1831), in the exhibit It’s About Time: 14,000 Years of Art in New Mexico, New Mexico Museum of Art

Museum of Contemporary Native Arts 108 Cathedral Pl., 983-8900. 50/50: Fifty Artists, Fifty Years ï Dual(ing) Identities, work by Debra Yepa-Pappan ï Grab, screenings of a film by Billy Luther ï Red Meridian, paintings by Mateo Romero ï Vernacular, work by Jeff Kahm; all exhibits through December. Open 10 a.m.5 p.m. Monday and Wednesday-Saturday, noon-5 p.m. Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays.

Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250.

Woven Identities: Basketry Art From the Collections ï They Wove for Horses: Diné Saddle Blankets, Navajo weavings and silverworks; exhibits through March 4 ï Margarete Bagshaw: Breaking the Rules, 20-year retrospective, through 2013 ï Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays.

Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200.

New World Cuisine: The Histories of Chocolate, Maté y Más, through Jan. 5, 2014 ï New Mexican Hispanic Artists 1912-2012, installation in Lloyd’s Treasure Chest, through February ï Young Brides, Old Treasures: Macedonian Embroidered Dress ï Folk Art of the Andes, work from the 19th and 20th centuries ï Multiple Visions: A Common Bond, international collection of toys and traditional folk art. Open 10 a.m.-5 p.m.

Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays.

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

New Deal Art: CCC Furniture and Tinwork; Transformations in Tin: Tinwork of Spanish Market Artists; through December ï Metal and Mud — Iron and Pottery, showcase of works by Spanish Market artists, through April ï San Ysidro Labrador/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin ï Recent Acquisitions, Colonial and 19th-century Mexican art, sculpture, and furniture; also, work by Spanish Market youth artists ï The Delgado Room, late Colonial period re-creation. Open 10 a.m.5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays.

New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. Illuminating the Word: The St. John’s Bible, 44 pages from two of seven volumes, a page from the Gutenberg Bible, and early editions of the King James Bible; Contemplative Landscape, exhibit featuring work by photojournalist Tony O’Brien; through Dec. 30 ï Altared Spaces: The Shrines of New Mexico, photographs by Siegfried Halus, Jack Parsons, and Donald Woodman, through Feb. 10 ï Tall Tales of the Wild West: The Stories of Karl May, collection of photographs and ephemera in relation to the German author, longterm ï Telling New Mexico: Stories From Then and Now, core exhibition of chronological periods from the pre-Colonial era to the present.

Open 10 a.m.-5 p.m. 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; no charge on Fridays 5-8 p.m.; NM residents no charge on Sundays.

New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Alcove 12.7, revolving exhibit of local artists’ works, through Jan. 13 ï Chromatic Fusion: The Art of Fused Glass; Emerge 2012: A Showcase of Rising Talents in Kiln Glass; through Jan. 6 ï Treasures Seldom Seen, works from the permanent collection, through December ï It’s About Time: 14,000 Years of Art in New Mexico, through January 2014.

Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m.

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

Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Núuphaa, works by Pueblo of Pojoaque Poeh Arts Program students, through March 9. Open 8 a.m.-5 p.m.

Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted.

SITE Santa Fe 1606 Paseo de Peralta, 989-1199. More Real?

Art in the Age of Truthiness, group show, through Jan. 6. Open 10 a.m.-5 p.m. TuesdaySaturday; 10 a.m.-7 p.m. Friday; noon-5 p.m.

Sunday. $10; seniors and students $5; Fridays no charge.

Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. A Certain Fire: Mary Wheelwright Collects the Southwest, 75th anniversary exhibit ï New work by Orlando Dugi and Ken Williams, Case Trading Post. Open 10 a.m.5 p.m. Monday-Saturday, 1-5 p.m. Sunday.

Docent tours 2 p.m. Mondays, Wednesdays, Fridays, and Saturdays.

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In the wings MUSIC Goddess: Marilyn Monroe Movie Musicals Anne Ruth Bransford, Greg Grissom, Campbell Martin, and the Bert Dalton Trio, 7:30 p.m.

Saturday, 2 p.m. Sunday, Dec. 29-30, Santa Fe Playhouse, 142 E. De Vargas St., $20, 986-1801.

KSFR Music Café The series continues with Clifford Brown/ Max Roach Revisited, with J.Q. Whitcomb on trumpet, Brian Wingard on saxophone, Bob Fox on piano, and John Trentacosta on drums, 7 p.m. Friday, Jan. 11, Museum Hill Café, 710 Camino Lejo, Milner Plaza, $20, 428-1527.

