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

rory block

November 15, 2013

Your morning fix.

Daily headlines from and Fridays from


You turn to us.

This Week’s Dinner Special: Grilled Sterling Silver Rib-Eye Steak w/ Pommes Frites, Bourbon– Honey Glazed Carrot Coins & Chimayo Red Chile Béarnaise $25.00

This Week’s Luncheon Special: Southwestern ‘Mac n’ Cheese’: Baked Pasta w/ 3 Cheeses, Green Chili, Sundried Tomatoes & Toasted Brioche Breadcrumbs $10.00

Wine By-The-Glass Special: Eroica Reisling / Columbia Valley $6.00 Takeout always available Free wi-fi

Thursday November 28th, 2013

Open 11:30 AM til 5:00 PM • 3 Courses, $29.95 for Adults, $14.95 for Children


• Chorizo-Stuffed Gulf Shrimp with Blue Crab Hushpuppies and Sweet Chili Glaze • Ancho Posole with Fall Root vegetables

231 washington ave. santa fe, nm 505 Ÿ 984 Ÿ 1788


11:30 – 2:00

Happy Hour mon. – fri. 4 – 6 pm Please visit our website:

Thanksgiving Dinner • Bibb Lettuce Salad with a Red Pear and Vermont White Cheddar Crostini, Candied Walnuts, Dried Cranberries and a Cranberry Champagne Vinaigrette


• Roasted Double Breasted Natural Turkey with Cranberry Relish, Pinon Green Beans, Sausage and Sage Stuffing, Mashed Sweet Potatoes and Giblet Gravy

• Blue Corn Crusted Halibut with Tucumcari Whiskey Cheese Polenta, Spaghetti Squash, Asparagus and Wild Mushroom Ragu • Veggie Turkey Day: Tucumcari Whiskey Cheese Polenta, Spaghetti Squash, Asparagus, Pinon Green Beans, Mashed Sweet Potatoes, Cranberry Relish and Wild Mushroom Ragu


• Chocolate Chunk Pumpkin Pie with Spiced Chantilly Cream Visit us on

• Deep Dish Pecan Pie with Hard Sauce and Jack Daniels Chocolate Chip Ice Cream

505-490-6550 • • 50 Lincoln Ave, on the Santa Fe Plaza 2

PASATIEMPO I November 15 - 21, 2013

25th annual

Winter Spanish Market 400 Years of HISPANIC CULTURE can fit into a single weekend.



on FRIDAY, November 29, 2 - 9pm

and SATURDAY, November 30, 9am - 5pm


Flight Into Egypt, retablo by Peter E. Lopez, 1991 ~ From the collection of the Museum of Spanish Colonial Art ~ 750 Camino Lejo ~ Santa Fe, NM 87501 ~

Winter Close-out SALE


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Rambo Goes Cowboy

vie Night Cowboy Mo ber 15, 5:30 pm

Friday, Novem ium itor l, N M H M Aud David Morrel inning author

Award-w sa bo, introduce creator of Ram boy, starring Glenn w showing of Co mmon. A 1958 Le ck Ja eenhorn Ford and sic about a gr boys as cl ng vi ow trail-dri C f o dream. Part spurred by a . ee gined. Fr Real and Ima

Serenata of Santa Fe presents

Public Opening Sunday, November 17, 1–4 pm 1–4 pm · Make your own Literatura de Cordel (stories on a string), a printmaking project for all ages 1:30–4 pm · Performances by Capoeira Cordão de Ouro Cangaço 2–4 pm · Refreshments served by the Women’s Board of the Museum of New Mexico Free with regular museum admission. Sundays free for New Mexico residents with I.D. Youth under 17 and MNMF members always free. Funding for this exhibition provided by the Folk Art Committee/Friends of Folk Art, Museum of New Mexico Foundation; International Folk Art Foundation; Connie Thrasher Jaquith; and Hank Lee and Paul Bonin-Rodriguez.

WINDSTREAM SUNDAY, NOVEMBER 24, 2013, 3:00PM Scottish Rite Center

WORKS FOR PIANO & WINDS BY BEETHOVEN, THUILLE & POULENC Diva Goodfriend-Koven, flute | Pamela Epple, oboe Keith Lemmons, clarinet | Toni Lipton, bassoon Scott Temple, horn | Debra Ayers, piano

Above: José Antônio da Silva (Zé Caboclo), Musicians, 1965, gift of the Katarina Real-Cate Collection. Below: João José da Silva, Bumba-Meu-Boi hand puppet (detail), 1992, IFAF Collection. Photographs by Blair Clark.

All Chamber Music, All the Time

On Museum Hill in Santa Fe · 505-476-1200 ·


PASATIEMPO I November 15 - 21, 2013

FOR TICKETS VISIT: SERENATAOFSANTAFE.ORG OR CALL the Lensic Box office: (505) 988-1234. For program details: (505) 989-7988.


Winners Club Appreciation Concert Event Wednesday, November 27th

The Blue Ventures

9pm show time, doors open at 8:30pm Swipe at any kiosk starting 11/15 for your FREE entry from 7 a.m. -11:59 p.m.

Furnishing New Mexico’s Beautiful Homes Since 1987


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Our Warehouse Showroom on Airport Road features over 8,000 sq. ft. of Southwestern Furniture. Warm and inviting to the touch, our pieces reflect simple, attractive, and functional designs that will enhance the investment in your home. We offer Southwestern Style Furniture, Great one-of-a-kind Pieces, Wonderful Hand-Forged Iron Lamps, and Unique Handmade Lamp Shades. Locally owned and operated since 1987, our goal has always been to offer the best selection of Quality Handcrafted Furniture at the best value in Santa Fe. Please come in, you’ll be pleasantly surprised.



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Monday - Saturday


Closed Sundays




November 15 - 21, 2013

On the cOver 30 honoring the originals Guistarist, vocalist, and songwriter Rory Block, a product of 1960’s Greenwich Village, was smitten with the early blues styles of the 1920s, ‘30s, and ‘40s when she was a teenager. Before she was 20, she had sought out many of the still-living blues legends, including Mississippi John Hurt and Skip James. She pays tribute to the originals and performs her own songs when she appears at Garrett’s Desert Inn on Saturday, Nov. 16. On the cover is a photo of Block by Sergio Kurhajec.


mOving images

14 in Other Words Little Green 18 Literary tyrst Mañana Means Heaven 40 La musical landmark Hotel Mariachi

50 Blue Is the Warmest Color 52 Dear Mr. Watterson 54 Pasa Pics

mUsic and PerFOrmance 20 21 22 24 26 29 32


terrell’s tune-Up Bloodshot Pasa tempos CD Reviews mike daisey The Secret War still cookin’ Charles Lloyd spontaneous combustion Bill Frisell Onstage The Mountaintop sound Waves Odd Fellows

61 Pasa Week

and 11 mixed media 13 star codes 58 restaurant review: tabla de Los santos & secreto Lounge

Lannan event 38 Border dance Luís Alberto Urrea

art and archaeOLOgy 44 Building out Sanjit Sethi 46 early urbanites Neolithic settlement 48 shadow catcher Susan kae Grant A story that ran in Pasatiempo’s Nov. 8 issue about late artist Tommy Macaione contained an account of his large collection of pets that suggested they were all well cared for and fed. Differing accounts, published in The New Mexican in 2000, contradict this notion, reporting that Macaione hoarded the pets, keeping houses full of stressed, malnourished, and neglected animals.

5 advertising: 505-995-3819 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: PasatiemPO editOr — Kristina meLcher 505-986-3044,

detail of Disrupted Equilibrium by susan kae grant

art director — marcella sandoval 505-986-3025,

assistant editor — madeleine nicklin 505-986-3096,

chief copy editor/Website editor — Jeff acker 505-986-3014,

associate art director — Lori Johnson 505-986-3046,

calendar editor — Pamela Beach 505-986-3019,

staFF Writers michael abatemarco 505-986-3048, James m. Keller 505-986-3079, Bill Kohlhaase 505-986-3039, Paul Weideman 505-986-3043,

cOntriBUtOrs Loren Bienvenu, nancy coggeshall, Laurel gladden, Peg goldstein, robert Ker, Jennifer Levin, robert nott, Jonathan richards, heather roan-robbins, david J. salazar, casey sanchez, michael Wade simpson, steve terrell, hollis Walker, Khristaan d. villela

PrOdUctiOn dan gomez Pre-Press Manager

The Santa Fe New Mexican

© 2013 The Santa Fe New Mexican

Robin Martin Owner

Ginny Sohn Publisher

advertising directOr Tamara Hand 505-986-3007

marKeting directOr Monica Taylor 505-995-3824

graPhic designers Rick Artiaga, Jeana Francis, Elspeth Hilbert

advertising saLes Julee clear 505-995-3825 matthew ellis 505-995-3844 mike Flores 505-995-3840 Laura harding 505-995-3841 Wendy Ortega 505-995-3892 vince torres 505-995-3830 art trujillo 505-995-3852

Ray Rivera editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

Recycle Santa Fe al v i t s e F t r A r

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make it memorable Create a home that reflects your heart— warm and filled with wonder, aglow with holiday spirit, authentic and unforgettable.

Top: Andrew Butler

Right to Left: Kari Stringer, Derek Keenan (two on right)

Fri 7pm Trash Fashion Show $15-20 Get Tickets 988-1234 or Fri 5pm - 9pm Sat Sun Gen. Ad $5 @door 9am - 5pm 10am - 5pm under 12 free Free Admission Free Admission Thank you to our generous sponsors!

Silverburst Vases, $39, $59 HANDCRAFTED IN INDIA

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Bring in this ad to receive 25% off one item. Offer valid at participating stores until 11/27/13. Not valid with other discounts, purchase of gift cards, Oriental rugs or Traveler’s Finds. 1000823



32nd Annual

PLACITAS HOLIDAY Fine Arts & Crafts Sale November 23 & 24

Sat 10–5 pm & Sun 10–4:30 pm 80 Artists Anasazi Fields Winery at 3 Sites The Big Tent (east of Presbyterian Church) Placitas Elementary School

Special Guest Artist: Roger Evans

Refreshments at each location • Art Raffle display at the School

preview all 80 artists at The Placitas Holiday Fine Arts and Crafts Sale is sponsored by the Placitas MountainCraft and Soiree Society, a 501-c3 nonprofit organization.



& Chorus






...bringing great music to life ™



anTa fe

Enjoy the power and inspiration of Handel’s masterpiece with the glorious voices of The Symphony ChoruS. Santa Fe’s traditional start of the holdiays, from our family to yours.

Tom Hall Conducts

Sunday, november 24, 4:00 pm Free preview talk an hour before the concert.

At the Lensic c Tickets $20 — $70 Half price tickets for children 6 - 14 with adult purchase.




TOM HALL Guest Conductor

The 2013–2014 season is funded in part by the Santa Fe Arts Commission and the 1% Lodgers Tax, New Mexico Arts, a division of the Office of Cultural Affairs, and the National Endowment for the Arts.

PASATIEMPO I November 15 - 21, 2013

SponSored in parT by:




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‘tis beer to give AND receive! do your holiday shopping at the Waves and receive a taste of our new

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for every $100 spent on gift certificates & merchandise between 11/1–12/15, you’ll receive a $10 voucher for food & drink at izanami.

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click “november/december specials”

The Friends of Archaeology Invite You to

Mandala Sand Painting Live Exhibition with the Monks of Drepung Loseling Monestary November 16 - December 8 Seret & Sons Gallery (next to Alpine Sports) 121 Sandoval St., Santa Fe Opening Ceremony • November 15, 2pm. • FREE Mandala Construction & Viewing • FREE Wednesday to Sundays Nov 16 - Dec 8 • 10am - 5pm Closed on Mondays & Tuesdays and Thanksgiving Day (11/28)

Panel Discussion - In The Footsteps of the Buddha: Reducing Your Carbon Footprint Wednesday, November 20 Center for Spiritual Living 505 Camino de los Marquez, Santa Fe • 7:00 pm with Ling Gala Ringoche, Drepung Loseling Monastery Geshe Thubten Sherab, Thubten Norbu Ling Center Marty Peale, Santa Fe Watershed Association Clayton Brascoupe, Tesuque Peublo, Indigenous Solutions for a Sustainable Future Harmon Hougton - Moderator Suggested donation $12

For information and to schedule house blessings call Marcia Keegan at 660-3352


The Decline and Fall of the Neolithic Mega-city at Çatalhöyük

Join the Friends of Archaeology for a lecture by Dr. Arkadiusz Marciniak on the Neolithic mega-city of Çatalhöyük, one of the world’s oldest urban centers. Dr. Marciniak (University of Poznan, Poland) has been part of the Çatalhöyük excavation project in the southern Anatolia region of modern-day Turkey for over a decade.

Tuesday, November 19, 2013, 6 to 8 pm, $20 Scottish Rite Center, 463 Paseo de Peralta, Santa Fe

Thanksgiving Dinner Three-Course Prix Fixe ~ November 28 3–7pm Featuring Compound Classics & Seasonal Specialties

The Compound Restaurant A Family Tradition Reservations 505.982.4353 653 Canyon Road Santa Fe

(Checks and cash only at the door.)

Check back on these websites for updates: ( or ( For more information, call (505) 982-7799, ext. 7. 10

PASATIEMPO I November 15 - 21, 2013

Contact Jane Steele, our special events director, for all of your private dining & holiday party needs:

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Find contentment with a soothing Warm Pumpkin Oil Massage and drift into a sea of deep relaxation. Relish in a Pumpkin Peel facial or delight in a Cranberry Scrub & Pumpkin Oil mani/pedi.

Reservations recommended 505 995 4535 recommended. Please call 505.995.4535. Located at Eldorado Hotel & Spa 309 W. San Francisco Street |

Gift Cards Available - it’s the perfect gift! John James Audubon image of a Trumpeter Swan Above, Krista Elrick: The Ohio, Audubon’s Favorite River, Flooded Bio Fuel Farmlands, 2011, archival pigment photograph

Bird’s-eye view

French-American naturalist John James Audubon (1785-1851) published detailed illustrations of America’s wildlife, and his major work, The Birds of America, is still considered a landmark achievement in ornithology. Less well-known than his many images of bird species across the United States are his writings on natural avian habitats, a subject that interests photographer Krista Elrick. Elrick explored the environments that Audubon visited and described in his field notes, photographed the landscapes, and documented areas that have changed dramatically since Audubon’s time. In “Retracing Audubon,” a slide lecture by Elrick at Photo-eye Gallery, the photographer takes the audience on a journey to Mississippi’s Old Natchez Trace trail, Kentucky’s Ohio River, and the Three Buttes in Montana, locations of historical significance to Audubon. Images of her photo-collages of these areas bear traces of the impact of industry and development since the time of Audubon’s depiction of the once-wild landscapes, including flooded farmlands and ranchlands studded with natural-gas rigs. While her black-and-white photo-collages are projected, entries from Audubon’s journal will be read out loud, revealing the story of how his monumental work developed over time. Images from Elrick’s series were recently exhibited in Retracing Audubon: Contemporary Views at the John James Audubon Museum in Henderson, Kentucky. The photographs detail a journey that began along the Ohio the day Audubon set out to study as many bird species as possible, culminating in his popular watercolors, originally reproduced in a large-format portfolio book of hand-colored copperplate etchings and published in sections over the course of more than 10 years. The free talk is at 6 p.m. on Wednesday, Nov. 20. The gallery is at 376-A Garcia St. Call 505-988-5152. — Michael Abatemarco PASATIEMPOMAGAZINE.COM


what’s happening


New Mexico: The ArTisTs’ ceNTury Mondays, 10–11:30 am. This popular lecture series explores art and ideas spanning the 20th century. Free for members of the Museum of

New Mexico Foundation. $5 donation for non-members.

PhoTogrAPhy ANd The growTh of The gAlleries November 18. curator Katherine ware will chronicle the impact that

photography has had on New Mexico art.

ArTisTs for ArT's sAKe December 1. ellen landis will take us through the important art

movements of the 1980s and 90s and their impact on institutions like the Museum of Art, and the spanish and indian Markets.

Coming Up filM screeNiNg

Sunday, December 1, 2 pm. "herb and dorothy." Meet the characters behind one of this century’s most astounding contemporary art collections. st. francis Auditorium. Free

Public exhibiTioN oPeNiNg Saturday, December 14, noon–5 pm. Renaissance to Goya: Prints and Drawings from Spain. The only us venue of rare prints and drawings from the late 16th to mid-19th centuries. in collaboration with the british Museum, london. enjoy a spanish classical guitar serenade.

New Mexico MuseuM of Art 107 w. palace ave | on the plaza in santa fe | 505.476.5072 | |

The Chosen:

A Mini Festival of New Israeli Cinema Award winning films from Cannes, Tribeca, HotDocs & more!

STARTS Saturday November 16

through November 24 | at The Screen & CCA

On sale now

Save up to 33% with advance purchase at: 505.216.0672


PASATIEMPO I November 15 - 21, 2013


Heather Roan Robbins

Our hearts may ache as the weekend begins — for personal

and global reasons or for no reason at all. A full moon in Venus-ruled Taurus brings deep oceanic swells to our emotions. This very ache can spur us to act with compassion. Venus conjuncts powerful, if morbid, Pluto. This conjunction happens in pragmatic Capricorn, so the best cure is to do something tangible. This perspective can influence important long-term decisions that have been cooking for months as Mercury finishes its third conjunction with Saturn since September. Stay tuned in and involved. The weekend begins under a cozy, comfort-needing, if stubborn and territorial full moon in Taurus. Forget trying to change others’ minds and appreciate people right where they are. The weekend is rife with undercurrents and primal feelings, so watch the undertow. Early in the week active Mars sextiles expansive Jupiter and brings heroic energy to do what needs to be done. This aspect supports our immune system and brings out our protective streak but also our argumentative side. Friday, Nov. 15: The emotional landscape can swirl with dark clouds on this stubborn, moody day. Being helpful is good medicine. It’s easy to fixate on heaviness as Venus conjuncts Pluto. We need rest, good company, acceptance, and comfort tonight. Saturday, Nov. 16: A new understanding floats up through dreams this morning as the moon trines Pluto. Unacknowledged primal motivation and attractions form undercurrents; read body language as the sun semisquares Pluto. The night is rich and serious; don’t toy with feelings. Sunday, Nov. 17: There are intense moods early on under the full Taurus moon. Then the day and our attention wanders. Balance the need for nurturing and security with a call to transform and offer help in trying times. Tension is released midday. The moon enters Gemini around dinnertime, which brings levity and helps us discuss what’s been going on beneath the waves. Tonight, tweet away as Mercury urges communication. Monday, Nov. 18: Activity buzzes. If feeling threadbare, take time alone or concentrate on one thing at time. Tuesday, Nov. 19: Remember, the past is not the template for the future, but it does offer helpful clues learned the hard way. Midday, tap into a positive vibe to create win-win situations as Mars sextiles Jupiter. Tonight can get cranky, so avoid controversial topics close to home. Wednesday, Nov. 20: Slow down as the moon enters domestic Cancer. Doubts may arise over recent work. Investigate mysteries and ask what’s needed to feel more comfortable. Memories of old mentors may be bittersweet but help us remember our resources. Thursday, Nov. 21: Waves roll on the internal ocean this morning as the sensitive, guarded Cancer moon opposes Pluto. Our moods bumble around, and our digestion can go off. Midday, energy rises; cooperation is stressful but productive, so keep trying if others aren’t too prickly. We look at farther horizons later as the sun enters Sagittarius; watch the sunset in good company. ◀

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In Other wOrds book reviews Little Green: An Easy Rawlins Mystery by Walter Mosley, Doubleday/Random House, 293 pages When we first meet Ezekiel “Easy” Rawlins in Walter Mosley’s 1990 novel Devil in a Blue Dress, it is 1948 and Rawlins, as famously portrayed by Denzel Washington in the movie of the same name, is a struggling homeowner just out of a job. Because of his connections in the community, he is asked to do some amateur detective work on behalf of a white client. When we last saw Rawlins, in Blonde Faith, it was 1967. A licensed detective fresh from murdering two men who deserved it, Easy is driving his car off a cliff on the Pacific Coast Highway to avoid an accident. He had been wavering between exhilaration and a death wish, and it looked like his wish was coming true. Mosley told CNN and others at the time of Blonde Faith’s publication in 2007 that the book would be his last Rawlins novel. But six years later, here’s Easy again, as if resurrected from the dead, saved from the rocks and the sea by his murderous pal Raymond “Mouse” Alexander. After two months of being unconscious, he awakens to a world that isn’t much different from the one he left. But it’s a far cry from the one where we first encountered him. Before he’s even steady on his feet, he’s asked to do what he has done for the last 20 years: find someone missing in Los Angeles. Fueled by Gator’s Blood, a backwoods potion brewed in the heart of Compton, Easy begins to search for Timbale Noon’s son Evander, who disappeared from Los Angeles’ Sunset Strip while on acid. The Strip, awash with street people, drugs, and music, is a place foreign to Rawlins. As he’s soon to discover, despite the hippies, it’s not all peace and love. Little Green spins far afield from its find-my-son beginnings. Rawlins’ own existential complications and their evolution take center stage. Over the 11 previous novels, Rawlins has contended with his inability to turn the other cheek, his violent past as a combat soldier, and a willingness to fall hard for certain women. These problems come to a head in Blonde Faith in a way that suggests Rawlins’ plunge off the PCH wasn’t an 14

PASATIEMPO I November 15-21, 2013

accident. This time, he doesn’t have the strength to wrestle with his demons. Even as he regains his life, he’s carried along by events — at least until the end, when events demand he act decidedly. Rawlins, previously dependent on violent help from Mouse and others, is here aided by unexpected allies: young white hippie women. Easy has had contact with white women before, of course, including the namesake bombshell in Blonde Faith. But his relationship with Coco, and especially Ruby, in Little Green is some thing else: honest, sympathetic, and without hidden motives. The one complicating factor Easy continually faces — and that most other fictional detectives seldom face — is race. Forced because of his work to travel between the segregated black and white worlds that existed in Los Angeles in the 1950s and ’60s, he is often thrust into dramatic scenes. He learns how easy it is to be exploited by whites for his services, as happens in Devil in a Blue Dress. His encounters with authorities, especially those in uniform, always carry a racial slant, and some of them turn violent. Contact with white women is especially difficult in a city where interracial couples are regularly harassed. Mosley frames such incidents in ways that reflect both the history and current reality of prejudice. At the time of Blonde Faith, things had changed in the wake of the 1965 Watts riots. Blacks were no longer treated with arrogance and had become objects of fear. In a way this makes Rawlins’ life more difficult. No longer are he and his friends and family treated with sometimes-violent disdain. While they don’t command respect, they are given distance. This leads to a kind of insidious segregation, as if their presence only means trouble. But there’s a subtle change in Little Green. Easy finds himself accepted by some of the young street people he encounters. This generation is not only racially sympathetic, but they also understand the privilege their whiteness allows. The old hate and prejudice has not gone away. But things have turned. This is tensely portrayed in one scene in which Easy, having breakfast with a new female acquaintance, is harassed by a white patron not afraid to use a certain derogatory word. As he persists, the young woman, also white, stands up and gives the aggressor an earful. Easy unclenches his fists. Little Green, though a bit directionless in some of its middle chapters, will satisfy Easy’s fans as well as anyone partial to the thrills of detective fiction. But Mosley writes with more at stake than an exciting plot line, and Easy Rawlins has become a deeper character than he was back in Devil With a Blue Dress. Will Mosley bring him back? Here’s a clue: the last word of the novel, in quotes, is “Life.” — Bill Kohlhaase

SubtextS True grit One experience that unites every student who ever spent time at the College of Santa Fe is the sound of doors opening and closing when no one is around. It’s believed to be caused by the ghost of Nurse Medina, who during World War II supposedly worked at Bruns Army Hospital, then on the edge of town, at a site that was later transformed into a college. Legend holds that Nurse Medina was murdered by a mentally unstable patient, who cut off her head. No historical record confirms Nurse Medina’s existence, yet the ghost story persisted through 62 years of students. Her legacy and many other tales are related in No Halls of Ivy: The Gritty Story of the College of Santa Fe 1947–2009, written by Richard McCord, a local historian and founder of the Santa Fe Reporter. McCord compiled the history of CSF (formerly St. Michael’s College) using college and newspaper archives. The book was commissioned and printed by De La Salle Christian Brothers, founders of the college and of St. Michael’s High School. (The institutions were considered the same entity until St. Michael’s College changed its name to the College of Santa Fe in 1966.) No Halls of Ivy does not dig into the controversy surrounding the college’s 2009 closure, but it does detail the school’s financial struggles and how, despite plan after plan to stabilize it, in the end nothing could keep CSF solvent. Now the campus is home to the Santa Fe University of Art and Design, where McCord reads from his book on Wednesday, Nov. 20, at 5:30 p.m. in the Fogelson Library. Santa Fe University of Art and Design is at 1600 St. Michael’s Drive. For information, call 505-473-6011. — Jennifer Levin

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Bound by Blue by Meg Tuite, Sententia Books, 176 pages In the story that lends its name to Meg Tuite’s new collection, an elderly man who was abused by his mother remembers that “story time was a nightmare that kept him an insomniac for the remainder of his childhood. When he got older, reading at night was as relaxing as watching a horror film.” Tuite’s collection of 13 tales likewise makes poor reading material for someone trying to relax before bedtime. The stories star the unloved and the unlovable — people who do awful acts because awful acts have been done to them. Tuite allows ranters to rant and degenerates to degenerate, and she repeatedly violates the privacy of shut-ins and agoraphobics by taking the reader behind the locked doors of their self-imprisonment. The author of three previous books, Tuite is the fiction editor of the Santa Fe Literary Review and teaches at Santa Fe Community College. All the stories in her latest collection have appeared in small literary journals, except for “The Healer,” which closes the book. One hopes from its title that this final story will provide some sort of balm. Regardless of whether or not it does, by the time the reader has arrived at the last page, he or she no longer expects a happy endings. Many stories speak to an obsession with image. A neurotic woman who fears being seen by strangers is forced by her sons to go bowling once a week. “Dying would be much easier than this,” she thinks. Other characters destroy mirrors to avoid confronting themselves. Most severely, in the title story, the emotionally wrecked old man scoops out one of his eyeballs with a spoon — thus imitating the fate of a certain classical figure who also had relations with his own mother. These people generally receive as little sympathy from their fellow characters as they do from their creator, and given some of their backgrounds, the approach often seems justified. “Creep” opens with these lines: “I study my face in the mirror. It has etched circles of whispering wrinkles that move around like pulling the stopper from the sink, watching water spiral down the drain. Many secrets are buried in these caverns.” These secrets are revealed one by one, with little ceremony and no moralizing. The creep of this story is another ruined old man, but this time his ruination comes from his own acts of abuse toward members of his family. He regrets nothing. What’s the impact of a collection that chronicles evilness? A line from “Breaking the Code” suggests an answer. In this story, a girl struggles to come to terms with the death of her mother and remembers, “Mom would tell me, Emily Dickinson bent language into a revolution of disturbance and a purgative for conventionality. … Emily saw the transparency of death in life. Nothing concealed.” Besides giving a sampling of Tuite’s own use of language, the passage speaks to the idea that words can make transparent the secrets overburdening an entire society. There is a democracy at work in Bound by Blue, convinced of the notion that victims and persecutors alike have a right to share their stories. — Loren Bienvenu Meg Tuite is slated to sign copies of “Bound by Blue” at Op.Cit. Books (500 Montezuma St., 505-428-0321) at 4 p.m. on Dec. 6.

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In Other wOrds book reviews The Red Man’s Bones: George Catlin, Artist and Showman by Benita Eisler, W.W. Norton & Company, 468 pages George Catlin, deemed the “First Artist of the West,” described his life as a “tissue of risks and chances.” He was an artist and explorer, an ethnologist and writer. His achievements were staggering. France’s King Louis-Philippe warmly received Catlin at the Tuileries. In The Red Man’s Bones: George Catlin, Artist and Showman, Benita Eisler has composed a finely hewn and thoroughly researched portrait of a man who produced more than 600 paintings of Western landscapes and Indians. Through the years, however, Catlin’s art, writing, and ethnological collection have been little known. From 1831 to 1837 Catlin lived with the Native Americans he painted, enjoying their ceremonies and dining on buffalo meat. He worked demonically and one summer completed 186 portraits. He was born in Wilkes-Barre, Pennsylvania, in 1796. As a product of the “raw Pennsylvania frontier,” being embedded in a tribal milieu would not have been a quantum leap. Within his family Catlin was called “the Hunter.” At the age of 8 in Windsor, New York, he was discovering Indian arrowheads, beads, and even skulls. Twenty-five years later, after a short-lived law career and a stint producing miniatures, Catlin painted his first portrait of an Indian, the aging Seneca chief Red Jacket. Vicissitude streaked Catlin’s life. He was personable, handsome, and eloquent. He had a “quicksilver turn of mind” but no political savvy and could be gulled. Despite his precarious finances, he never abandoned his pursuit of art or adventure. An inveterate self-starter and promoter, he acquired letters of introduction to powerful and influential figures, whom he approached to fund his painting and collecting ventures. He pitched one desperate appeal to the Marquis de Lafayette, asking the French nobleman to act as his agent in France. These efforts led to patronage from such luminaries as New York governor DeWitt Clinton and in Saint Louis, William Clark, then the Missouri Territory’s commissioner and “the most powerful American west of the Mississippi.” Under Clark’s aegis, Catlin traveled in 1830 from St. Louis up the Mississippi to Prairie du Chien, Wisconsin, where he saw masses of Plains

Indians. His initial painting foray into Indian country was to Cantonment Leavenworth in Kansas, where he painted 28 portraits of members of Central Plains and Woodland tribes. In 1832 the hands-down “historic journey of [Catlin’s] career” commenced on March 26, when he departed from St. Louis to travel 2,000 miles to Fort Union, where the Missouri and Yellowstone Rivers meet. While living with the Mandan tribe, he produced four of his most famous (and controversial) paintings. At the tribe’s request, he completed “the only surviving pictorial narrative of O-kee-pa,” the Mandan ceremony of renewal and coming of age. Accompanying a dragoon regiment on assignment to Fort Gibson in Arkansas Territory a year later, he painted the Native Americans there. Catlin also collected Indian artifacts. Together with his art they made up his Indian Gallery, which he tried repeatedly to sell to Congress. Its final rejection in 1839 propelled him into exile in England, Belgium, and France for the next 31 years. Catlin toured, exhibiting his Indian Gallery, and published his Letter and Notes on the Manners, Customs, and Conditions of the North American Indians in England in 1841. His paintings were admired by Charles Dickens and praised by poet and art critic Charles Baudelaire and novelist George Sand in France. When his exhibits’ popularity waned, Catlin began to incorporate live performances and traveled with two troupes of Indians. He developed a Wild West Show 30 years before Buffalo Bill. Andrew Jackson’s 1830 Indian Removal Bill, which reflected the lack of sympathy for Indians in Congress, and the 1848 Revolution in France affected Catlin’s fortunes as much as his restlessness, political naiveté, and feeble grasp of finances. The deposing of King Louis-Philippe squelched Catlin’s commission for a series of paintings depicting the North American journeys of French explorer René-Robert Cavalier, Sieur de La Salle. Catlin briefly landed in a debtor’s prison in London and, deaf and infirm in his later years, resided in a down-at-the-heels hotel in Brussels. For the first seven years of his marriage to Clarissa Bartlett Gregory, she was parked with her family or his while he traveled. In 1845 she died in Paris at the age of 37. Their son George Jr. died two years later. Catlin was separated from his three daughters for 20 years, reuniting with them before his death in Jersey City, New Jersey, in 1872. His chief concern then was “What will become of my collection?” The collection now resides at the Smithsonian Institution. Eisler illuminates Catlin’s personal associations, years in exile, and paradoxical nature. This is a solid, welcome account of his life and times — in which the specter of Native Americans’ deracination visits every page. — Nancy Coggeshall

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PASATIEMPO I November 15-21, 2013

Celebrate Global entrepreneurship Week With us November 18-November 22, 2013

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Casey Sanchez I For The New Mexican


HitcHed up with Kerouac

ne of the great triumphs of Jack Kerouac’s On the Road takes place when the ramblin’ man stays put for once. In this part of the book, the Beat writer — as the character Sal Paradise — meets Terry, a Chicana beauty he encounters on a Greyhound bus entering Los Angeles. She is fleeing her husband, leaving behind two kids and the migrant labor of the San Joaquin Valley’s grape fields. In Kerouac’s rendering, their carry out their tryst in typical bohemian fashion, making love and cavorting through scenes of urban poverty as if inspired by some sort of divine fire. But then something unusual happens, at least for a footloose road novel devoted to cataloging the pleasures of leaving. Kerouac, or Sal, finds himself bound by the ties of family. Short on cash and needing to rescue the young woman’s two small children, the fledging couple repair to a tent in the migrant camp of Selma, California, where they work picking grapes and cotton to earn cash to run away to New York. But Terry questions whether she can trust the drifter to protect and provide for her family in a city far from home. The two lovers must agree to accept separate fates. “We turned at a dozen paces,” Kerouac wrote at the conclusion of the chapter, “for love is a duel, and we looked at each other for the last time.” This episode was published as “The Mexican Girl” in The Paris Review and paved the way for the innovative novel to be published after dozens of rejections. In real life, Terry was Beatrice Franco, a MexicanAmerican farmworker who was devoted to her kids and her freedom, though she was trapped in a loveless, abusive marriage. Despite being discussed in nearly two dozen books about Kerouac, she was never contacted or interviewed by literary historians, according to Hernandez, who spent years researching his subject. In fact, Franco, who died in August at the age of 92, only recently became aware that Kerouac had become a famous writer and that their troubled two-week romance during the fall of 1947 had been immortalized in one of the most influential American novels to emerge after World War II.


PASATIEMPO I November 15-21, 2013

Tim Z. Hernandez examines a literary tryst Franco’s place in literary history stands to be corrected with the publication of Tim Z. Hernandez’s Mañana Means Heaven, a novel of historical fiction and a moving portrait of the woman behind “the Mexican girl.” As a portrait of the couple’s whirlwind romance, it puts Bea at the forefront — often as guide to Kerouac, who is bewildered by the difficulty of farm labor is and blithely naive of the dangers of being the white lover of a married woman in a predominantly Mexican work camp. Its portrait of the migrant community, drawn from both Franco’s recollection and Hernandez’s childhood experiences, is an unusually robust account of hard labor, season’s-end raids by immigration officials, and families so closely knit that they threaten to collapse in on one another like dying stars. “She was not the damsel in distress that Kerouac portrayed in On the Road,” Hernandez told Pasatiempo. “She fought her father and husband, sometimes even physically. She was this petite woman, yet so fiery and filled with so much passion.” Hernandez, a novelist, poet and painter, reads from the book on Tuesday, Nov. 19, at Collected Works Bookstore. His accolades include the 2006 American Book Award for his poetry collection Skin Tax and the 2011 El Premio Aztlán for Fiction. Writing Mañana Means Heaven shuttled him in a new direction. “I was at an intersection in my life. Being the son of migrant farmworkers, being from the San Joaquin Valley, I found myself as a writer in Boulder, Colorado, at Naropa [University], where there is the Jack Kerouac School of Disembodied Poetics. I loved On the Road. But I always identified with a line of Chicano writers and poets. Then it was like a light went on. I had always wondered what happened to this woman in On the Road. “My idea was never to find her or her family. It was just to fictionalize her. But once I went to New York and read her actual love letters in the Kerouac archive and held them in my hand, everything changed. I realized this was a real person.” With the help of a private investigator, Hernandez found that Franco was not only still alive but living only a couple miles away from his home at the time, in Fresno. He met and befriended her grown children, convincing them of his trustworthiness, before being allowed to speak to the woman. Over several interviews he grew close to her, a spitfire at 90 who drank Scotch on her birthday, smoked cigarettes, and still wondered whether she had been a sufficient mother to her kids. “She had a will for her freedom than was more than just kicks. With her kids, with her being a woman in that era, working in the grape fields, there was much more at stake than there would have been for Jack.”

In many ways, Mañana Means Heaven corrects the narrative of On the Road. Franco is the teacher, Kerouac often the student. Before they head into the fields, she demonstrates the knife technique for slicing grapes off the vine and the squat posture required to do so. “You gotta do it quick. Sometimes they got pacers out there, guys who pick faster than anyone else, and if you don’t keep up with the pacer, you’ll get canned,” Franco says in the novel. An incredulous Kerouac asks, “You mean a guy can’t go at his own speed?” She wants to laugh but stifles herself when she sees that her new boyfriend is dead serious. Hernandez found that more than six decades later, Franco was far from forthcoming about the details of the affair with Kerouac — she would scarcely admit to it at all. After failing to initially connect with her about the topics of Kerouac or On the Road, Hernandez turned the focus of the interviews to the woman’s remarkable life in the San Joaquin Valley, raising a family, doing backbreaking labor while still finding time to indulge in dancing, a pastime her father had forbidden her as a child. On Franco’s 90th birthday, Hernandez pulled a photo out of his back pocket, an image of Kerouac near the time of their meeting, and asked Franco if she remembered him. Peering at the snapshot with her magnifying class, Franco declared, “No ... I’ve never seen him before in my life.” It shocked both Hernandez and her son, who clearly identified the love letters to Kerouac as being in his mother’s handwriting. Hernandez said he understood what may have prompted such a denial. “Bea could either be withholding that bit of information — it was an affair, after all, and she did leave her kids behind for a short time, and it was a very different era — or she could be genuinely forgetting. But there were other details of her life in 1947 that she would remember quite vividly. Even her son Albert would tell me, ‘I don’t know if my mom is telling us the truth or hiding something.’ ” Franco lived in an era when most women were expected not to acknowledge such affairs, especially in front of their own families. Times may have changed somewhat, but her romance was firmly rooted in the fall of 1947 and that era’s rules of intimacy. “All I know is she would look at a picture of Kerouac and she would just smile,” Hernandez said. ◀

details ▼ Tim Z. Hernandez, reading and book signing for Mañana Means Heaven ▼ 6 p.m. Tuesday, Nov. 19 ▼ Collected Works Bookstore, 202 Galisteo St., 505-988-4226

Santa Fe Community Orchestra

Tis’ The Season To Start Planning Your Holiday Party!

Oliver Prezant, Music Director

2013-2014 Concert Season

Winter Concert

Book Your Party at Rio Chama

Sunday, November 24, 2:30pm St. Francis Auditorium

New Mexico Museum of Art, 107 W. Palace Ave.