Music on the Hill Elevated Jazz series presented by St. John’s College; pianist Julian Waterfall Pollack, Saturday, Jan. 19; vocalist Lori Carsillo with Straight Up, Saturday, Feb. 16; both performances begin at 7:30 p.m., doors open at 7 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, $25 in advance starting Monday, Jan. 7, 984-6199.

Serenata of Santa Fe The chamber music ensemble presents Harpsichord-Centric featuring Kathleen McIntosh, 3 p.m. Sunday, Jan. 20; Sonic Genius, performers include oboist Pamela Epple, flutist Andreas Tischhauser, and pianist Debra Ayers, 3 p.m. Sunday, Feb. 17; both performances $20, 989-7988.

Santa Fe Symphony Orchestra & Chorus Winter Brilliance, music of Rachmaninov, Tchaikovsky, and Nielsen, 4 p.m. Sunday, Jan. 20; Birds & Brahms, featuring violinist David Felberg, 4 p.m. Sunday, Feb. 17; pre-concert lectures 3 p.m.; Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 988-1234, ticketssantafe.org.

Santa Fe Pro Musica Orchestra Winter Weekend Classical Recital: 7:30 p.m.

Friday, Jan. 25, Jan Lisiecki: solo Chopin recital; Winter Weekend Classical Concerto, 6 p.m.

Saturday, 3 p.m. Sunday, Jan. 26-27, Lisiecki joins the orchestra, music of Beethoven and Haydn; Lensic Performing Arts Center, 211 W. San Francisco St., $20-$65, 988-1234, ticketssantafe.org.

Zia Singers Traditional winter concert mixing classical and contemporary choral music; 7 p.m.

Saturday, 3 p.m. Sunday, Jan. 26-27, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20 at the door, ziasingers.com.

Intronaut Los Angeles-based prog. metal band, As In We open, 7 p.m. Monday, Feb. 4, Santa Fe Sol Stage & Grill, 37 Fire Place, $10, holdmyticket.com.

Brentano String Quartet Music of Haydn, Bartók, and Brahms, 7:30 p.m. Friday, March 1, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$65, 988-1234, ticketssantafe.org.

Randal Bays Celtic-style guitarist/composer, 7:30 p.m. Saturday, March 2, Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com.

Wynton Marsalis and The Jazz at Lincoln Center Orchestra Big band, 7:30 p.m. Wednesday, March 6, Lensic Performing Arts Center, 211 W. San Francisco St., $25-$95, 988-1234, ticketssantafe.org.

Pipes and Drums of the Black Watch 3rd Battalion Royal Regiment of Scotland band, 7:30 p.m. Tuesday, March 12, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$75, 988-1234, ticketssantafe.org.

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December 21-27, 2012

THEATER/DANCE National Theatre of London in HD The series continues with Arthur Wing Pinero’s Victorian farce, The Magistrate, 7 p.m. Thursday, Jan. 17, Lensic Performing Arts Center, 211 W. San Francisco St., $15 and $22, 988-1234, ticketssantafe.org.

‘Benchwarmers 12’ Annual showcase of New Mexico talent presented

by Santa Fe Playhouse; eight fully staged playlets running Feb. 7 through March 3; 142 E. DeVargas St., $10-$25, 988-4262, santafeplayhouse.org.

Bill Maher Political comedian, 7:30 p.m. Sunday, Feb. 17, Santa Fe Community Convention Center, 201 W. Marcy St., $47-$67, 988-1234, ticketssantafe.org.

‘Water’ Santa Fe University of Art & Design Documentary Theatre Project students present a play based on the demise of the village of Agua Fría, 7 p.m.

Friday and Saturday, 2 p.m. Sunday, March 1-10, Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, discounts available, 988-1234, ticketssantafe.org.

UPCOMING EVENTS ‘Fiddler on the Roof’ Broadway touring company, 7:30 p.m.

Sunday, March 10, Lensic Performing Arts Center, 211 W. San Francisco St., $20-55, 988-1234, ticketssantafe.org.

Belisama Irish Dance Company Rhythm of Fire; performers include Michael Patrick Gallagher and regional championship and top 10 world finalist dancers from Santa Fe and Los Alamos, 7:30 p.m. Friday, March 15, Lensic Performing Arts Center, 211 W. San Francisco St., $10-$20, 988-1234, ticketssantafe.org.

‘Clybourne Park’ Fusion Theatre presents the 2012 Tony Award winning comedy by Bruce Norris, 8 p.m. Friday, 2 and 8 p.m. Saturday, March 22-23, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$40, discounts available, ticketssantafe.org, 988-1234.

Aspen Santa Fe Ballet The contemporary ballet company performs Jiˇrí Kylián’s Return to a Strange Land; Alejandro Cerrudo’s Last; and Trey McIntyre’s Like a Samba, 7:30 p.m.

Friday-Saturday, March 29-30, Lensic Performing Arts Center, 211 W. San Francisco St., $25-$72, discounts available, ticketssantafe.org, 988-1234.

HAPPENINGS Lannan Foundation Events In Pursuit of Cultural Freedom series: Palestinian human-rights activist Omar Barghouti with Amy Goodman, Friday, Feb. 1; climate scientist James Hansen with Subhankar Banerjee, Wednesday, Feb. 20; social critic/author Barbara Ehrenreich with David Barsamian, Wednesday, March 13; Lannan Literary series: actor David Mills in Dreamweaver,

Julian Waterfall Pollack opens the jazz series, Music on the Hill Elevated, Saturday, Jan. 19, at St. John’s College.

a one-man dramatic rendition of Langston Hughes’ poems and short stories, Wednesday, Feb. 27; all events begin at 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $6, discounts available, ticketssantafe.org, 988-1234.

Telluride Mountainfilm on Tour Annual environmental- and conservation-themed film screenings presented by WildEarth Guardians; 7 p.m. Wednesday, Feb. 6, Lensic Performing Arts Center, 211 W. San Francisco St., $15, 988-1234, ticketssantafe.org.

Sweetheart Auction Annual fundraiser for the Cancer Foundation of New Mexico; catered dinner; open wine bar; silent auction, live auction, and vacation raffle, 5-9 p.m. Saturday, Feb. 9, Santa Fe Community Convention Center, 201 W. Marcy St., $45, 955-7931, cancerinstitutefoundation.org.

Annie Leibovitz: Pilgrimage Lecture and discussion benefiting the Georgia O’Keeffe Museum, 6 p.m. Tuesday, Feb. 12, Lensic Performing Arts Center, 211 W. San Francisco St., $35-$75, discounts available, ticketssantafe.org, 988-1234.

HOLIDAY FARE Santa Fe Desert Chorale A Toast to the New Year, Sephardic folk songs, French melodies, and colonial hymns, FridayMonday, Dec. 28-31, at the Loretto Chapel and the Church of Holy Faith; times and venues vary; $25-$45, 988-1234, ticketssantafe.org.

Santa Fe Pro Musica Baroque Orchestra A Mozart Holiday, 6 p.m. Saturday, Dec. 29, 3 p.m. Sunday, Dec. 30, performers include soprano Kathryn Mueller and violinist Stephen Redfield, St. Francis Auditorium, New Mexico Museum of Art, 10 7 W. Palace Ave., $20-$65, discounts available; 988-1234, ticketssantafe.org.

Wise Fool New Mexico Circus arts and puppetry troupe in A Holiday Family Cabaret, 2 and 6 p.m. Sunday, Dec. 30, WFNM Studio, 2778-D Agua Fría St., $10-$15 sliding scale, kids $5, tickets available at the door starting at 1 p.m. Wednesday, Dec. 26, 992-2588.

Doug Montgomery and David Geist New Year’s Eve dinner party with the pianists, 6-9 p.m. Monday, Dec. 31, Vanessie, 427 W. Water St., $125, 982-9966.

Neoglyphica 2013 Art/music collective Meow Wolf’s New Year’s Eve party with light sculptures/installations, live video projections, DJs, and light show, doors open at 8 p.m. Monday, Dec. 31, Molly’s Kitchen & Lounge, 1611 Calle Lorca, $10 in advance online at thevibehut.blogspot.com, $15 at the door.

Manzanares David and Michael Manzanares’ Latin-rock band with Kanoa Kaluhiwa on saxophone, Kevin Miller on conga, Mikey Chavez on drums, José Romero on bass, and Chief Sanchez on trumpet, private VIP pre-concert reception for the first 100 ticket holders 8:30-9:30 p.m.

Monday, Dec. 31, concert follows, Bishop’s Lodge Ranch Resort & Spa, 1297 Bishops Lodge Rd., $30, couples $50, advance tickets available online at holdmyticket.com.

Clock of Ages/Rock of Ages New Year’s celebration Headliners: Taylor Dayne and Tom Rheams Group, 9 p.m.-2 a.m. Monday, Dec. 31, Eldorado Hotel & Spa, 309 W. San Francisco St., $50 and $150, 505-216-1541.