Our private dining rooms can accommodate from 15 to over 100 guests. for party reservations please call 505-955-0765.

Works by Beethoven & Prezant SFCO Side-by-Side with students from Gonzales Community School

Bowen: World Premiere, Winner of the 2013 SFCO Composition Competition Works by Popper & Piazzolla Dana Winograd, cello

Tchaikovsky: Symphony No. 2 Free admission - Donations appreciated Anatomy of a Symphony Concert Preview

Featured work: Tchaikovsky’s Symphony No. 2 Get inside the music! Commentary by Oliver Prezant, musical illustrations by the SFCO. Friday, November 22

6 pm

St. Francis Auditorium

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Three shots of Bloodshot

At any given moment since the mid-’90s, some of my favorite music — at a few odd points most of my favorite music — has come from the independent Chicago record label Bloodshot. Starting out as an “alternative country” label (actually, Bloodshot coined the handle “insurgent country”), the company has included in its stable the likes of Neko Case, Alejandro Escovedo, The Old 97s, various Jon Langford projects — most notably The Waco Brothers — Andre Williams, Wayne Hancock, Barrence Whitfield, Graham Parker, The Detroit Cobras, Rosie Flores, and many more. I’m not saying I’ve liked every act they’ve signed or album they’ve released. But Bloodshot’s batting average is pretty impressive. Three recent releases are especially noteworthy. ▼ Gone Away Backward by Robbie Fulks. Singer-songwriter Robbie Fulks is a Bloodshot OG. Back in the ’90s he was a natural for the label, with twanging, irreverent songs like the anti-Nashville anthem “Darn This Town” (I cleaned that up for this family publication), and “She Took a Lot of Pills and Died.” Fulks helped the label build its reputation in its early days. But while those songs are fun and outrageous, Fulks’ “serious” songs from the early albums, such as the self-loathing “Barely Human” and “I Just Want to Meet the Man” (which may or may not be a prelude to a murder), showed he had more than just comic songs in him. He left Bloodshot shortly after the turn of the century. But now he’s back. And that’s as it should be. It took me a little while to warm up to Gone Away Backward. It’s a low-key acoustic affair, with some outright bluegrass songs and a few instrumentals. Hard to believe this was produced by Chicago noise monster Steve Albini, though he’s produced Fulks before. The record has very few rousers and not a lot of Fulks’ trademark humor. But there are more than enough songs to keep me coming back, and I like it more with every listen. “That’s Where I’m From” is a haunting tale of a suburban guy originally from the country who worked hard to make sure his children never knew the hardships of his youth: “I’ve watched them grow now I see, one thing separates them from me/And that’s where I’m from.” The bluegrass tune “Sometimes the Grass Is Really Greener” is about a backwoods musician who won’t go along with a record company’s plan to make him the next hot new country sensation. The melody and banjo on “Long I Ride,” one of the upbeat songs here, remind me of “The Swimming Song” by Loudon Wainwright III. It’s about a happy-golucky hillbilly in New York whose major goal is “to make a bit more in the daytime than I drink down at night.” “Imogene” is a slow bluesy love/sex fantasy. But I suggest listeners start out with “Where I Fell.” It’s the sad story of a man who is dissatisfied with virtually every aspect of his life. The song begins: “Daddy used to catch his supper in this river now you can’t swim it/Smells like a 20ton truck full of paint thinner sank down in it.” The narrator hates his job (“Now I sling hash for what all spills off the interstate”), he’s not in love with his sometime lover (who “comes by for some TV and leg it down with me every now and again”), and he’s sick of the mindless prattle of his


PASATIEMPO I November 15-21, 2013

friends down at the bar (“Game score, Tea Party, world war, I don’t give a good goddamn”). There’s no ray of hope for this poor guy. As he sings in the chorus, where he fell is where he dwells. I’m glad Fulks fell back to Bloodshot Records. ▼ Bottle Rockets/The Brooklyn Side (reissue) by The Bottles Rockets. More than two decades ago this band became the pride of Festus, Missouri. Back before anyone was calling it alt-country, The Bottle Rockets, along with Uncle Tupelo, were helping to define that sound. Arguably, their sound was closer to Skynyrd-soaked Southern rock than to Gram Parsons-style country. In any case, they were powerful. They’ve been Bloodshot mainstays since the early part of the 21st century, but unfortunately the band’s early albums have been out of print for years. So it’s great news that Bloodshot is reissuing their first two albums as a double-disc package, generous with bonus tracks (including some live tracks by Chicken Truck, an early incarnation of The Bottle Rockets). Frontman and chief songwriter Brian Henneman has always shown a bluecollar sensibility. Struggling working-class regular guys populate songs like “1,000 Dollar Car.” (I played this for my son a few years ago when he was considering buying an $800 car, but did he listen?) Henneman even shows sympathy for the dim-witted protagonists who accidentally burn down their trailer in “Kerosene.” (“If kerosene works, why not gasoline,” goes the chorus.) As these first albums show, the band sometimes got political as well. “Wave That Flag” on Bottle Rockets is a putdown of meatheads in four-wheel drives displaying Confederate flags: “You can whistle ‘Dixie’ all day long/If the table turned wouldn’t you hate that song?” On The Brooklyn Side, the song “Welfare Music” takes a shot at Rush Limbaugh (“angry white man on the radio”) and anyone else attacking single moms on government assistance. Even a punchy rocker like “Radar Gun” — which makes fun of law enforcement agencies and local governments that raise money by busting speeding motorists — can be seen as carrying a political message, though most listeners will be drawn more to the raunchy guitar crunch than the civics lesson. And speaking of speed, if you love cranked-up 90-mph guitar rock, “Rural Route” is nothing short of a rush. It’s great to have this music readily available again. And hopefully The Bottle Rockets are working on some new music too. ▼ Boy Crazy by Lydia Loveless. This five-song EP is a follow-up to young Lydia Loveless’ eye-opening 2011 Bloodshot debut, Indestructible Machine. The singer from Columbus, Ohio, was only 21 when that album came out, but as I said about that record, “Her throaty voice suggests an ancient soul.” And that holds true on these songs. Some critics quibbled that there were too many songs about booze on Indestructible Machine — as if they didn’t remember being 21. (I don’t actually remember either, but people have told me what I was like then.) But on Boy Crazy, sex seems to have replaced alcohol as the main theme. Here Loveless’ songs are more pop and rock and less country than on her previous album, though the steel guitar still wails. There’s nothing on this EP that immediately grabs and shakes you as much as “Bad Way to Go” or “Can’t Change Me” on Indestructible Machine, but the new songs are full of irresistible hooks that invite repeat listens. And speaking of repeat listens, the first time you hear “Lover’s Spat,” you might not realize the story behind the song. Go back and listen again. Loveless wrote it about boy-crazy serial killer Jeffrey Dahmer. Loveless, according to Bloodshot, is working on a full-length album expected to be released next year. Boy Crazy is a good appetizer. Check out the world of Bloodshot Records at ◀


album reviews

MOON HONEY MØ Bikini Hand-Painted Dream Daze (Chess Club/RCA Photographs (self-released) Victor) Danish electro-soul artist Moon Honey admits to being dramatic. MØ has a stage name as alluring to Referring to its frenetic music as “a journey admire as it is frustrating to pronounce through a tumultuous, starry, avant-garde uni(think “moo” with a heavy Northern verse” in press materials, the Baton Rouge-based European lilt). Her debut in the States quartet points to Edvard Munch and Frida Kahlo has been given a huge leg-up thanks to as influences. Similarly, the title of the band’s first release, her mega-single “XXX 88” with uberHand-Painted Dream Photographs, comes from Salvador Dalí’s producer Diplo. With richly layered horns and rhythmic syndescription of his own work. The songs on the album are full thesizers ripped off from ’80s Prince songs, it’s a break-up song and somewhat manic, yet refreshingly so. Their structures seem so full of hypnotic hooks and catchy call-and-response chants that unfixed (which is not to say unplanned), thus accommodating it practically dares you not to like it. Of course, nothing else on the sudden shifts in intensity in a manner akin to The Mars Volta. Singer EP quite lives up to the opening track, but that’s all right. Sounding Jessica Ramsey’s feverish vibrato demands the most attention. One wonlike a dark orchestral take on the 1950s sob anthem “Teen Angel,” MØ’s ders how she is able to maintain her ferocity, even in slow and sparse “Never Wanna Know” explores the passive-aggressive contours of her pieces like “Fox at the Aegean” (which, buried six tracks deeps, provides jealousy, proclaiming her desire to never know the name of her ex’s new a necessary breath of air). The backing band of Jermaine Butler (drums), girlfriend. “Dark Night” is a sultry, electro-fueled romp of a jilted-lovers Jeffrey Livingston (bass, keys), and founder Andrew Martin (guitar) song saved from being just another ’80s retread by her undying love spins a firm yet flexible net to sometimes support and sometimes of arena-sized horn samples. It’s hard to feel sad when your love propel Ramsey’s quavering vocals, revealing an unusual ability song is interrupted by a drum-line tuba sample. On “Freedom to explore independent territory before combining forces (#1)” she steps back from relying on her EDM producers to for moments of maximum import. The decision to auguse her ghostly voice to vamp through a spare soul ballad. The song structures ment traditional instrumentation never feels contrived, “Freedom is like this, we can go anywhere/No one will as exemplified by an unrestrained baritone sax solo durtry to save us this time, I swear,” she wails, in this unon ‘Hand-Painted Dream ing the third track, “Lady Lazarus.” By record’s end, the usual take on the liberty a newly reunited couple has listener might feel a bit drained but satiated, as though to redefine the course of their union. — Casey Sanchez Photographs’ seem unfixed the music had been transmitted not through speakers but through a relentless stage show. — Loren Bienvenu DAVID STAROBIN New Music With Guitar, Vol. 8 (which is not to say unplanned), (Bridge) The guitarist David Starobin is not just a comTHE SWALLOW QUINTET Into the Woodwork (ECM) pelling champion of new music for his instrument; he is thus accommodating sudden First up on bassist Steve Swallow’s new album is “Sad Old also the driving force behind Bridge Records, along with shifts in intensity. Candle.” It’s a bit of a strange title, but it fits the feeling of his wife, Becky, who additionally serves as the manager Carla Bley’s spare, piping organ tones and Chris Cheek’s for all four composers featured in this CD — Paul Lansky, gentle tenor pulse. Steve Cardenas adds his guitar to the pleasPoul Ruders, George Crumb, and Starobin himself. (He is ingly doleful proceedings. “Into the Woodwork” is a bright, careful to declare this intersection of interests in his booklet straight-ahead mix, Cheek and Cardenas exploring against the essay.) From Starobin comes a lovely set of mostly introspective leader’s softly athletic basswork and Jorge Rossy’s cymbals and drums. variations for solo guitar on “Song Behind the Plow,” a song that Carl “Grisly Business,” a suspenseful and quirky wonder, is followed by “Unnatural Nielsen published in 1899 and that gained international exposure through Causes,” a short, all-out quintet piece opening and closing with some great a famous recording by the tenor Aksel Schiøtz. Lansky’s Partita for guitar saxophone-guitar unison work. There are showcase songs for Rossy (“Back and percussion is structured as a Baroque suite, its attitude and harin Action”)and Bley(“StillThere,”during which she quotes from“I’ve Been monies perhaps reflecting the languid coolness of a carefree day on a Working on the Railroad” and “Taps”). Bley is best known as a pianist, Brazilian beach. Ruders’ Six Pages (drawn from an ongoing accumulation but longtime collaborator Swallow wanted her to play organ; the of pages that currently numbers 13) are intriguing, witty miniatures duo rehearsed the music together before assembling the band to that show off the breadth of the guitarist’s articulation. Bridge record in a Provençal village studio. Swallow “had in mind a released Crumb’s seven-song cycle The Ghosts of Alhambra almost small band but one with interesting textural possibilities, three years ago in its ongoing edition of Crumb’s complete a diversity and variety of sound,” according to the liner notes. works, but it is satisfying to encounter There’s often a suitelike quality, as the songs the same recording in a new context, sometimes carry on naturally from what just performed with haunting sensibility by happened. A case in point is the album’s final baritone Patrick Mason, percussionist transition, with Swallow’s solo bass closing Daniel Druckman, and Starobin. Char“Never Know” and opening “Exit Stage acteristically mystical and obsessively Left.” The album is intimate, detailed, these Lorca settings but not overly calm. should not be missed. — Paul Weideman — James M. Keller




Joan Marcus


Loren Bienvenu I For The New Mexican his preferred stage format, sitting at a desk in front of an audience, Mike Daisey soliloquizes, orates, lectures, and muses extemporaneously on topics both contemporary and old. “I don’t write anything down,” the monologist told Pasatiempo from his New York City base. “We have a bias in our country where we think if something is not written it is not composed. My work is a lot like jazz, where it’s hard to explain to people how jazz can have a formal structure and yet be different every time.” Daisey got his professional start in 1997 and has since performed more than 15 original monologues in hundreds of performance spaces across the globe — ranging, according to press materials, from “Off-Broadway at the Public Theater to remote islands in the South Pacific; from the Sydney Opera House to an abandoned theater in post-Communist Tajikistan.” His pieces vary greatly in tone and content. 21 Dog Years is an early comedy that tells a subverted love story featuring a man and a dot-com (drawing from Daisey’s experience working at All the Hours in the Day is a 24-hour performance that tells stories from every time zone. His


PASATIEMPO I November 15-21, 2013

best-known work thus far, The Agony and the Ecstasy of Steve Jobs, explores technology obsession in America and its related impact on millions of factory workers in China. That piece generated controversy last year after being broadcast on This American Life — a number of embellishments and factual errors were discovered, and the recording was pulled from the show’s website. Daisey defended his actions as being within the bounds of creative license, but subsequent productions have omitted much of the more questionable material. He brings his latest production, The Secret War, to the Lensic Performing Arts Center on Thursday, Nov. 21. Daisey explained that he improvises over a semifixed narrative structure that results from a period of prolonged research. From performance to performance, he said that “the outline and the form are the things that keep it a coherent story. Those components become the tension, like the sail in a sailboat.” Though Daisey might be at the tiller of the boat, he still sees the audience as being part of the journey, even if just as his silent crew. “The oldest form of communication we have is speaking. The dramatic action of a piece that’s traditional happens in a room, but in a

monologue you hope it occurs when the audience gets a cup of coffee afterward and is discussing [the work’s] impact on their lives.” Serious as much of it is, Daisey’s work frequently incorporates humor. He points to different stand-up comedians, including Lenny Bruce, as influences. “A lot of the best monologists don’t even call themselves monologists. I think Jon Stewart and Stephen Colbert are quite brilliant. These are people who tell stories that really connect with a room and try to push things forward, especially when the goal is beyond comedy — when comedy is a tool, just like tragedy, to tell a story.” He also singles out Martin Luther King Jr. and his mastery of rhetorical structures as an influence. “It’s funny, because when they start naming roads after you, it’s actually damaging to how you are appreciated. It’s one thing to decide someone [such as King] is a deity after they die. But when you strip that away and try to listen to a speech, not even one of his most famous speeches, it’s really instructive to hear how he would work a room.” In 2012, Daisey decided to make one of his most successful works available in transcript form. Wanting

to contribute to the larger theater community, he posted The Agony and the Ecstasy of Steve Jobs online after completing a transcript that drew on several of his recorded performances. “It’s completely open, so no one has to ask me for permission, and even further, if people want to modify it, they have free license to do so,” he said. “That’s pretty radical compared to the usual rules of playwriting and licensing.” The transcript is available under a royalty-free, open-source license at, and the preface notes that it generated more than 100,000 downloads in its first week alone. “As of now, we’ve just passed 90 productions all over the world, and it’s been translated into six languages,” Daisey said. “There will be two productions today in Germany, one in Italy, one in Paris, and it’s been running in China almost the entire time since I released the transcript.” He saw one production in Chicago put on by a high school drama class that incorporated 15 students, rather than being presented as a traditional monologue. “It made me feel happy thinking this high school could instead be doing Bye Bye Birdie.” “It’s been all over,” he said, but “I don’t think it’s come to Santa Fe yet.” When the performer comes to town, he will be just a few weeks into the traveling premiere of The Secret War, the first part of The War Trilogy. It tells the story of three whistleblowers: Daniel Ellsberg, who in 1971 released the Pentagon Papers, revealing the extent of U.S. involvement in Vietnam over the preceding decades; Chelsea Manning, who in 2010 provided WikiLeaks with the largest collection of classified material ever released to the public, much of which concerned U.S. military actions in Iraq and Afghanistan; and Edward Snowden, who this year released information about the scope of the National Security Agency’s eavesdropping apparatus. Daisey was drawn to these three harbingers, as he called them, because “each of these people made a conscious decision to step outside of the normal framework of our world and tell a story that they knew was against the rules but was vitally important for people to know, in the hopes that knowledge would inspire people to change. I find it inspiring — the huge amount of energy and motion and in many cases very real change that begins to ferment.” Like The Agony and the Ecstasy of Steve Jobs, the work is multifaceted. It explores the perspective of the whistleblower and the way society and government make up a “secrecy-generating organism.” He posited that secrecy and privacy are largely synonymous The truth is I don’t always want the terms, but we feel negatively about the audience on my side. That’s not a former and positively about the latter. In his opinion, whistleblowers who very dynamic state. A better state is have publicly challenged either notion where some are on your side, some are collectively responsible for creating are skeptical, some are listening intel“the biggest story of our time.” ligently and are very present, others The remaining two chapters of Daisey’s are reflecting — there’s a mixture. trilogy are still under construction, That’s what creates the atmosphere but they concern the lives of veterans after they return from combat and the where something unexpected can evolution of drone warfare. He plans to happen. — Mike Daisey perform them as a consecutive series (all in the same night as well as during multinight runs) when they’re finished. Acknowledging that the subject matter of the trilogy can be divisive, Daisey said his aim has never been to convert others to his way of thinking so much as to provoke a range of reactions. “The truth is I don’t always want the audience on my side. That’s not a very dynamic state. A better state is where some are on your side, some are skeptical, some are listening intelligently and are very present, others are reflecting — there’s a mixture. That’s what creates the atmosphere where something unexpected can happen. If you give the audience precisely what they want, they will think they are happy but will leave unsatisfied. What they really want is to be subverted, in order to be delighted.” ◀

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Bill Kohlhaase I The New Mexican


harles Lloyd, who appears at the Lensic Performing Arts Center on Tuesday, Nov. 19, with a group that includes the guitarist Bill Frisell, is quick to remind you that he’s worked with guitarists before. Hungarian-born guitarist Gábor Szabó toured with Lloyd’s band during the 1960s, and John Abercrombie is heard on a handful of Lloyd’s ECM recordings beginning in 2000 (most notably Lift Every Voice). But eclectic, electric guitarist Frisell seems something else again, a purveyor of electronic effects and back-road psychedelica to contrast with Lloyd’s usual piano-based combos. “This meeting with Frisell was fated to be,” the saxophonist declared in a call from his home near Santa Barbara. “We’ve been circling around each other for a long time. He’s so free and has so many bright moments; the stuff hits me like I can’t explain. It gets the teenager in me back kickin’ in the stall.” The two played together at the Montreal International Jazz Festival last summer, where Lloyd was awarded the fest’s annual Miles Davis Award for his work. They also played Chicago and Detroit and will appear at UCLA’s Royce Hall ahead of the Santa Fe appearance. “Frisell’s on another level,” Lloyd said. “He’s simple in his purity, and he has a deep reverence for the shoulders of the greats we all stand on. We can get the magic going. He’s the perfect foil, he’s got an orchestra in his head, he can get all those different colors going. With him, we can go on the wild side of the wakefulness sutras.” A conversation with Lloyd, who turned 75 this year, transcends time and space. Stories spin inside of stories. Memories swirl together like ingredients in a soup. He speaks in images, often having to do with cooking, and he gives a playful laugh when he mixes metaphors, as he frequently does. His stories are populated by many of the great names of jazz. A sentence can start out in his boyhood home of Memphis and then travel to Los Angeles and New York. He will talk about the wonder of walking Black Mesa near San Ildefonso Pueblo in Northern New Mexico and the mountains above Big Sur, California. Spiritual matters surface in unexpected places and suddenly contrast with the reality of a musical life. The one thing he won’t talk about? “Turning 75? No, that’s nothing to me. I’m in the present, I’m still a presence, younger than springtime and getting to the elixir. The arts do something for the soul and I’ve always been inspired by the music, this indigenous art form, it always did something to me, kept me alive. So I don’t need to comment on longevity.” Start in Memphis. “I got to play with Howlin’ Wolf, Junior Parker, and of course Phineas Newborn was my mentor. I used to sit in clubs with Phineas to see his brother who played guitar, and Elvis would come in to try and learn something. Phineas turned me on to Monk and Monk, beyond Memphis, would turn me on to Bird and Prez. I was living in a place rich with music and coming into paradise.” He traveled to Southern California in the 1950s to study composition 24

PASATIEMPO I November 15-21, 2013

with Halsey Stevens at the University of Southern California. “Cali was God’s country, and I was coming for the music. Stevens was the foremost authority on Bartók, who would take those folk themes and make something new of them. So I started taking the folk themes from Memphis for my music. There were so many magical guys in California, and we all came from somewhere else. Ornette [Coleman] came from Texas, Don Cherry was from Oklahoma. Only Master [Billy] Higgins was born in Los Angeles. It was Master Buddy Collette who put me on the underground railroad. Eric Dolphy was playing with Chico [Hamilton], and he went off to play with Mingus. And Buddy, who had been with Chico, called and said Chico needed someone. I was blessed that it was me.” Lloyd relocated to New York while touring with the Hamilton quintet. “I couldn’t wait to get there. All that preparation in Memphis and Los Angeles, I felt ready. Almost all the guys I met there were Southerners like me. Bird was from Kansas City, close enough. Duke Ellington was there, and Monk and Miles. I had an invitation to play with Monk and to this day regret I didn’t step into that. In the Village, there was Bob Dylan and Jimi Hendrix playing; such a soulful community. When I first got there, I was ready to live the high life. But Booker Little, my friend from Memphis, told me it wasn’t about living the high life. It was about character and music.” Lloyd went on to lead one of the most popular quartets of the 1960s, one that made appearances with rock bands at the Fillmore Auditorium in San Francisco and introduced a generation to improvisational jazz. Pianist Keith Jarrett and drummer Jack DeJohnette came to the attention of the jazz world in Lloyd’s band, and in 1967 that group (with bassist Ron McClure) recorded a landmark session in the Soviet Union. But success took its toll on the saxophonist, and as he explained, he knew he had to look for something else. He escaped to the central California coast, mostly abandoned public performance, and — in the saying of the times — got his head together. “As a young man I medicated myself, but that wasn’t the way. I had to find another kind of medication, so I medicated myself in Big Sur, went up there on the roof. But first I had to build the stairs, get together all the lime and adobe to build the way up. In Big Sur I was able to do that work; I was able to work in the silence. I was able to face the mirror of my own inadequacies. I got my night vision back.” Thought to be permanently retired, Lloyd surprised the jazz world by signing with the ECM label and recording Fish Out of Water in 1989, followed by Notes From Big Sur in 1992. He embraced European musicians, including the pianist Bobo Stenson, and soon gained a reputation for bringing in young, emerging musicians who, even with a critical reputation, looked to work with a true jazz legend. Ask Lloyd about how working with a guitarist is different from working with a pianist, and he immediately points out all the pianists he’s worked with over the years.” I played with Herbie Hancock and of course, Keith [Jarrett] and Jaki Byard and Andrew Hill. I was almost on Andrew’s Point of Departure session, but I was getting double scale because I was working with Cannonball Adderley — he had Joe Zawinul in that band — and after the rehearsal they told me they couldn’t pay double scale, so Joe Henderson slipped in. And I had Bobo and Geri Allen, and Brad Mehldau. I always loved that sensitive thing. And now Jason Moran.” Then he circles back. “There is something different between the guitar and the piano. But it’s mostly about the musician. The thing about the guitar is that it opens up like that New Mexican sky, it brings up all that space you have out there. The guitar isn’t filling up the sky, like the sky in New York, just glimpses of it among all this soaring. Something about the guitar, about the open sky, it lets you wander and drift high. The other thing is it makes the rhythm section perk up. [Drummer Eric Harland] has to cover so much more territory, has to get that whole [Elvin Jones] thing going and propel the music, rattling all those pots and pans. I don’t like to tell people how to play. I just like to get all the ingredients together and squeeze some lime on it.” ◀

CHARLES LLOYD & FRIENDS, FEATURING BILL FRISELL 7 p.m. Tuesday, Nov. 19 Lensic Performing Arts Center 211 W. San Francisco St. $20-$45 505-988-1234

Charles Lloyd photo used with permission of Dorothy Darr

This meeting with Frisell was fated to be. We’ve been circling around each other for a long time. He’s so free and has so many bright moments; the stuff hits me like I can’t explain. It gets the teenager in me back kickin’ in the stall. With him, we can go on the wild side of the wakefulness sutras. — Charles Lloyd on Bill Frisell Hearing Charles was right at this incredible explosion or opening of my mind, you know. It was right at this most crucial musical point in my whole life when I was feeling like this is what I wanted to do for the rest of my life. — Bill Frisell on Charles Lloyd PASATIEMPOMAGAZINE.COM


Paul Weideman I The New Mexican

SPONTANEOUS very musician is a mixture of elements from two realms: the innate — character, talent, ambition, creativity, energy — and the learned — all the beautifully outrageous or rhapsodic or melancholic strains that have sunk in over the years. Guitarist Bill Frisell, who plays the Lensic Performing Arts Center on Tuesday, Nov. 19, with Charles Lloyd & Friends, counts among his muses Hungarian jazz guitarist Gábor Szabó (1936-1982). As it happens, saxophonist/ flutist Lloyd worked with Szabó early in his career. On Of Course, of Course (1965), Lloyd’s second album as a leader, he makes music with Szabó, drummer Tony Williams, and bassist Ron Carter. “Some of the songs we’re playing together are even songs that Charles played with Gábor in the early ’60s,” Frisell said. “It’s kind of weird getting to be this age; it’s like all these circles keep coming back around. I just can’t even believe I’m getting to do some of these things. It’s like I woke up in some unbelievable dream.” In conversation, Frisell is unaffected and modest, but his accomplishments and collaborations are legion. He was born in 1951 in Baltimore and grew up in Denver. When he was 5 years old, he made a guitar out of rubber bands and a piece of cardboard, but his childhood instrument was the clarinet. By high school,

turned on by surf music, pop, soul, and English rock, he was playing the guitar in bands. Then his brain and heart were turned in a different direction after seeing the seminal jazz guitarist Wes Montgomery perform. He went on to study with Herb Pomeroy and Mike Gibbs at the Berklee College of Music in Boston. While living in New York City in the 1980s, he recorded three albums for ECM and played as a sideman with Eberhard Weber, Jan Garbarek, Paul Motian, John Zorn, Marianne Faithfull, and Julius Hemphill, among many others. For a glimpse into his well-known eclecticism, check out his 2003 album The Intercontinentals as he hooks up with a Greek bouzouki player, a Malian percussionist, and a Brazilian guitarist, along with violinist Jenny Scheinman and pedal-steel wiz Greg Leisz. A Frisell-led quintet offers an improvisatory immersion into the music of John Lennon on the 2011 disc All We Are Saying. Also released that year was Lagrimas Mexicanas, a series of duets between Frisell and Brazilian guitarist/vocalist Vinicius Cantuária. Frisell’s recorded output in 2013 began with the February appearance of Silent Comedy, on which he goes solo and crazy-creative with guitar and electronics (as he is wont to do, including through the use of a delay machine in live performance). In March came The Mysteries, the second chapter of a project featuring Frisell, harpist Carol Emanuel, and vibraphonist Kenny Wollesen playing music composed by Zorn. And in June the revived OKeh label released the quintet disc Big Sur, a kaleidoscopic suite of songs Frisell composed during a retreat at Big Sur’s Glen Deven Ranch. In November, December, and January, his tour schedule includes a dozen U.S. shows with the group featured on Big Sur: Scheinman, violist Eyvind Kang, cellist Hank Roberts, and drummer Rudy Royston. In the middle of that run are three concerts with Charles Lloyd & Friends in Los Angeles, Seattle, and Santa Fe. Bill Frisell (left) and Pasatiempo found Frisell at Charles Sea-Tac International Airport, Lloyd about to jump on a plane for California. Pasatiempo: In 2003, I asked you about the importance of improvisation in your band for The Intercontinentals. You said, “Everything is based on songs, but then it’s really done like, ‘Let’s just get together and find our way through it.’ ” How would you describe the music-making process with Charles Lloyd? Bill Frisell: Not to be bragging, but that’s kind of what it is. He’s so open. It’s been incredible to play with him, for all kinds of reasons. I might be veering off from the question a little bit, but one of the very first concerts I went to when I first was


PASATIEMPO I November 15-21, 2013

discovering jazz was to hear Charles play in Denver when I was in high school. And the first DownBeat magazine I ever bought had Charles Lloyd on the cover. And at that first concert the drummer was Paul Motian, and I never imagined I would spend 30 years playing with him. [Motian died in 2011.] Hearing Charles was right at this incredible explosion or opening of my mind, you know. It was right at this most crucial musical point in my whole life ... when I was feeling like this is what I wanted to do for the rest of my life. And the example he set all along for me was like a blueprint for what I’ve done. So what I might have been describing 10 years ago in the way of making music, I think I still pretty much feel the same way. That’s what happens with him, although I’ve only done a few gigs with him. Pasa: When was the last time you made music together? Frisell: We played in Detroit and Chicago a couple of months ago. The first one was duets and trios with [pianist] Jason Moran, and that was sort of my initiation into Charles’ world. But it’s been the whole way he’s made me feel so comfortable. The way he goes about it is so welcoming. He’s not keeping score, or there’s no right or wrong about it. One of the very first things he said to me — he hugs me and says, “I’m really looking forward to singing together with you.” For me, that’s it. When he plays, I get the strongest sense of song from him. If we do a song that has words or if I know the words, the way he plays the melody is just unbelievable. He’s not just using the song as an excuse for getting off playing some stuff that he’s been thinking about. The song itself really means something to him. Pasa: In 2003, you said you had about 20 guitars. How’s your instrument collection today? Frisell: Uh, oh. [He groans.] It must be double that now. Wow. Pasa: Are they like wall hangings, or do you take turns with them? Frisell: No, no, I totally play all of them, and I’m always switching around. I’ve been married 35 years, and I don’t cheat on my wife, but I cheat on my guitars like Wilt Chamberlain. [The basketball star claimed to have had sex with 20,000 women.] Pasa: What are you taking with you on the road? Frisell: That’s a little frustrating, because I can only take one with me. Right now I have a Stratocaster with me, but I’ll be back home in Seattle before I’m in Santa Fe, and I might switch. Pasa: Are they all electrics? Frisell: That’s what I carry around with me, but at home I love playing acoustic guitar too. I just don’t get to do it much, other than in the studio or something. Pasa: Are you working on another album project? Frisell: I am. I’m not sure exactly what it’s going to be. ... I’m thinking of doing some music that’s sort of a tribute or just thinking about the guitar music that I grew up with, like even surf music. I was born in 1951, and I’ve been wanting to do something that’s just all the music that got me going playing guitar. I’m going to record in January, so I’d better start getting it together. Pasa: Are you writing or will you be doing covers? Frisell: It might be some covers. I mean, sometimes I like to take a song, like some song that I’ve known my whole life, and just sort of let it start generating other stuff. There’s always something. I’ve just been superbusy all the time. ◀

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PASATIEMPO I November 15 - 21, 2013

ON STAGE Going global: Disappear Fear


Since founding the group Disappear Fear in 1987, Sonia Rutstein has shared her progressive-minded pop, folk, and blues songs with audiences around the world. She sings in Hebrew, Arabic, Spanish, and English while playing a signature “SONiA” model guitar made for her by the Santa Cruz Guitar Company. The band’s newest album, Broken Film, is propelled by upbeat bluesy riffs and the gravelly conviction of Rutstein’s vocals. Disappear Fear is currently promoting the release with a 50-city tour that comes to Santa Fe Sol Stage & Grill (37 Fire Place) on Friday, Nov. 15, at 7 p.m. Advance tickets, $15, are available through; admission is $23 at the door. Visit — L.B.

Pre-teen triumphs: Santa Fe Concert Association

This season, the Santa Fe Concert Association is inaugurating a series of six concerts crafted for family audiences, scheduled at hours convenient for young listeners, limited to about an hour’s duration, and priced to be affordable. The Concert Association’s artistic director, Joseph Illick, serves as narrator for all of the concerts. This opening performance spotlights two local 12-year-old violinists, Ezra Shcolnik and Phoenix Avalon. In addition to music by Bach, Corelli, and Brahms, the concert will unveil a new work of Shcolnik’s titled March and Fugue. The concert takes place at 4 p.m. Sunday, Nov. 17, at the United Church of Santa Fe (1804 Arroyo Chamiso). Tickets ($10) can be purchased at the door and through Tickets Santa Fe at the Lensic (505-988-1234, — J.M.K.

timaend —are

King and I: The Mountaintop

Albuquerque-based Fusion Theatre Company continues its season in Santa Fe with three performances of The Mountaintop, a play by American writer Katori Hall that was introduced in London in 2009, won its author the Olivier Award for Best New Play that year (making her the first black woman so honored), and had a Broadway run in 2011. The title refers to the “I’ve Been to the Mountaintop” speech delivered by Dr. Martin Luther King in Memphis on April 3, 1968. The play imagines him and a hotel maid discussing his life and legacy that evening, which will be his last. Praise for The Mountaintop has been countered with criticism of Hall’s humanizing portrayal of a figure whom we are more accustomed to enveloping in an aura of saintliness. The production features two newcomers to the company’s roster: Jacob Browne (as Dr. King) and Tai Verlay (as the maid). Performances take place at 8 p.m. on Friday, Nov. 15, and at 2 and 8 p.m. on Saturday, Nov. 16, at the Lensic Performing Arts Center, 211 W. San Francisco St. Tickets ($20 to $40, with student discounts available) can be purchased by calling 505-988-1234 or visiting — J.M.K.

Nunsense: Our Lady of 121st Street

When alcoholic Sister Rose dies, some of her former students come together to pay their respects — only to discover that a gang of hooligans made off with the nun’s body during the wake. So unfolds Our Lady of 121st Street, a dark comedy by Stephen Adly Guirgis of New York’s Labyrinth Theater Company that Santa Fe University of Art and Design’s drama program is tackling. The show runs for two weekends: Friday to Sunday, Nov. 15 to 17, and Nov. 22 to Nov. 24, with 7 p.m. performances on Friday and Saturday nights and Sunday matinees at 2 p.m. at the Greer Garson Theatre on the campus of SFUAD (1600 St. Michael’s Drive). Tickets are $12 and $15, with discounts available for students and seniors, and may be purchased from Tickets Santa Fe at the Lensic (505-988-1234, — L.B.



rha Photos Sergio Ku


Bill Kohlhaase I The New Mexican


honors the originals 30

PASATIEMPO I November 15-21, 2013

a time when young people were falling for the Beatles and the Dave Clark Five, Rory Block fell for the blues. She was raised in New York City, where her father, who died earlier this month, ran a Greenwich Village sandal shop. Block’s mother played guitar and her father fiddle and banjo. He told her stories of meeting Bob Dylan and hearing Joan Baez in one of the Village clubs. At the age of 10, Block picked up her mother’s guitar and taught herself “Froggy Went A-Courtin’.” She attended jam sessions in Washington Square Park, where she heard Maria Muldaur, David Grisman, and others. When she was 14, guitar player Stefan Grossman gave Block an LP entitled Really! The Country Blues 1927-1933 that included tunes from Son House and Skip James, among others. That record set her on a path that would define her entire musical career. Block, who hit the road at 15, sought out surviving blues musicians from the period covered in the record — Son House, Mississippi John Hurt, Bukka White, and Fred McDowell among them. She regularly visited the Reverend Gary Davis in the Bronx and paid respects to Skip James in the hospital after his cancer surgery. She developed an aggressive slap-and-slide technique on the guitar. Her music, even as she wrote originals about her own experiences, stayed true to the styles of the 1930s. Since then, Block has released some 20 recordings and has won W.C. Handy Awards for acoustic blues album of the year and traditional blues female artist of the year during the late 1990s. In recent years, she’s released a series of tribute albums — the latest is Avalon: A Tribute to Mississippi John Hurt — and kept up a rigorous touring schedule. Catching up with her isn’t easy. Pasatiempo conducted an oft-interrupted phone interview while she was traveling across western Nebraska to a date in Denver. Block performs at the Music Room at Garrett’s Desert Inn on Saturday, Nov. 16. Pasa: Have you embraced other styles and periods of blues over the years? Block: The blues I play is specific to the earliest styles of blues ever written and recorded, most of it from the 1920s through the 1940s. That’s my special focus. But I also love contemporary blues music such as Koko Taylor and B.B. King. Pasa: How much of your performances deal with the history of the music? Block: These days I do like to talk more about the history of the music. However it has always been my goal to shine light on the original players and to give credit where credit is due. I don’t want the foundation of today’s blues and pop music to be forgotten about. I find that people often come up to me after the shows to say that they really enjoyed learning more about the history of the music, and this means a lot to me as I consider preservation to be a part of my mission. Pasa: You’re known to be a great student of the music. Are there musicians from the early blues styles yet to be discovered? Block: I do occasionally hear of a previously unknown artist, such as Ike Zimmerman for instance. He is now being credited with being a major influence on the young Robert Johnson. I’d never heard his name until a friend of mine, who is writing a book, asked me if I’d heard of Zimmerman. There have been a few new names like that which have come up from time to time. Pasa: How knowledgeable is your audience when it comes to early blues music of the kind you play? Block: People know much more today about early blues than when I started out. You could say that this is a good time for historic music, as I see more and more tribute concerts popping up — Charlie Patton, Blind Willie McTell, Son House, and others. I’m very pleased to see this genuine change in awareness. There are a lot of young people, male and female, that come up to me after shows who are totally committed to being guitar players, and yes, they play early blues.