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Albuquerque (continued) Events/Performances Sunday Chatter music of Mozart and Elliott Carter; also, a poetry reading by Dale Harris, 10:30 a.m. Sunday, Dec. 23, Factory on 5th, 1715 Fifth St. N.W., chatterchamber.org, $15 at the door, discounts available.

MADRID 30th Annual Madrid Christmas Open House Enjoy Santa & Mrs. Claus, more than 40 shops and galleries, and holiday lights; continues weekends through December, visitmadridnm.com.

Madrid Old Coal Town Mine Museum 2846 NM 14, 438-3780 or 473-0743. Madrid’s Famous Christmas Lights & Toyland, ephemera related to the town’s 30-year history of celebrating the holidays, through Jan. 13. Steam locomotive, mining equipment, and vintage automobiles.

Open 11 a.m.-6 p.m. Saturday and Sunday. $5, seniors and children $3.

TAOS Museums/Art Spaces Harwood Museum of Art 238 Ledoux St., 575-758-9826. Maye Torres: Unbound, drawings, sculpture, and ceramics ï Three exhibits in collaboration with ISEA2012 Albuquerque: Machine Wilderness — Curiosity: From the Faraway Nearby ï Falling Without Fear ï Charles Luna. All exhibits through Jan. 27. Open 10 a.m.-5 p.m. Tuesday-Saturday, 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.

La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Cultural Threads: Nellie Dunton and the Colcha Revival in New Mexico, through Jan. 30. Open 10 a.m.5 p.m. Monday-Saturday, noon-4 p.m. Sunday.

Adults $8; under 16 $4; children under 5 no charge; Taos County residents with ID no charge on Sunday.

Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462.

Unknown Was a Woman, group show of pottery, baskets, and weavings, through December. Open 10 a.m.-5 p.m. daily. $8, Taos County residents with ID no charge on Sunday.

Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690.

Visual Impressions, paintings by Don Ward, weekend artist demonstrations through Jan. 6, in Fechin Studio. Open 10 a.m.-5 p.m.

Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.

Events/Performances Deer or Matachines Dance 1 p.m. Tuesday, Dec. 25, 120 Veterans Highway, Taos Pueblo, 575-758-1028.

▶ People who need people Donations Smith’s Holiday Program Smith’s Food & Drug invites customers to add $5, $10, or $15 to their purchases for gift cards to be given to local food banks through Friday, Dec. 29.

Sprouts Farmers Market Purchase pre-filled grocery bags ($10-$15 range) through December at both locations for distribution by The Food Depot.

Whole Foods’ Grab & Give program Donate $5, $10, or $25 at checkout counters for meal distribution by The Food Depot; through Monday, Dec. 31.

Artists/Craftspeople/Photographers Call for photographers Submissions sought for Center’s Choice Awards and Review Santa Fe

by Wednesday, Jan. 23; details available online at visitcenter.org; 984-8353.

CURRENTS 2013 call for entries The Santa Fe International New Media Festival runs June 14-30; all submissions must be received online or postmarked no later than Feb. 1, 2013; entry forms and more information available online at currentsnewmedia.org.

MasterWorks of New Mexico 2013 Entries open to New Mexico artists for the 15th Annual Spring Art Show, April 5-27, Expo New Mexico Hispanic Arts Building Fairgrounds, Albuquerque; miniatures, pastels, watercolors, oil/acrylics; deadline Jan. 25, details and prospectus available online at masterworksnm.org; for additional information contact Barbara Lohbeck, 505-260-9977.

Poets/Writers 2012 PEN Literary Awards Send in submissions or nominate someone to be considered in the fields of fiction, science writing, essays, sports writing, biography, children’s literature, translation, drama, or poetry; deadline Feb. 1; visit pen.org or write to awards@pen.org for more information.

▶ Under 21 Unity Bash 2012 The Big Boo, State of the Mingo, Albatross, and comedian Andy Sell, 5 p.m. Saturday, Dec. 22, Warehouse 21, 1614 Paseo de Peralta, $5 at the door, 989-4423.

▶ Short People Winter-Break Reading Program Hosted by all branches of the Santa Fe Public Libraries; pick up reading logs starting Friday, Dec. 21, through Saturday, Jan. 5.

Winter Solstice Festival Annual after-hours event hosted by the Santa Fe Children’s Museum; luminaria labyrinth, flying farolitos, storytelling, and warm snacks, 6-8 p.m. Friday, Dec. 21, 1050 Old Pecos Trail, $6, 989-8359.