Pasa: You grew up in an exceptional place and at an exceptional time. Are there places you’ve seen in your travels that have scenes today that compare to the Greenwich Village you grew up in? Block: I think a lot of people would agree that Greenwich Village in the ’60s was a pretty magical place. That kind of music scene doesn’t come along every day. But there are many other rich musical towns such as Chicago, Memphis, Nashville, Austin, et cetera, but I really don’t have any way of comparing them to the Village, probably because I didn’t grow up there. I tend to think that it was a really unique time that might never be reproduced in quite the same way. Think about it: Bob Dylan, Pete Seeger, Jack Elliott — all of these artistic geniuses living in one neighborhood. It seemed like everybody was a great musician in those days. You could walk into almost any coffee shop or bar on MacDougal Street, and there was Joni Mitchell or Joan Baez or Mississippi John Hurt. Incredible artists were coming and going all the time. It was amazing and wonderful. I’m extremely grateful that I got to grow up in the middle of that. John Sebastian, Maria Muldaur — they were our neighbors. Pasa: What’s it been like being a woman in a music that’s largely a male idiom? Have things changed in that regard over the years you’ve been a performer? Block: In the beginning of my career there was a lot of pressure on female artists to be attractive and to use their outer shell to become successful. Of course it still happens — but I have never really wanted to do that. I believe it’s about the music, and the merit of talent, not any outward thing. Everyone knows that sex sells, and that a lot of artists have used sex as a tool to get ahead — but today I think there is a much greater acceptance of the musician as an individual. Less emphasis is placed on beauty and more on character, and content, which I think is real progress. More people out there are saying, We like you the way you are, you don’t have to present a facade. Just be yourself and we’ll accept you on the merit of your talent. To me, that’s what matters. Pasa: Lots of contemporary blues artists are known for songs that tell stories about others. Your original material is largely personal. Why is that? Block: The reason I write personal songs is because I really don’t know how to write any other kind. There are a lot of other writers who can [write songs about others], and I have always admired that talent — say songs like [Townes Van Zandt’s] “Pancho and Lefty.” But that’s not particularly the way my writing unfolds. It generally has to be from my personal experience. Sometimes I think I am forever condemned to write personal songs. One good thing about it is that it connects with people who’ve had similar experiences. There are universal feelings, and it helps people to know that there are others going through the same challenges or even suffering. It’s better not to feel alone. However, my songwriting has been put on hold, as my last four recordings have been tribute recordings where most of the songs were written by that artist. Still, I have managed to write several songs for these tribute albums, and I think that led me to write a story outside myself, and that was a good experience for me. Pasa: I’ve heard you love Motown, R & B, gospel music. True? Block: Are you kidding? I love Motown and gospel! When I was 16 I drove through the South and listened to the radio all the way to Florida. It was the best gospel music I’d ever heard in my life. It got me totally fired up about gospel and Motown. ... Al Green, Stevie Wonder, Gladys Knight, Aretha; this was some of the greatest music ever written. Pasa: Do you have hope for the future of this music? Or will it be lost, swallowed up by popular, commercial music? Block: Not if I can help it. And there are a lot of other artists out there playing early blues as well who are helping to keep the music alive. But in reality I think pop music is a completely different style. It really doesn’t overlap — it’s like apples and oranges. ◀

details ▼ Rory Block ▼ 7:30 p.m. Saturday, Nov. 16 ▼ Music Room at Garrett’s Desert Inn, 311 Old Santa Fe Trail, 505-982-1851 ▼ $30, $28 in advance; see

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Photos Meg Meltz

Loren Bienvenu

Of jitterbugs, jigs, and gambols According to musician, dancer, and Odd Fellow Will McDonald, “There’s a public-service aspect to providing people with a place to dance. It fits with the general theme of public service as part of the mission of a fraternal organization.” It also fits in with the origins of both the Odd Fellows organization and its odd name. The official story — according to the American offshoot, the Independent Order of Odd Fellows — is that when the altruistic fraternity was founded in 17th-century England, “It was odd to find people organized for the purpose of giving aid to those in need and of pursuing projects for the benefit of all mankind.” Santa Fe Odd Fellows Lodge #2, the small building located on Cerrillos Road next to Fairview Cemetery, hosts a surprising array of dances. Almost every night of the week, the wood-paneled main room is open to people of all ages. Mondays belong to the long-running swing dance. Tuesdays and Sundays are devoted to international folk dancing. On alternate Wednesdays, the Megaband (an open contra dance band that brings together one to two dozen musicians for any given rehearsal) practices. Fridays are salsa nights with dance team Santa Rueda. Saturdays frequently feature a contra dance. It’s easy to feel slightly intimidated by the pure variety of dance forms, but the easiest way to understand the individual intricacies of each is to attend an actual dance. Most feature an introductory class beforehand and are welcoming to beginners and experienced dancers alike. Some, most notably contra, even feature live music by groups including Albuquerque’s eclectic six-piece group Cheap Shots. McDonald helped establish the first contra dance in 1990. “Somebody found the Odd Fellows, and it had a great floor. That was key.” He began renting the hall with a group of friends, including the late Richard Wilson, whose daughter Karina Wilson is one of the most active fiddle players in Northern New Mexico. “I’m always afraid her fiddle is going to light on fire,” McDonald said. Soon a number of other groups started renting the hall for dances, and the crowds kept growing. According to McDonald, the biggest dance took place in 1994 with an estimated 140 people. Then someone noticed a propane leak, the lodge was evacuated, and the dance occurred in the parking lot as firefighters investigated. Back then, though there were more people passing through the doors of the lodge than anytime in recent memory, the actual number of Odd Fellows in Santa Fe was on the decline. Dancers like McDonald and Meg Meltz joined by request of the older members, at least in part to preserve what most of them consider to be the best dance floor in town. As Meltz remembered worrying, otherwise “the place would probably get turned into a Kmart or something.”


PASATIEMPO I November 15-21, 2013

When she first joined, however, it was as a Daughter of Rebekah, not an Odd Fellow. The Rebekahs were the female parallel group of the order for many years. “The weird part was that women couldn’t be Odd Fellows, but men could be Rebekahs,” Meltz said. That later changed, and now both orders are open. The new members infused the organization with new life and music. In particular, the Rebekahs capitalized on the swing-dance trend that was sweeping the country at the turn of the 21st century. Meltz credited Dorothea Migliori with the idea of donating proceeds from the lodge’s growingly popular swing dances to public-school music programs, thus fulfilling the Odd Fellow mission of aiding those in need. They were inspired by an impassioned plea from educator Roland Villa, who taught at Ortiz Middle School and had no money for the upkeep of his music program. “The first thing we did was buy a musical-instrument repair kit. He had instruments and couldn’t even fix them. So that really started it. We started putting money into the public schools, but directly to the teachers. If this teacher needed two trombones, we got them two trombones. If they needed sheet music, we got them sheet music.” The initiative was so successful that it soon found backers off the dance floor. An experienced fundraiser named Lorraine Goldman joined the effort, and with her assistance the program grew to include five southside schools: César Chávez Elementary, Sweeney Elementary, and Ramirez Thomas Elementary schools, Ortiz Middle School, and Capital High School. Thanks to Goldman’s help, Meltz said, “We bought a drumline for Capital. We bought mariachi uniforms and started a mariachi band at Ortiz. At this point, we’ve given literally half a million dollars, so any child in those schools who wants to play an instrument can play an instrument.” This charitable work seems like a creative and contemporary take on the Odd Fellows’ initial vision for assisting humanity, which was of a slightly more macabre nature. “When the Odd Fellows first came into being,” McDonald explained, “the issue of people needing assistance and having a proper burial was important. So the three main mission points for Odd Fellows from that time are to feed the widow, educate the orphan, and bury the dead.” For this reason, the lodge is located next to Fairview Cemetery and still owns an adjacent plot of burial land. But even though a number of members are involved in the archaeological and practical aspects of the cemetery, the focus of Lodge Number #2 remains firmly aimed at improving and celebrating life — one lock, rock, or box step at a time. ◀ A monthly calendar of events at the Independent Order of Odd Fellows Lodge #2 (1125 Cerrillos Road) is available at

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Casey Sanchez I For The New Mexican hen Luís Alberto Urrea was last profiled in these pages in 2010, the author was fresh off the success of Into The Beautiful North, a book that melds in-your-face social realism about survival on the U.S.Mexico border with a sort of big-screenstyle road epic about a group of young Mexican teens making their way across the United States. The National Endowment for the Arts took note of the book’s themes and its accessibility, choosing the novel in its 2013 The Big Read program. An ambitious initiative that is, according to the NEA, “designed to restore reading to the center of American culture,” The Big Read funds a range of community groups — not schools — to build authentic, local conversations about vital books, relevant to readers’ specific locale. More often than not, Big Read sites tend to be small towns bypassed by national literary culture. “The wonder of The Big Read is that you get to break new ground and visit new territories, places that surprise you — like San Angelo, Texas, or Waukesha, Wisconsin,” Urrea said in an interview with Pasatiempo. “These are places that often don’t have authors come through. All of these places are alive with enthusiasm, because they are choosing a book that somehow reflects their community. It’s so flattering for an author.” Cinematic in scope, with a zany plot that riffs on samurai flicks and American buddy movies, Into the Beautiful North is an exceptionally readable novel in this age of militarized borders, forced deportations, and immigrant youth who have become vocal about their right to live as citizens in a country that has raised them and scapegoated them simultaneously — think On the Road meets The Seven Samurai, produced as an Univision telenovela. 38

PASATIEMPO I November 15-21, 2013

Urrea appears at the Lensic Performing Arts Center on Wednesday, Nov. 20, reading his work and in conversation with Michael Silverblatt, host of the syndicated public-radio show Bookworm. For readers who know Urrea from The Hummingbird’s Daughter (a novel) or The Devil’s Highway (a nonfiction book) — both of which are written in prose that pulses with a finely controlled anger, illuminating the border in stark, unforgiving terms — an adventure novel seems a drastic departure. “The tone of Into the Beautiful North is really the way I write. Hummingbird’s Daughter was the anomaly. It was a once-in-a-lifetime phenomenon,” Urrea said. “The book is like Arcade Fire recording Reflector. Fans of Arcade Fire will follow them in any direction, but some might be surprised that they are doing a dance record.” One of the things that excites Urrea about The Big Read is the freedom it gives local groups to create activities that respond to the books. Groups have had screenings of Akira Kurosawa’s Seven Samurai as well as lectures and competitions in writing, art, and quilting in response to Into the Beautiful North, Urrea said. “Some of the students had their paintings published as huge posters and made into T-shirts. That was awesome.” The novel’s appeal is understandable. It is centered around 19-year-old Nayeli, a whip-smart waitress at a taco shop who spends her time learning karate kicks and helping her aunt get elected as the first female mayor of the quaint fishing village Tres Camarones. The town is exposed to predatory narcos who have begun casing the area for its lack of working-age men — all gone to jobs in the United States. After watching The Magnificent Seven, Nayeli plots a scheme to run away with her friends to the other side of the border, where they will recruit Mexican immigrant men with fight in their blood to protect Tres Camarones.

Urrea catalogs the horrors, inanities, and beautiful hybridity of lives straddled between two countries inside a compulsively readable novel about teens discovering America and their not-so quixotic quest to find displaced paisanos who will return and defend a patch of their homeland. The element of self-defense is so integral to the book that some of the Big Read organizers developed martial-arts classes in response. “The [organizers offered] karate classes for young women called Be Like Nayeli. I think there has been cooking and eating as well. Just wonderful, creative stuff.” The Big Read selection serves as a much deserved vindication of the book. The novel was one of several books banned from Tucson area public schools in 2012 as part of Arizona’s far-reaching House Bill 2281, a law that banned Mexican-American studies and texts from the curriculum. Urrea appeared on an episode of Moyers & Company devoted exclusively to the law, in which the author challenged the school district’s claim that the books had not in fact been banned. “On orders from [Tucson Unified School District], books were taken out of student hands, placed in boxes, and removed from a classroom — some to the basement, some to the library, the classes abruptly Where once Urrea’s work might have been dismantled. TUSD’s assertion that the books were deemed exotic, the border experience he merely ‘collected’ does not change the fact that books has so laboriously described is being assimiwere removed, classes canceled, faculty dismissed,” lated alongside Ellis Island and the Great Urrea told Moyers. “One wonders why instead of taking away these books, Migration north as one more facet of the they simply didn’t rename the ‘Mexican-American literature’ classes as ‘American literature’ classes, but that’s another topic.” The book’s selection by the NEA is a sign that this country’s culture may finally be catching up with Luís Alberto Urrea. For years now, reviewers have made much of his bicultural heritage — born in Tijuana to a Mexican father who struggled to learn English and an American mother who never learned Spanish, he became a writer who for more than three decades has relentlessly explored the borderland. Where once his work might have been deemed exotic, the experience he has so laboriously described is being assimilated alongside journeys through Ellis Island and the Great Migration as one more facet of the American experience. Urrea is far from the only author who has mined this harsh land in his work. As he noted, some of the most compelling and informed border writing is to be found in mystery genres and poetry. “A great Chicano forebear of mine in writing is Rolando Hinojosa-Smith. He was writing good border mysteries for Chicano readers back in the ’80s and ’90s. Ofelia Zepeda is a Tohono O’odham woman and a MacArthur ‘genius grant’-winning poet. Two of the great crime-mystery writers working the border genre are T. Jefferson Parker and Don Winslow,” Urrea said. “We are all in the same club of border writers willing to go into the dark.” With their common geography, their shared experience, and their increasingly shared literary experience, Urrea and these writers might be considered the overlooked vanguard of a binational genre. “And they are my San Diego homies, too,” Urrea joked. “We are the Border Beasts.” ◀


details ▼ Luís Alberto Urrea in conversation with Michael Silverblatt, a Lannan Foundation Readings & Conversations Series event

328 S. Guadalupe, Santa Fe 505.986.1260 /

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James M. Keller I The New Mexican


Preserving an LA musical landmark


he Boyle Heights district on the east side of Los Angeles is not a fashionable neighborhood, but it is the place to go if you are looking for mariachi music. The hub of the city’s mariachi culture is an unglamorous pedestrian plot that bears the name Mariachi Plaza. Gazing at it from across the street is a solitary four-story building of Victorian solidity, whimsically adorned by a corner cupola and turret. Carved into the structure’s stone name plates are the words “Cummings Block 1889,” but everybody in Boyle Heights knows it as the Hotel Mariachi. The University of New Mexico Press has just issued Hotel Mariachi: Urban Space and Cultural Heritage in Los Angeles, a handsome book of essays and photography created jointly by three people who live and work in New Mexico: historian and preservationist Catherine L. Kurland (who resides in Santa Fe), folklorist Enrique R. Lamadrid (who chairs the department of Spanish and Portuguese at the University of New Mexico), and photographer Miguel A. Gandert (who teaches in UNM’s Department of Communication and Journalism). The fountainhead of the project was Kurland, who grew up in Los Angeles. She stumbled across the Hotel Mariachi in 2003, entirely by chance, and realized it was the very building that loomed large in her family’s history. The once-impressive hotel was built by her great-grandfather, a Croatian immigrant named George Gerscovich, who had assumed the surname Cummings when he sailed to California to try his luck in the Gold Rush of 1849. He prospered selling foodstuffs to miners and then settled in Los Angeles, where he married Sacramenta López, a member of one of the city’s founding families. He and his wife built the Cummings Hotel in 1889, but their timing did not prove propitious. The Panic of 1893 led to an economic depression in the United States, and by the end of 1894 the Cummings Hotel was surrendered to the bank that held the mortgage. The building stumbled along through the 20th century, but by 2003, when Kurland fortuitously happened on it, it had reached a state of desperate disrepair. A decade later, thanks to Kurland’s spearheading efforts and the support of the East LA Community Corporation (ELACC), the Hotel Mariachi has been restored to structural health, has been placed under landmark protection, and faces a secure future as the anchor of an essential subculture of its predominantly Latino neighborhood. Pasatiempo spoke with Kurland to learn about the book and the community it documents. Pasatiempo: In the book’s introduction, Evangeline Ordaz-Molina of the ELACC writes that when her group purchased the Hotel Mariachi, in 2006, it was “literally a slum. … Four to six men shared small hotel rooms that lacked bathrooms or kitchens. Common bathrooms, one to a floor, were sloppily constructed without permits. This was a building that no one should have purchased.” And yet …? Catherine L. Kurland: It’s true. For almost half a century, mariachis could share a little room there for a shoestring, and it was quite a scene. One of them would get a call, and they’d all come racing down the stairs and pile into a van to head off to appear at a wedding or a quinceañera or some other function. But the building was in terrible shape. Evangeline is not really a preservationist; ELACC is really an affordable-housing group, and I was concerned that they might not be so keen to support the building’s nomination for historical status. But she grew up in that neighborhood and appreciated how deep its cultural importance was. They raised $24 million in less than five years to save and renovate this building. They did also add a wing of apartments, which answered to their affordable-housing mission. Pasa: Prior to moving to Santa Fe, you and a partner ran the Kurland-Zabar Gallery in New York City, a respected gallery for works of the English Arts and


PASATIEMPO I November 15-21, 2013

Crafts period. What brought you from there to Santa Fe and to the field of historic preservation? Kurland: I’ve always been interested in preservation, and I have always regarded objects not only in terms of design but also in historical context. At the gallery, we worked a lot with museums; knowing that an object would be preserved was as important as selling it. At a certain point my partner and I closed the gallery and moved on to work with garden design of that same period. I was living on Long Island with my husband, John Serkin, and we moved to Santa Fe really on a whim. Just then I learned that the University of New Mexico was founding a program in historic preservation and regionalism. I enrolled two weeks after we arrived here in 2004. One of my last courses was a tutorial with Miguel Gandert. We would just go out into the field and document what we saw. I became a real admirer of his work. He is a great documentary photographer, in part because he understands culture in a deep way. When I got involved with the Hotel Mariachi, I realized this building might go down any day. Through the UNM program, I had gotten acquainted with preservationists. I knew about the National Trust for Historic Preservation and other preservation groups, and so I had some idea of how to proceed. I dragged Miguel out to document the place in photographs. I thought it would be a once-and-done thing, but he was so moved by the whole atmosphere — not just the mariachis playing their music. Every crevice of that community revolved around organizing the lives of the mariachis: the tailor who sews their outfits, the shoemaker who makes their boots, the music school where they teach. It was a combination of the place and the music that drew him to take this on as a project. Pasa: His photographs come across as extremely honest. The book presents nearly a hundred of them in high quality, and they capture the life of this mariachi community, mostly prior to the hotel’s renovation, in a natural, unposed way. Kurland: For most part, Miguel photographs in black and white using real film, and he develops his photographs in a darkroom. He’s an old-fashioned guy in continued on Page 42

Top to bottom, Papel volando/Paper in Flight; Violines volando/Violins in Flight; De nuevo, nuestro hotel/Our Hotel Renewed. The Boyle Hotel-Cummings Block, 2012 (the hotel after restoration); opposite page, Entre tocadas/Between Gigs; photos by Miguel A. Gandert, images from Hotel Mariachi, University of New Mexico Press



Hotel Mariachi, continued from Page 40 that way, but you see the richness of the result. Pasa: And your third collaborator, Enrique Lamadrid — how did he get involved? Kurland: Miguel brought him in because of his expertise as an ethnomusicologist. Much of what Enrique presents in his essay on mariachi music in this book is new information, growing out of our original experience visiting the Fiesta de Santa Cecilia at Mariachi Plaza. Both Enrique and Miguel view this as a vibrant center of Mexican culture. This is arguably the leading mariachi center north of the border. Pasa: The musicians’ costumes seem to be a big part of the scene. Lamadrid writes in his essay, “Mariachi dresses the peasant musician in the costume of wealth and authority.” But I gather the elegant uniforms we associate with mariachis, ornamented with decorative braid and buttons, were not always the norm. Kurland: That’s right. Originally, they wore sandals and what looked like white pajamas, but when they started to take on a more urban culture this look wasn’t going to do it. Not until the 1930s did they start to dress in the black charro costumes we know today, but there were historical roots for the new style. Black had connotations of royalty; Emperor Maximilian was famous for wearing black during the French domination of Mexico in the 19th century, and the decorations of silver buttons reference all the silver people were stealing during chaotic times in Mexican history. These suits don’t come cheap, by the way. They are all custom-made, and now they use a wider variety of colors beyond black. Pasa: Lamadrid also says of the mariachi look that “it exults in masculine energy that women also have appropriated.” Do women have much of a role in mariachi culture? Kurland: Quite a bit, and this seems to be something that was largely born in Los Angeles. The only statue that stands on Mariachi Plaza is of a woman, Lucha Reyes. She was an acclaimed mariachi from the first half of the 20th century, and she spent part of her career in Los Angeles, where she is credited with breaking the gender barrier. Today there are some all-female mariachi groups, although groups tend to be all-male or all-female rather than mixed. Pasa: There are really three strands to your book: a discussion of mariachi culture as it plays out in this neighborhood, the photographic documentation of

this world, and your family history and how it exemplifies the social history of Southern California. Were culturally mixed families such as yours common in early California? Kurland: Now we know that social mixture of that sort was not unusual, but that fact was not at all well known until quite recently. The multiracial origins of Los Angeles only came to light at the time of the city’s bicentennial, in 1981, when there was a flurry of historical research. I grew up with this Spanish-heritage fantasy, loving the fact that some of my ancestors were españoles; but nobody knew much about the family’s other racial backgrounds, how the López line intersected with other lines. That’s part of the California story. Pasa: What if the Hotel Mariachi had not been saved? Kurland: The most likely scenario is that the building would have been razed and the site would now look like every other corner in Los Angeles with some modern building. Or a slightly better case might have been that they wouldn’t have torn it down but used it as a shell in which to construct modern condos. If it hadn’t been saved, that neighborhood would be completely different, and so would mariachi culture. It would have just disappeared, and we came perilously close to that. But now it remains a special place. ◀ “Hotel Mariachi: Urban Space and Cultural Heritage in Los Angeles” was published by the University of New Mexico Press in October. A booksigning is scheduled for 2 p.m. on Dec. 4 at the University of New Mexico Bookstore (2301 Central Ave. NE, Alburquerque). Call 505-277-5451 to confirm.

Mujeres y guitarras/Women and Guitars; top right, Esquina musical/Musical Corner 42

PASATIEMPO I November 15-21, 2013

ChristoPher DurAng’s

le p o e p these uts!!!! are n

Baby With the Bathwater

A hysterical look at the disturbing truth of parenting

Thursday & Friday, Nov. 21st & 22nd, 7:00pm Atrium Theater Desert Academy 7300 Old Santa Fe Trail Adults $8, Students $5

Lensic Presents

John F. Kennedy: White House Press Office/Public Domain/Wikimedia Commons; Taksim Square, June 2013: Mstysalv Chernov/Wikimedia Commons.

Desert Academy Performing Arts Presents

From Zapruder to Taksim Square:




NOVEMBER 22, 7 PM Join us for a free event on the 50th anniversary of the death of President John F. Kennedy featuring • Journalists Richard Stolley and Hal Wingo, who covered the tragedy from Dallas and Washington, D.C. • A screening of Zapruder + Stolley: Witness to an Assassination (documentary, 2011)

• A panel discussion with Stolley, Wingo, writer/actor Mike Daisey, KSFR’s Mary-Charlotte Domandi, and journalist Zelie Pollon • A book signing by Richard Stolley, contributing editor of The Day Kennedy Died: Fifty Years Later, Life Remembers the Man and the Moment

Tickets: 505-988-1234

Play may contain mature themes which parents may consider inappropriate for young children.


th e lensic is a non profit, member-supported organ ization

Lensic Presents

“A worthy successor to Spalding Gray . . . ” —CHARLES ISHERWOOD, THE NEW YORK TIMES

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Writer/actor Daisey is back, with a new monologue about the power of personal and political secrecy.

Tickets: 505-988-1234 SERVICE C HARGE S A PPLY AT A LL P O I NTS O F P U R CH AS E

th e lensic is a non profit, member-supported organ ization

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Join Quail Run Club by December 23 & receive FREE dues until March 2014! 3101 Old Pecos Trail 505.986.2200 PASATIEMPOMAGAZINE.COM


campus of the College of Santa Fe, now the Santa Fe University of Art and Design. Diane Karp began her long tenure as the director of SFAI in 2001, expanding the residency program after the Sept. 11 terrorist attacks and Hurricane Katrina to provide resources to artists displaced by those events. She launched an outreach program to bring art to children at the El Otra Puerta Emergency Youth Shelter and started an eight-week summer camp for kids called Arts Alive!, which continnew director ues a decade later. In June, Karp stepped down from her leadership role. The search for a new director culminated in July with the appointment of Sanjit Sethi, a former instructor at the Art Institute of Chicago and artist whose work explores topics of identity, nomadic cultures, and memory. He plans to continue programs started by Karp, though he wants to tweak the residency program. Instead of focusing on individual projects that don’t necessarily incorporate community involvement, his plan is to host artists interested in working on issues that matter to the community and involve collaboration with local, national, and international organizations. “In terms of new programming I want to start moving toward themes that SFAI is going to focus on as a whole,” Sethi told Pasatiempo. “By that, I mean a consumable theme that is understandable to the general public without dumbing down content or structure itself. For example, a first theme could be something like food justice. I think that’s actually what we’re going to try to roll out in 2014. You start with a larger question like ‘How can we use diverse creative practices to confirm inherent social, cultural, economic problems in our food system?’ It’s still a residency program, but we make the call to say, ‘If you’re focusing on issues around this, come to us. Be part of a larger learning community.’ ” Food was a theme in a memorial project Sethi undertook while director of the Master’s in Fine Arts program at Memphis College of Art in Tennessee. Kuni Wada Bakery Remembrance was inspired by what happened to a Memphis bakery when its Japanese owners were imprisoned and forced to close the business two days after the attacks on Pearl Harbor. Next to the site of the original bakery, Sethi installed a device that emits the smell of fresh-baked cookies and doughnuts at various times of day. “My own practice varies in degrees of investigating things that are either

Michael Abatemarco I The New Mexican

Cristin McKnight Sethi

Santa Fe Art Institute’s

Sanjit Sethi

or 28 years, the Santa Fe Art Institute has been a fixture of the local art scene, offering residencies to international artists as well as educational programs and original exhibitions in its gallery space, such as the current show on the theme of contested space by multimedia performance artist Dread Scott, on view through Nov. 22. (Scott got national attention — not all of it positive — in 1989 with his artwork What Is the Proper Way to Display a U.S. Flag? at the School of the Art Institute of Chicago; it encouraged visitors to record their responses to the title question while standing on Old Glory.) SFAI began in 1985 — the creation of Pony Ault and artist William Lumpkins — as a place where emerging artists and writers could focus on individual projects. Its first resident artist was Richard Diebenkorn. In 1999, the institute moved into a 17,000-square-foot facility, designed by Mexican architect Ricardo Legorreta, on the 44

PASATIEMPO I November 15-21, 2013

unseen, hidden, or overlooked within a community,” Sethi said. “The idea for the Kuni Wada Bakery Remembrance was on the attachment of smell to memory. Part of the responsibility I take as a creative practitioner, and one I believe cultural organizations have a responsibility to address, is that process of excavation of things that have been smoothed over or sanitized. We have a responsibility to go ahead and critique power structures, to question the stability of our world, and question the order of things.” Sethi’s projects in Memphis and elsewhere — most recently as director of the Center for Art and Public Life at the California College of the Arts in Oakland — aim to bring creative practices outside institutions and into the streets. For his still-unrealized Gypsy Bridge project, Seth proposed to build a bridge across a river in an undesignated city in Europe to draw attention to cultural contributions by the Roma, or Gypsy, people — a widely dispersed ethnic group with large populations in Europe and origins in the Indian subcontinent. “I had done some significant research in Ireland, talking to Roma scholars in the U.K.,” Sethi said. “The idea was to have architects and designers start to create a bridge as an active, living memorial or monument to Roma contributions to European culture.” Part of the responsibility I take as a creative practitioner, and one I believe cultural organizations have a responsibility to address, is that process of excavation of things that have been smoothed over or sanitized. — Sanjit Sethi Among his first projects at SFAI, Sethi created SFAI 140, a quarterly event in which members of the community and cultural organizations offer ideas and projects in short-form presentations. The first takes place on Thursday, Nov. 21. “It’s like theater,” Sethi explained. “There will be seven artists in residence participating. In addition, I’m inviting 13 members of the community that I think are doing interesting, innovative things. They’re all going to have lightning-fast presentations: seven slides at 20 seconds a slide. The point is, you’re never going to understand the total depth of someone’s practice. What you want here is a taste. It’s going to be a lot of fun.” Sethi is using Arts Alive! as a template for another 2014 project — an intensive summer camp for high school students. Participants will work with a local organization on a creative project that addresses a specific need the organization has. “The way I’m approaching working at SFAI is to really acknowledge the work of building it to where it is now; it’s really about building on the work my predecessor had done,” he said. “It’s a rare opportunity to inherit an organization with such solid bones. For a city of 70,000 people, Santa Fe punches well above its weight in terms of cultural practitioners and critical thinkers.” ◀

details ▼ SFAI 140, an evening of creativity and conversation ▼ 7 p.m. Thursday, Nov. 21 ▼ Santa Fe Art Institute, 1600 St. Michael’s Drive ▼ No charge; 505-424-5050


santafe newmexican .com/CALENDAR

You turn to us.









Paul Weideman I The New Mexican

Early urbanitEs Neolithic settlement of Çatalhöyük


atalhöyük, the largest and best-preserved Neolithic settlement ever found, was occupied from about 7200 B.C. to about 5200 B.C. Was the site (pronounced cheTALhueyk) in southern Turkey — home to thousands of people for 20 centuries — abandoned because resources had been exhausted? “That is a difficult question,” Arkadiusz Marciniak said. “This is something my team has been debating, and I will talk about this in Santa Fe.” Marciniak, a professor in the Institute of Prehistory at Adam Mickiewicz University in Poz´nan, Poland, has been involved in excavations at Çatalhöyük since 2001. The Friends of Archaeology group in Santa Fe brings him for a lecture at the Scottish Rite Center on Tuesday, Nov. 19. “For the end of Çatalhöyük occupations, I believe sort of the major change that took place in the last few hundred years were in social and economic areas. Around the middle of the seventh millennium B.C., people spread out across central and western Anatolia. It was the beginning of a process that eventually led to farming in Greece and what is today Bulgaria and up north and west to France and later to England. That began in central Anatolia. It had something to do with the slow collapse of Çatalhöyük, because it was a most important site.” Two hills form the 91-acre site on the plateau of southern Anatolia. “The famous east mound was occupied beginning in 7200 B.C. and abandoned in 6000 B.C., and more or less at that time people moved to the other side of what used to be a river and built up the west mound, which went to 5200 B.C., coming into what we call the Chalcolithic or the Copper Age.” Tim Maxwell, former longtime director of the New Mexico Office of Archaeological Studies and a member of the Friends of Archaeology, said, “Though initially a small village of about 300 houses, Çatalhöyük is an example of the changes that led to the growth of the world’s earliest urban centers. Archaeological research shows that the residents became some of history’s first successful farmers. The village seems to have had no apparent social classes or social distinction based on gender.


PASATIEMPO I November 15-21, 2013

It has beautiful murals and impressive figurines that likely reflect religious beliefs of the period.” The site was discovered in 1958 and has been excavated since 1961, according to Marciniak. The Çatalhöyük project early on was led by the University of New Mexico’s Lewis Binford, who was “one of the lions of processual archaeology in the 1970s and 1980s,” said Santa Fe archaeologist Stephen Post. Since 1993, archaeology and conservation activities have continued with an international team under the direction of Ian Hodder of the Çatalhöyük Research Project at Stanford University. “I was invited by Ian Hodder to excavate the upper strata, the last levels, the last 200 years, and this is what I will talk about, this affluent site with 6,000 people coming to an end,” Marciniak said. Last year, Çatalhöyük joined the list of UNESCO World Heritage Sites. What has been unearthed on the two hills “testif[ies] to the evolution of social organization and cultural practices as humans adapted to a sedentary life,” according to the United Nations organization. “Çatalhöyük provides important evidence of the transition from settled villages to urban agglomeration, which was maintained in the same location for over 2,000 years. It features a unique streetless settlement of houses clustered back to back with roof access into the buildings.” Was roof access a matter of defensive strategy? “No, we see no evidence of violence,” Marciniak said. “Rather it was the way in which society was organized with the people in clusters, not like us having extended families, but the basic social unit was much bigger than today, with up to 50 rooms or houses and the various resources spread out.” Excavations of burials directly under the homes show that kinship was less important than other relationships, at least in determining who you were buried next to. “Some buildings have up to 70 individuals buried, and others have just one or two,” Marciniak said, “and some buildings had decorations and others did not.” No stone buildings have been found at the site. Earlier homes were constructed of clay and loam, and later ones were built with bricks. In the 2012

report of the Çatalhöyük Research Project, Ashley Lingle, conservation team leader, discusses work undertaken to stabilize cracks and holes in walls using lime-based mortars. She experimented with lime wash and mud for protective capping of deteriorating walls after the earthen plaster used the previous two years failed. Lingle’s team performed “delicate block lifts” — an archaeological procedure used to isolate, protect, and lift in-situ artifacts for conservation — on faunal remains, glass vessels, copper and iron objects, human skulls, and an infant buried in a basket. Marciniak’s section of the 2012 report mentioned excavations of material dating to the Late Neolithic period that revealed an evolution in housing, specifically “a residential pattern ... with increasing amounts of open space.” His team also found a ritual deposit between two walls consisting of 200 sheep bones, two cattle horn cores, a basalt mace, hand-worked bones, and Neolithic vessels. Were the Neolithic and Chalcolithic people farming during the entire occupation of the site, or did they evolve into agriculture? “That is another complicated question,” Marciniak said. “It was a long process. Clearly we have some animals domesticated at the beginning of the sequence and others like cattle only the last 200 to 300 years.” Paintings made by the inhabitants tell stories about their lives. “There are some rooms we call history houses, where people started to verbalize their past in narrative fashion and then the new generation might have had a chance to look and remember,” he said. “The idea of history as something more explicit of what happened to your ancestors began to develop at Çatalhöyük. The first paintings were geometric. There is one well-known impressive one found in the 1960s in the first phase of excavation representing a plan or map of the site. Then later on they depicted animals and hunting.” In 2007, Marciniak reported that his team uncovered a burial chamber with walls bearing carved spiral motifs not unlike those previously found in central Anatolia. He hoped the discovery would help illuminate human migration in the region.

Top, rooms in the southwest portion of Çatalhöyük are excavated under a protective shelter, constructed in 2003

The people also made jewelry, using shells from the Red Sea. And there was a tradition of plastering and saving skulls. “We had a couple of those examples, not as monumental as at Jericho in today’s [West Bank], but plastering was very important. Some say Çatalhöyük was built on this spot because of access to this clay material. All the houses were systematically plastered probably once a year, including painting on the walls. Also the floors were painted and the burials were painted.” Marciniak said the descendants of this people may be living in Turkey today. “Yes, genetically, there is some proof.” ◀

details ▼ Arkadiusz Marciniak lectures on “The Decline and Fall of the Neolithic Mega-city at Çatalhöyük” ▼ 6 p.m. Tuesday, Nov. 19 ▼ Scottish Rite Center, 463 Paseo de Peralta ▼ $20 at the door (cash or check); call 505-982- 7799, Ext. 7 for reservations

Top right, Ashley Morgan Lingle (right), head of the conservation team, with a Stanford University student Middle right, a bull mural; hunting scenes are common at Çatalhöyük although residents had a growing dependence on farming. Spectacular wall paintings helped bring world attention to the site; photo by Ian Todd Bottom right, a mud-brick burial chamber wall embellishment found during excavations led by Arkadiusz Marciniak Opposite page, excavated rooms found in the mound that rises above the surrounding fields; photo by Ian Todd Images courtesy Arkadiusz Marciniak



Michael Abatemarco I The New Mexican

Shadow catcher

Dream photos by Susan kae Grant


ost of us remember those dreams we have right before waking more readily than dreams from earlier in the night. And dreams produced during rapid-eye-movement sleep stages (REM sleep) are usually the most vivid. How much of that dream content is purely the product of the unconscious mind and how much is colored by recent experiences in waking life is a matter of debate. In 1974 John H. Herman, a researcher into the diagnosis and treatment of sleep disorders, engaged in a series of studies to understand how waking images impacted dreams. One experiment involved subjects wearing colored goggles that restricted all light except for the red band of the color spectrum. They wore the goggles for days on end, and their sleep patterns and dreams were recorded. What Herman found was that even dreams tied to memories from before the time the subjects began wearing the goggles were seen as though through colored lenses. Another question emerges from clinical research and personal recollections of dreams: To what extent do dreams influence waking reality? For some artists, the answer is a given. Dreams are often source material for artistic expression. Few artists, however, are inspired by the findings of dream research as directly as photographer Susan kae Grant. “In 1993 I received a faculty research grant to work with sleep researcher Dr. John Herman at the Southwestern Medical Center in Dallas to capture REM sleep,” Grant told Pasatiempo. “I understood and was fascinated by the fact that a person awakened from REM sleep had immediate and vivid recall of the experiences and memories of their dreams. Using myself as subject, this


PASATIEMPO I November 15-21, 2013

grant provided access to capturing dreams and memory in ways not possible from my own bedroom.” Grant’s dream research led to the development of Night Journey, an ongoing photographic project. A recent group of images from the series called Theatrical Realms of the Whimsical and Tragic is on view in La Rêve (The Dream), an exhibition at Verve Gallery of Photography that includes work by Czech photographer Kamil Vojner and Polish photographer Krzysztof Wladyka. “The Night Journey series is divided into what I call working chapters with the goal of creating 100 images to edit to 80 for a book. Theatrical Realms of the Whimsical and Tragic is the fourth chapter, which may be the second-to-the-last chapter in the series.” The images in Night Journey are of shadowy objects in a soft, billowy environment that lack any distinct features. Figures such as dolls, ballerinas, and birdcages can be made out, but they seem to merge with one another and partially vanish, as though melting into their surroundings. “The shadow is suggestive of reality without being real,” Grant said. “It allows fabrication of a world and suggests a narrative that exists only in the photograph. I use the shadow as a symbol to create deeper narratives. My experiences and sleep research taught me that the dream itself appears to be pure thought and exists only in language. In thinking about that notion of language and memory, I use the shadow as a metaphor to bring a pictorial representation to these thoughts.” The dreams that inspired Grant were not all of a personal nature, although the images contain fragments of her own dreams. They also incorporate