Santa Fe Children’s Museum holiday market Gift sale and fundraiser, handmade glass beads, jewelry, and hand-knit accessories; children are welcome to participate in a makeyour-own crafts station; 11 a.m.-3 p.m. Saturday, Dec. 22, no admission charge but donations welcome, 1050 Old Pecos Trail, 989-8359, Ext. 111.

A Very Chaplin Holiday Center for Contemporary Arts’ Charlie Chaplin film festival (through Jan. 2) continues with Gold Rush, 12:30 p.m. Saturday and Sunday, Dec. 22-23, 6 p.m. Wednesday, Dec. 26, 1050 Old Pecos Trail. Screening schedule available online at ccasantafe.org, $9.50 general admission, series pass $30 (discounts available for general admission and passes), all tickets available in advance by calling the box office, 982-1338. ◀

Read between the lines If there’s one thing the world doesn’t need, it’s more Mayanocalypse-inspired song lists. They’re almost as annoying as holiday playlists and those tired “best of the year” song collections, which make pretty much everyone cringe and say, in hungover unison on the morning of Jan. 1, That’s it? That’s what we accomplished musically as a species last year?

Instead of obsessing over the end of the world — an overhyped nonevent that, much like the recently announced Grammy nominations, turns out to be a fraud and a waste of time (Skrillex is nominated for something this year; I rest my case), why don’t we focus on what good lies ahead? And in the spirit of optimism, try cracking open a copy of the anonymously penned book, A Musician’s Guide to Surviving the Great Recession: Practical Tips for Living a Truly Better Life in a Precarious Economy (released Dec. 7

by The Artists League).

Written by a self-described lazy person known only as A. Musician, the book isn’t just for musicians, who, according to the author, are “notoriously unemployed and underpaid ...” The book comes with a disclaimer because, as A. Musician points out, portions could be considered “offensive to many, and some folks may even consider them to stretch the boundaries of the law.” Like that one part about robbing a bank. Or the portion that, for no reason, details how to politely decapitate someone.

The first order of business in the survival game, according to the book, is to “think and act like a multinational corporation or government (i.e. lie, cheat, and steal) ... You don’t have to be an asshole and a crook to achieve financial solvency. But it helps.”

Other ideas that A. Musician finds helpful include getting a credit card in your dog’s name (he did, and now his mutt, “A. Foxhound,” has better credit than him); being happy with what you have instead of feeling miserable because of something you don’t; and my personal favorite, “give yourself a good Kickstarter in the ass,” or, in layman’s terms, learn how to use online crowd-funding sources like www.kickstarter.com to finance your next creative project.

I’m not sure I buy the part about improving your odds of success by being a total asshat — it definitely doesn’t endear you to the press — nor am I an advocate of beheadings. And while it’s a wonderful notion to “live better on less and have more fun doing it,” as the book’s back cover promises, the author wisely reminds readers to be realistic and, “follow a parallel path; pursue your art, but at the same time find something in a related field that will help put food on your table and pay your electric bills.”

Panhandling doesn’t count, but busking does.

Reach for the starters I know plenty of musicians and other artists in Santa Fe who strike a good balance between financial practicality and reaching for the stars, and I believe a lot of younger artists, musicians, and writers in town are still learning how to do it effectively. (Do not rely solely on the poorly edited Musician’s Guide to help you do that.)

Some of the people who make a good go of it are the alumni and artists of Warehouse 21 (1614 Paseo de Peralta, 989-4423). Take, for instance, prog/math rockers As in We, who released an album earlier this year and are now crowdfunding the production of a second album through Kickstarter (www.kickstarter.com/projects/asinwe/as-in-wesnew-2013-album). Other W21-ers finding solid economic/artistic balance include members of local NSFW hip-hop outfit State of the Mingo, which released a free, downloadable EP on Dec. 12 (www. mingo.bandcamp.com/album/heeby-jeeby-ep); low-fi electrogeek balladiers The Big Boo; L.A.-based comedian Andy Sell; and a relative newcomer, indie-rock band Albatross. Catch them at W21’s annual all-ages Holiday Unity Bash, which gets started at 5 p.m. Saturday, Dec. 22 (yes, after the world ends, because you’re special), at the teen/ young adult arts center. Cover is $5 at the door.

— Rob DeWalt rdewalt@sfnewmexican.com Twitter: @PasaTweet

A weekly column devoted to music, performances, and aural diversions. Tips on upcoming events are welcome.

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