Susan kae Grant: from left, Nightingale, 2012; Amelia’s Phantom, 2012; opposite page, from left, Encrypted Lessons, 2012; Raven, 2012; all images archival pigment ink print

aspects of dreams told to her by others and are a reflection on the experience of dreaming itself. “The series of images in the Night Journey series was eventually inspired by many of the written transcripts of audio recordings captured while sleeping in the lab and being awakened from REM sleep. In creating these images from the recordings, I was not interested in illustrating any one dream but instead recreating unconscious visual memory. I worked intuitively, reading the phrases and spontaneously creating images that had a similar emotion or gesture as in the recordings.” An earlier series from Night Journey called Visions of an Insomniac was exhibited at Verve in 2009 along with a sound component by Texas-based sound artist Sarah Ruth Alexander. “She created the piece while studying my working methodology and photographs. We had a series of meetings by which we each described what these photographs might sound like, and then she went to work. All the sound was produced electronically through voice manipulation and sound effects. The images were juxtaposed with psychoacoustic sound and cast shadows.” The pieces included in La Rêve are presented without a sound component. As an exploration into the familiar but fragmentary realm of the subconscious, where memories and thoughts appear to blend into strange, hybrid, and sometimes nightmarish forms, Night Journey has an aura of transience, of objects appearing before the mind’s eye with only momentary vividness and then retreating into obscurity — the way the memory of a dream can quickly fade. Grant’s inspiration for the series goes back to her childhood interest in dreams; she began recording her dreams in a journal at a young

age. “As a child I held the conviction and experience that sleep and dreams could take people to exciting and frightening places far away from the bedroom. I loved to wake up and tell my mother the seemingly real stories, of where my dreams had taken me during the night.” Rather than shedding light on the function of dream states, Night Journey places emphasis on dream nature, allowing a sense of mystery and familiarity to coalesce. The images are suggestive without having to rely on a clear narrative. They are an open invitation for the viewer to project his or her own fantasies. “The excitement in working with shadows lies in the notion that nothing is certain except the opportunity to imagine and create conjecture. Since the shadow, by nature, is easily associated with apprehension and anticipation, I am fascinated by the notion that the viewer’s imagination is necessary to fill in the remaining details with only the amount of exactness that can be suggested or imagined. In this sense, the narratives are a representation of a representation, and they exist only in one’s imagination.” ◀

details ▼ La Rêve: Susan kae Grant, Kamil Vojner & Krzysztof Wladyka ▼ Reception 5 p.m. Friday, Nov. 15; exhibit through Jan. 11, 2014 ▼ Verve Gallery of Photography, 219 E. Marcy St., 505-982-5009



movIng Images film reviews

Blue on blue Michael Abatemarco I The New Mexican Blue Is the Warmest Color, drama, rated NC-17, in French with subtitles, Center for Contemporary Arts, 3.5 chiles Blue Is the Warmest Color tells the story of Adèle, a junior in high school who’s discovering her sexuality — tentatively, at first, and with all the awkwardness that youthful inexperience brings. Adèle, played by Adèle Exarchopoulos, is a bit of a loner, the sort of kid who prefers the company of one or two good friends and is less comfortable in large groups. Her sexual orientation is toward women. That is something she isn’t committed to at the film’s start but becomes a dawning realization as it progresses. Adèle has a boyfriend, a young man who she is driven to date because of peer pressure. They have sex in one of the film’s many graphic scenes of intimacy, but Adèle is clearly not enjoying the experience. By contrast, an early sequence shows Adèle enraptured by a glance from another young woman, part of a lesbian couple she passes on the street. That night, she fantasizes about the stranger while alone in bed. Later, she seeks her out in a gay bar and finds her. Emma, the stranger, played by Midnight in Paris’ Léa Seydoux, is a college student studying fine arts. Adèle is interested in literature. Their discussions of art, philosophy, music, and books are thoughtprovoking. They have an easy rapport. The passion between them ignites quickly, and it isn’t long before the two young lovers seek out every opportunity to explore one another’s bodies with desperate intensity and overwhelming desire. Adèle mercifully cuts her boyfriend loose early. Back at school, she is faced with the persistent questions of her peers who realize, even when Adèle isn’t ready to admit it to her closest confidants, that she is gay. She denies it, but her protestations fall on

Léa Seydoux


PASATIEMPO I November 15-21, 2013

Adèle Exarchopoulos and Léa Seydoux

deaf ears, and one friend is so angry about Adèle’s sexuality that she insults her cruelly. The friend’s vehemence, however, seems more like jealousy than homophobia — a subtle but unmistakable touch. Blue Is the Warmest Color makes it plain why some people don’t come to terms with their sexual orientation until much later in life. The film’s early sequences establish Adèle’s burgeoning sexuality as traumatic and rapturous in equal measure. Exarchopoulos is a wonder. Here’s a young actress who can convincingly portray a range of emotions without having to say a word. We always know what she’s thinking and feeling even in her silence. The emotions portrayed onscreen are raw and heart-wrenching. The film, which runs nearly three hours, never loosens its emotional grip, nor does it stray into sentimentality. Exarchopoulos, Seydoux, and director Abdellatif Kechiche shared the top Cannes Film Festival award, the Palme d’Or, this year — a first for the long-running festival. Every emotion in every scene is believable and naturalistic. Controversy surrounds Kechiche’s provocative film, but the question of whether the passionate sex scenes were simulated or not is beside the point. They feel as real as any other scene in the film. An argument can be made that cutting some of these scenes could significantly reduce the film’s length, but so could cutting the numerous scenes of family dinners. What would be the point? This is a film about Adèle’s blossoming sexuality, and kudos to Kechiche, Exarchopoulos, and Seydoux for not shying away from it. As gratuitous as it is, the sex is not as explicit as you may have been led to believe — with one or two exceptions, and those are at the movie’s halfway mark. The lovers give themselves to one another so completely in their lovemaking that what we witness is real intimacy, which elevates the scenes out of the realm of pure eroticism and adds weight to the trauma of later scenes. We are invested in their relationship. When the honeymoon ends, the final hour is a painful exploration of betrayals and unrequited love, and Blue becomes more a journey

of self-discovery for its young heroine than merely a tale of sexual desires and awakenings. You sense it in a late sequence, when Adèle is a fish out of water at an art opening for Emma and comes to a potentially life-changing decision. It’s the punctuation mark on a lengthy tale — where the film was headed all along. Adèle is a teenager at the film’s beginning. Although she ages a few years as it progresses, graduating from high school and entering a teaching profession, her experience is a common one. Regardless of sexual orientation, most people go through the growing pains of young love. Blue Is the Warmest Color doesn’t deserve its NC-17 rating. Why alienate the audience that might relate most to the central character? Teenagers have a more sophisticated sense of self and more knowledge of the world than they’re often given credit for. More than a few would see themselves in Adèle’s character. To deny them that chance is to deny them that recognition. The main reason Blue Is the Warmest Color works so well is the strength of the performances of its two leads. Adèle and Emma share a mutual attraction, but the experience is different for each. Adèle approaches Emma as though indulging a secret fantasy. She isn’t prepared for the difficult realities of a committed relationship. Exarchopoulos tempers Adèle’s delight at the prospect of new love against the societal pressures implied by her staid home and school life. She can barely contain her excitement when introducing Emma to her parents for the first time but passes her off as a tutor — probably because she fears they won’t accept the relationship. You may suspect her parents are perceptive but choose to participate in the charade to avoid embarrassing their daughter. Kechiche seems to have a knack for eliciting strong emotions from his cast. It isn’t just the tears that Exarchopoulos seems to be able to muster on demand but the convincing portrayal of feelings that lie beneath the surface. The entire cast is exceptional, but Exarchopoulos has the most screen time. Blue Is the Warmest Color is one of the year’s most heartfelt and engaging films. ◀




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Catch a tiger by his tail Robert Ker I For The New Mexican Dear Mr. Watterson, documentary, not rated, Center for Contemporary Arts, 1.5 chiles On Sunday, Dec. 31, 1995, the newspaper strip Calvin and Hobbes ended its 10-year run with the two heroes — the spiky-haired, excitable boy and his best friend, a stuffed tiger brought to life through youthful imagination — sledding away from their readership into an open white space while memorably exclaiming, “Let’s go exploring!” Since then, series creator Bill Watterson has disappeared from the public eye. And his two characters haven’t officially appeared anywhere else. There have been no follow-up strips, cartoons, video games, or toys. Yet they remain as firmly fixed in the public imagination as ever. For many people — particularly those who read the strips as kids — the two characters remain symbols of youthful optimism and joy. Their adventures and attitudes reflect the innocence of childhood, and the strip itself recalls the slower pleasures of pre-internet life. Filmmaker Joel Allen Schroeder was one of those children who adored the strip. Early in this documentary, he takes us to his childhood home and shows us the corkboard walls in his room where he pinned up Sunday editions of Calvin and Hobbes strips. This gives us context for his desire to tell the story of Watterson and his creations, but without the involvement of the famously reclusive Watterson, how much story there is here to tell is debatable. Schroeder, an amiable young man, does his best to fill the 90 minutes. He takes us to Watterson’s hometown of Chagrin Falls, Ohio, and to various comic-strip archives. He interviews several cartoonists (Bloom County’s Berkeley Breathed is the most engaging), readers, and celebrities. He touches on the decline of the newspaper industry since the 1980s and the idea of selling out — crucial to Calvin and Hobbes’ purity, they’ve never sold a product the way Snoopy pitches MetLife, despite that doing so would net their creator untold millions. Some of this is interesting, but the film gets repetitive fairly quickly. Schroeder lets multiple interviewees repeat one another, and an inordinate amount of time is taken up with people saying how great Calvin and Hobbes is — as if people who didn’t like the strip would bother watching this movie. Schroeder also leans on some annoying documentary trends: he makes too much of the movie about himself and relies too heavily on cheerful music rather than engaging subject matter. Perhaps he should have heeded what his film preaches, which is that the strip stands on its own and needs no ancillary material to support it. To learn more about Calvin and Hobbes, I’d recommend skipping Dear Mr. Watterson and reading — or rereading — the strips (which have been collected into several books). Go exploring. ◀

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“a groundbreaking film! Winning, deftly crafted, superbly acted film and Wonderfully moving!”


Adèle acquires a depth and grandeur that make her


-claudia puig, usa today


For a while, as with Anna Karenina or Elizabeth Bennet or Clarissa Dalloway, her life is also yours, and afterward you may discover that yours has altered as a result of the encounter.’’

(HigHest rating)

~A.O. Scott




“one of tHe best films of tHe year. sometHing close to a miracle.”

~Karen Durbin



-oliver lyttelton, tHe playlist

~Peter Travers


venice tribeca telluride


We were under the spell of the film and its wonderful actresses.” ~

-stephen Whitty, neWark star-ledger

Cannes Jury President



~A.M. Homes





Santa Fe Jewish Film Festival presents

The Matchmaker

7:30p Tuesday, November 19! With Israeli actor Eyal Shechte in person! Advance tickets recommended by going to

SF Climbing Center presents

7:30p Friday November 15! $12 in advance at SF Climbing Center/$15 at the Door

Friday Nov 15

11:00a - Design Is One* 12:15p - Blue 1:00p - Dear Mr. Watterson* 2:45p - Wadjda* 3:45p - Blue 5:00p - Wadjda* 7:15p - Blue 7:30p - Reel Rock 8 Film Tour*

Sat-Sun Nov 16-17

11:00a - Design Is One* 12:15p - Blue 1:00p - Dear Mr. Watterson* 3:15p - Wadjda* 3:45p - Blue 5:30p - Wadjda* 7:15p - Blue 7:45p - Dear Mr. Watterson*

Mon Nov 18

12:15p - Blue 1:00p - Dear Mr. Watterson* 3:15p - Wadjda* 3:45p - Blue 5:30p - Wadjda* 7:15p - Blue 7:45p - Dear Mr. Watterson* * indicates shows will be in The Studio, our new screening room for $8.00, or $6.00 CCA Members!

Tues Nov 19

12:15p - Blue 1:00p - Dear Mr. Watterson* 3:15p - Wadjda* 3:45p - Blue 5:30p - Wadjda * 7:30p - SFJFF: The Matchmaker 7:45p - Dear Mr. Watterson*

Weds-Thurs Nov 20-21

12:15p - Blue 1:00p - Dear Mr. Watterson* 3:15p - Wadjda* 3:45p - Blue 5:30p - Wadjda* 7:15p - Blue 7:45p - Dear Mr. Watterson*




— compiled by Robert Ker

DONNIE DARKO Director Richard Kelly’s 2001 re-examination of suburban angst in the 1980s confounded and electrified audiences upon its release and has only grown in stature since. A young but never-better Jake Gyllenhaal plays a high school student who is sucked into some kind of weird wormhole when tragedy strikes. The creepy rabbit costumes and mind-bending plot — in which not all of the dots get connected — put some people off, but as an expression of the teenage years, when your emotions are out of control and you’re trying to figure out what to believe, it works beautifully. As a funhouse-mirror look at the Reagan era — complete with iconic ’80s actors (Drew Barrymore, Patrick Swayze) and period music (Tears for Fears) given pointed updates — it’s even better. 11 p.m. Friday and Saturday, Nov. 15 and 16, only. Rated R. 113 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker)

When the Iron Bird Flies: Tibetan Buddhism Arrives in the West, at the Jean Cocteau Cinema in Santa Fe

opening this week THE BEST MAN HOLIDAY Morris Chestnut, Taye Diggs, Terrence Howard, Nia Long, and Regina Hall are among the actors who reprise their roles from 1999’s The Best Man (Malcolm D. Lee returns as writer and director). The intervening 14 years have done nothing to diminish the friendships, romances, and rivalries of the old buddies. Rated R. 124 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) BIG ASS SPIDER With a title like this, you know what’s in store for you, don’t you? When a mutant alien spider — which is very big — starts eating people in Los Angeles, it’s up to a hospital security guard (Lombardo Boyar) and an exterminator (Greg Grunberg) to save the day. The two leads give engaging performances, and the film never takes itself too seriously, though there are a few moments of genuine suspense and terror. Rated PG-13. 80 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Nott) BLUE IS THE WARMEST COLOR Abdellatif Kechiche’s emotionally rich drama tells the story of Adèle 54

PASATIEMPO I November 15-21, 2013

(Adèle Exarchopoulos), a high school student whose burgeoning sexuality leads her on a journey of self-discovery after she meets Emma (Léa Seydoux), a lesbian whose openness brings Adèle out of her shell. Raw passion ignites the screen, and despite its graphic sex scenes, Blue Is the Warmest Color never strays into gimmicks or sentimentality. It’s as honest a film as you are likely to see this year. Rated NC-17. 179 minutes. In French with subtitles. CCA Cinematheque, Santa Fe. (Michael Abatemarco) See review, Page 50. DEAR MR. WATTERSON The Calvin and Hobbes comic strip, which ran from 1985 to 1995, remains fixed in the public imagination as a reflection of the innocence of childhood and the slower pleasures of pre-internet life. Documentarian Joel Allen Schroeder explores the characters’ appeal, but without the involvement of reclusive creator Bill Watterson, the result is too padded and repetitive. There are some interesting interviewees (Bloom County’s Berkeley Breathed is the most engaging) and topics, but if you want a deeper meditation on the strip’s appeal, read the books that collect the original strips. Not rated. 89 minutes. Center for Contemporary Arts, Santa Fe. (Robert Ker) See review, Page 52.

THE REEL ROCK FILM TOUR We’re moving on up! This traveling film tour — which comes with prizes and a party — highlights movies about rock climbing. Presented by Santa Fe Climbing Center, which sells discounted advance tickets. 7:30 p.m. Friday, Nov. 15, only. Not rated. Center for Contemporary Arts, Santa Fe. (Not reviewed) WHEN THE IRON BIRD FLIES: TIBETAN BUDDHISM ARRIVES IN THE WEST Through personal stories from Buddhist communities in the U.S., this documentary describes the impact that Tibetan Buddhism’s core teachings has had on participants’ lives, allowing them to maintain a measure of peace and relief from the trials and demands of contemporary life. Historic footage of the takeover of Tibet by the Chinese and plenty of talking heads offer a picture of how an international community has embraced an ancient practice from a onceremote kingdom. The title is from an 8th-century A.D. prophecy that seemingly predicts Tibetan Buddhism’s spread: “When the iron bird flies and horses run on wheels, the Tibetan people will be scattered like ants across the face of the Earth.” Not rated. 96 minutes. Jean Cocteau Cinema, Santa Fe. (Michael Abatemarco)

now in theaters ABOUT TIME British filmmaker Richard Curtis (Notting Hill, Love Actually) wrote and directed this film about a time-traveling man named Tim (Domhnall Gleeson) who tries to give himself a

second chance at love. Tim meets a woman (Rachel McAdams) but soon realizes it will take multiple tries to get the courtship right. Bill Nighy plays Tim’s father, and Groundhog Day is apparently this film’s spiritual father. Rated R. 124 minutes. Regal DeVargas, Santa Fe. (Not reviewed) ALL IS LOST A man (Robert Redford) is stranded on a crippled vessel somewhere in the Indian Ocean in this often-enthralling drama from writer and director J.C. Chandor (Margin Call). All Is Lost is basically Robert Redford against the sea, and it relies on good old-fashioned storytelling to keep you involved. It’s a gutsy project that trusts its audience to trust it back, but be warned: the final third of the film gets a bit repetitious — in a most soggy manner. Rated PG-13. 106 minutes. The Screen, Santa Fe. (Robert Nott) BLUE JASMINE Woody Allen’s latest mixes comedy and tragedy in an inspired symphony of social criticism. Cate Blanchett is Jasmine, a Park Avenue socialite who lost everything when her husband (Alec Baldwin) went to jail for financial fraud. She goes to San Francisco and moves in with her blue-collar sister Ginger (a perfect Sally Hawkins). The cast, which also includes Bobby Cannavale, Andrew Dice Clay, and Peter Sarsgaard, is flawless. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) THE BUTLER At times overblown and unwieldy, an occupational hazard for a movie that covers 80 years of the civil rights movement in America, this is still a major accomplishment. We see it through the eyes of Cecil Gaines (Forest Whitaker), a man who rises from the cotton fields of Georgia to a tenure as White House butler that extends from Eisenhower through Obama’s election. The fine cast includes Oprah Winfrey as his wife and star cameos as the presidents. Rated PG-13. 132 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) CAPTAIN PHILLIPS Director Paul Greengrass knows how to turn newspaper headlines into white-knuckle thrillers, having earned accolades with 2006’s United 93. This time he tells the story of Captain Richard Phillips (Tom Hanks), whose freighter was hijacked by Somali pirates in 2009. Rated PG-13. 133 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) CARRIE It’s 2013, but life isn’t any easier for high school girls than it was in 1976. Brian De Palma’s horror film about the worst prom experience ever

gets a modern face-lift courtesy of director Kimberly Peirce (Boys Don’t Cry) and stars Chloë Grace Moretz (Kick-Ass) and Julianne Moore. Stephen King’s novel remains the source material. Rated R. 99 minutes. DreamCatcher, Española. (Not reviewed) CLOUDY WITH A CHANCE OF MEATBALLS 2 Who would have thought that Judi and Ronald Barrett’s children’s book would yield not one feature film but two? This sequel pits Flint (voiced by Bill Hader) against foodanimal hybrids (tacodiles, etc.). The jokes are lame — expect corny puns and puns about corn — but the movie is colorful and imaginative, and it even sneaks in some satire about our technology-obsessed culture. Kids will dig it, which is fortunate, because there aren’t many other family films due before the holidays. Rated PG. 95 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) THE COUNSELOR Focusing on the interplay between Mexican drug cartels and their avaricious American customers, The Counselor tells a relatively simple tale that’s embroidered with complexity of detail and Cormac McCarthyian dialogue (the No Country for Old Men author wrote the script here). While Ridley Scott’s adaptation is vivid, as are performances by some Hollywood A-listers (with the notable exception of a flat Michael Fassbender in the lead role), the most intriguing aspect is that the ruthless cartel assassins appear more “real” than the glamorous power players on the fringe of their world. If that’s not the point, it’s hard to imagine what is. Rated R. 111 minutes. Regal Stadium 14, Santa Fe. (Loren Bienvenu) DESIGN IS ONE: LELLA & MASSIMO VIGNELLI The ItalianAmerican designers Massimo and Lella Vignelli are like a modern-day Charles and Ray Eames in the breadth and excellence of their output. Filmmakers Kathy Brew and Roberto Guerra focus on the Vignellis’ chairs, flatware, books, buildings, and iconic typography — they’re behind the logos for J.C. Penney and Knoll, Ford’s blue oval, and the brochures for U.S. national parks. This is a multidimensional portrait of the husband-and-wife team, including interviews with them and with dozens of design and architecture professionals. Not rated. 86 minutes. Center for Contemporary Arts, Santa Fe. (Paul Weideman) DIANA Naomi Watts tackles the challenge of playing one of the most iconic and beloved figures of the 1980s and ’90s: Diana, Princess of Wales. This film looks at the last two years of Diana’s hectic life in the public eye, with special attention given to her

The Best Man Holiday

secret love affair with Pakistani surgeon Hasnat Khan (Naveen Andrews). Oliver Hirschbiegel (Downfall) directs. Rated PG-13. 113 minutes. Regal DeVargas, Santa Fe. (Not reviewed) ENDER’S GAME The 1985 Hugo Award-winning magnum opus by science fiction writer Orson Scott Card gets the blockbuster treatment. Asa Butterfield plays Ender Wiggin, a teenager who is called upon to save Earth from aliens. Fortunately, he’s led by a colonel played by Harrison Ford — an actor who has saved his share of planets and countries on the big screen. Ben Kingsley and Viola Davis co-star. Rated PG-13. 114 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) ENOUGH SAID Fans of Woody Allen’s rom-coms for adult audiences should embrace this charmer about two divorced empty-nesters ( Julia Louis-Dreyfus and, in his final performance, James Gandolfini) who fall for each other and then find that middle-age relationships come fraught with baggage and defense mechanisms. Louis-Dreyfus shows more depth and Gandolfini more softness than either one’s iconic TV roles would suggest; the two head a terrific cast that includes Catherine Keener and Toni Collette. Nicole Holofcener directs them all with a generous spirit. continued on Page 56



continued from Page 55

The results are moving, honest, and often very funny. Rated PG-13. 93 minutes. Regal DeVargas, Santa Fe. (Robert Ker) FREE BIRDS Gobble gobble! The holiday-season family films are beginning to roost, as evidenced by the arrival of this animated adventure about two turkeys (voiced by Owen Wilson and Woody Harrelson) who travel back in time to take their species off of the Thanksgiving menu. Rated PG. 91 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) GRAVITY You’ve never seen a movie like this before. Tense and gripping but also tranquil and meditative, this thriller from director Alfonso Cuarón centers on two astronauts (George Clooney and Sandra Bullock) whose shuttle is destroyed while they are on a space walk. The resulting struggle to survive — like the special effects of the film itself — showcases humankind’s vast resourcefulness and potential. Cuarón’s story also celebrates how small, yet still important, we all are. To see one character’s globelike teardrops in zero gravity, as her possible fate and her profound loneliness weigh down on her, is to be deeply moved. Rated PG-13. 91 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) JACKASS PRESENTS: BAD GRANDPA Johnny Knoxville dons an old-man costume to go out in public and act like a jerk toward his unsuspecting “victims.” Once a jackass, always a jackass, apparently. Rated R. 92 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) LAST VEGAS Michael Douglas, Robert De Niro, Kevin Kline, and Morgan Freeman play four men who travel to Las Vegas for a wild bachelor party just to prove that the AARP crowd can get just as hung over as the younger dudes in The Hangover. Rated PG-13. 105 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

spicy bland




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PASATIEMPO I November 15-21, 2013

THOR: THE DARK WORLD The Marvel movie machine chugs along, and at this point it seems as if the filmmakers are more concerned with not derailing the gravy train than they are with making a great movie. Marvel is dependable; you may not leave the theater feeling inspired, but you won’t want a refund. And so it goes with the latest Thor picture, which is visually drab (the bold colors of The Avengers are gone) except when the hammer starts flying, plodding and predictable except when it attempts humor, and overall rates as “fine, I guess.” The actors (particularly Chris Hemsworth as Thor and Tom Hiddleston as Loki) are likable, and that goes a long way. The story, about yet another world-threatening invasion by mostly anonymous creatures, does not. Rated PG-13. 111 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) 12 YEARS A SLAVE Director Steve McQueen takes us into America’s slave trade with the same clinical observation and exquisite composition that he used in his previous features, Hunger and Shame. Unfortunately, he tarnishes his unflinching adaptation of Solomon Northup’s 1853 autobiography — about the free-born man’s stint as a slave after being captured and shipped south — with too many distasteful movie moments, from the horror-film-like score and celebrity cameos to the happy ending, blunting the impact and putting his intentions into question. There’s fine acting all around, from Chiwetel Ejiofor’s star turn as Northup and Michael Fassbender’s villainous landowner to newcomer Lupita Nyong’o’s portrait of suffering. Rated R. 133 minutes. Regal DeVargas, Santa Fe. (Robert Ker) WADJDA Young Wadjda (Waad Mohammed) is a lot like any other 10-year-old: she just wants a bike so she can ride to school with her best friend. It’s too bad, then, that she lives in Riyadh, Saudi Arabia, where conservative Muslim clerics call the shots, women aren’t allowed to drive, and girls are told they shouldn’t ride bikes. This first feature filmed entirely in Saudi Arabia — and the first to be made by a Saudi woman (writer-director Haifaa Al-Mansour) — offers Western audiences a glimpse of day-to-day life in Saudi Arabia while simply, cleverly using a young girl to point out cultural injustices in that country. That Wadjda succeeds is due largely to natural, unforced performances and a spunky, charismatic lead with a winning smile and excellent timing. Rated PG. 98 minutes. In Arabic with subtitles. Center for Contemporary Arts, Santa Fe. (Laurel Gladden)

ZERO CHARISMA The first feature by filmmakers Katie Graham and Andrew Matthews, Zero Charisma follows Scott (Sam Eidson), who runs a weekly tabletop fantasy role-playing game. Scott is not charismatic — the ogrelike 30-something lives with his grandmother (Anne Gee Byrd), works at the Donut Taco Palace II, and paints figurines of warriors and wizards. When his unstable position as king of the nerds is threatened by a hip newcomer (Garrett Graham), the fallout from his attempts to regain control force him to confront a well-worn aphorism: it’s all fun and games until someone gets hurt. While the film is effective at portraying both humor and heartbreak, the balance is off-kilter, leading the audience to regret some of the movie’s early laughs and crave more later ones. Not rated. 87 minutes. Jean Cocteau Cinema, Santa Fe. (Loren Bienvenu)

other screenings Center for Contemporary Arts 7:30 p.m. Tuesday, Nov. 19: The Matchmaker. Presented by the Santa Fe Jewish Film Festival. Center for Progress and Justice 1420 Cerrillos Road, 505-501-1779 7 p.m. Tuesday, Nov. 19: Shift Change. DreamCatcher 8 p.m. Thursday, Nov. 21: The Hunger Games: Catching Fire. Jean Cocteau Cinema 6:30 p.m. Tuesday, Nov. 19: Doctors Without Borders presents Access to the Danger Zone, followed by Q & A. No charge. New Mexico History Museum 105 W. Palace Ave., 505-476-5100 5:30 p.m. Friday, Nov. 15: Cowboy. No charge. Regal Stadium 14 8 p.m. Thursday, Nov. 21: Delivery Man. 5:15 p.m. Thursday, Nov. 21: Double feature of The Hunger Games and The Hunger Games: Catching Fire. 8 p.m., 8:30 p.m., 9 p.m., 9:30 p.m. Thursday, Nov. 21: The Hunger Games: Catching Fire. 2 p.m. Sunday, Nov. 17, 2 & 7 p.m. Wednesday, Nov. 20: JFK. The Screen 7 p.m. Saturday, Nov. 16: God’s Neighbors. Presented by the Santa Fe Jewish Film Festival. ◀

Peter Travers,

“A game-changinG

What’s shoWing

movie event.”

Call theaters or check websites to confirm screening times. CCA CinemAtheque & SCreening room

1050 Old Pecos Trail, 505-982-1338, Blue Is the Warmest Color (NC-17) Fri. to Mon. 12:15 p.m., 3:45 p.m., 7:15 p.m. Tue. 12:15 p.m., 3:45 p.m. Wed. and Thurs. 12:15 p.m., 3:45 p.m., 7:15 p.m. Dear Mr.Watterson (NR) Fri. 1 p.m. Sat. to Thurs. 1 p.m., 7:45 p.m. Design Is One:The Vignellis (NR) Fri. to Sun. 11 a.m. The Matchmaker (NR) Tue. 7:30 p.m. The Reel Rock Film Tour (NR) Fri. 7:30 p.m. Wadjda (PG) Fri. 2:45 p.m., 5 p.m. Sat. to Thurs. 3:15 p.m., 5:30 p.m. JeAn CoCteAu CinemA

418 Montezuma, 505-466-5528 Access to the Danger Zone (NR) Tue. 6:30 p.m. Big Ass Spider! (PG-13) Fri. 2 p.m., 8:30 p.m. Sat. 8:30 p.m. Sun. 2 p.m., 8:30 p.m. Mon. to Thurs. 8:30 p.m. Donnie Darko (R) Fri. and Sat. 11 p.m. Wed. and Thurs. 2 p.m. When the Iron Bird Flies (NR) Fri. 6:20 p.m. Sat. 2 p.m., 6:20 p.m. Sun. and Mon. 6:20 p.m. Wed. and Thurs. 6:20 p.m. Zero Charisma (NR) Fri. to Sun. 4:15 p.m. Wed. and Thurs. 4:15 p.m. regAl DeVArgAS

562 N. Guadalupe St., 505-988-2775, 12 Years a Slave (R) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:55 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. About Time (R) Fri. and Sat. 1:10 p.m., 4:10 p.m., 7:10 p.m., 9:50 p.m. Sun. to Thurs. 1:10 p.m., 4:10 p.m., 7:10 p.m. Blue Jasmine (PG-13) Fri. and Sat. 1:20 p.m., 4:20 p.m., 7:20 p.m., 9:35 p.m. Sun. to Thurs. 1:20 p.m., 4:20 p.m., 7:20 p.m. The Butler (PG-13) Fri. and Sat. 1:05 p.m., 3:50 p.m., 6:50 p.m., 9:40 p.m. Sun. to Thurs. 1:05 p.m., 3:50 p.m., 6:50 p.m. Diana (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10:05 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. Enough Said (PG-13) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10 p.m. Sun. to Thurs. 1:40 p.m., 4:40 p.m., 7:40 p.m. regAl StADium 14

3474 Zafarano Drive, 505-424-6296, The Best Man Holiday (R) Fri. and Sat. 12:40 p.m., 4:05 p.m., 7:05 p.m., 10 p.m. Sun. 12:40 p.m., 4:05 p.m., 7:05 p.m., 10:15 p.m. Mon. to Wed. 12:40 p.m., 4:05 p.m., 7:05 p.m., 10 p.m. Captain Phillips (PG-13) Fri. to Wed. 12:35 p.m., 4:10 p.m., 7:10 p.m., 10:15 p.m. Cloudy With a Chance of Meatballs 2 (PG) Fri. to Wed. 12:10 p.m., 2:35 p.m., 5:10 p.m., 7:35 p.m., 9:55 p.m. The Counselor (R) Fri. and Sat. 12:50 p.m., 4:05 p.m., 7:25 p.m., 10:05 p.m. Sun. 7:25 p.m., 10:05 p.m. Mon. and Tue. 12:50 p.m., 4:05 p.m., 7:25 p.m., 10:05 p.m. Ender’s Game (PG-13) Fri. to Wed. 1:25 p.m., 4:25 p.m., 7:25 p.m., 10:15 p.m. Free Birds 3D (PG) Fri. to Wed. 9:45 p.m. Free Birds (PG) Fri. to Wed. 12:15 p.m., 2:40 p.m., 5 p.m., 7:20 p.m. Gravity 3D (PG-13) Fri. to Wed. 12 p.m., 12:20 p.m., 2:45 p.m., 4:55 p.m., 5:15 p.m., 7:10 p.m., 7:40 p.m., 10:10 p.m.

Gravity (PG-13) Fri. to Wed. 2:30 p.m., 9:50 p.m. The Hunger Games & Catching Fire Double Feature (PG-13) Thurs. 5:15 p.m. The Hunger Games: Catching Fire (PG-13)

Thurs. 8 p.m., 8:30 p.m., 9 p.m., 9:30 p.m. Jackass Presents: Bad Grandpa (R) Fri. to Wed. 12:25 p.m., 2:50 p.m., 5:25 p.m., 7:50 p.m., 10:20 p.m. JFK (R) Sun. 2 p.m. Wed. 2 p.m., 7 p.m. Last Vegas (PG-13) Fri. to Wed. 1:10 p.m., 4:40 p.m., 7:40 p.m., 10:10 p.m. Thor:The Dark World 3D (PG-13) Fri. to Wed. 1 p.m., 1:30 p.m., 4 p.m., 4:30 p.m., 7 p.m., 7:30 p.m., 10 p.m., 10:20 p.m. Thor:The Dark World (PG-13) Fri. to Sun. 12:25 p.m., 1:15 p.m., 3:30 p.m., 4:15 p.m., 7:15 p.m., 7:45 p.m., 10:15 p.m., 10:35 p.m. Mon. to Wed. 12:25 p.m., 1:15 p.m., 3:30 p.m., 4:15 p.m., 7:15 p.m., 7:45 p.m., 10:15 p.m., 10:35 p.m.

Copyright © 2013 Twentieth Century Fox. All Rights Reserved.


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Adèle acquires a depth and grandeur that make her equal to some of the great heroines of literature.’’ ~A.O. Scott

★★★★★ THE BEST FILM OF 2013.”


~ Mick LaSalle

the SCreen

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, All Is Lost (PG-13) Fri. 2 p.m., 4:30 p.m., 7 p.m., 9:15 p.m. Sat. 11:30 a.m., 2 p.m., 4:30 p.m., 9:15 p.m. Sun. 11:30 a.m., 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 2 p.m., 4:30 p.m., 7 p.m. God’s Neighbors (NR) Sat. 7 p.m. mitChell DreAmCAtCher CinemA (eSpAñolA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, Captain Phillips (PG-13) Fri. to Wed. 7:15 p.m. Carrie (R) Fri. 5 p.m., 7:35 p.m., 10 p.m. Sat. 2:35 p.m., 5 p.m., 7:35 p.m., 10 p.m. Sun. 2:35 p.m., 5 p.m., 7:35 p.m. Mon. to Wed. 5 p.m., 7:35 p.m. Thurs. 5 p.m. Cloudy With a Chance of Meatballs 2 (PG) Fri. 4:35 p.m. Sat. and Sun. 2:05 p.m., 4:35 p.m. Mon. to Thurs. 4:35 p.m. Ender’s Game (PG-13) Fri. 4:40 p.m., 7:10 p.m., 9:45 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:10 p.m., 9:45 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:10 p.m. Mon. to Wed. 4:40 p.m., 7:10 p.m. Thurs. 4:40 p.m. Free Birds 3D (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Wed. 4:30 p.m., 7 p.m. Thurs. 4:30 p.m. Free Birds (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Gravity (PG-13) Fri. 4:35 p.m., 7:05 p.m., 9:40 p.m. Sat. 2:20 p.m., 4:35 p.m., 7:05 p.m., 9:40 p.m. Sun. 2:20 p.m., 4:35 p.m., 7:05 p.m. Mon. to Wed. 4:35 p.m., 7:05 p.m. Thurs. 4:35 p.m. The Hunger Games: Catching Fire (PG-13) Thurs. 8 p.m. Jackass Presents: Bad Grandpa (R) Fri. 4:55 p.m., 7:30 p.m., 9:55 p.m. Sat. 2:30 p.m., 4:55 p.m., 7:30 p.m., 9:55 p.m. Sun. 2:30 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. Last Vegas (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:50 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:25 p.m., 9:50 p.m. Sun. 2:25 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. Thor:The Dark World 3D (PG-13) Fri. 4:45 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. Thor:The Dark World (PG-13) Fri. 4:45 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m.













“Heartfelt Calvin & Hobbes documentary will make you feel like a kid again.” – Rachel Edidin, WIRED



CCA CINEMATHEQUE 1050 Old Pecos Trail, Sante Fe (505) 982-1338


RESTAURANT REVIEW Bill Kohlhaase I The New Mexican

Short stack

Tabla de Los Santos & Secreto Lounge

(in Hotel S. Francis) 210 Don Gaspar Ave., 505-992-6354 Tabla de Los Santos Breakfast 7:30-11 a.m. MondaysSaturdays; lunch 11:30 a.m.-2 p.m. Mondays-Saturdays; dinner 5:30-9 p.m. Sundays-Thursdays, 5:30-9:30 p.m. Fridays & Saturdays; brunch 7 a.m.-2 p.m. Sundays Secreto Lounge Noon-midnight Mondays-Saturdays noon-10 p.m. Sundays Vegetarian options Patio dining in season Noise level: subdued Full bar Credit cards, no checks

The Short Order Chef Clay Bordan has brightened dinners at Tabla de Los Santos in the Hotel St. Francis by focusing on steaks, chops, and seafood prepared with top-shelf ingredients. The kitchen does careful work with its attractive vertically constructed plates, but not all are winners. The small plates are good, and Bordan shows his daring by offering poutine, his version swimming in a bone-marrow gravy topped with short-rib meat and mozzarella. Breakfast and lunch don’t measure up, however. Mixologist Chris Milligan offers eclectic cocktail concoctions at the Secreto Lounge, where you can also order from Bordan’s menu. Recommended: grilled quail appetizer, pan-seared sea scallops, filet mignon, braised short ribs, and tres leches cake.

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.


PASATIEMPO I November 15-21, 2013

Despite its large fireplace and tall windows with a view of city streets, the dining room at Tabla de Los Santos in the Hotel St. Francis has always seemed a chilly place, most welcoming in the daylight hours, with the sun streaming in from the east. Secreto Lounge, side by side with Tabla, is more inviting. Perhaps that’s due to the bar itself, a handsome wooden fixture, or to the fact that the room is just a touch smaller than the Tabla dining room. No matter. You can order from chef Clay Bordan’s menu at Secreto, though you can’t get certain items from his bar menu, such as pan-fried macaroni and cheese with toasted piñons and truffle oil, in the main dining room. Mixologist Chris Milligan’s adventurous libations can be had in either room, but they’re much more fun when you can watch them being made at the bar. As much as we enjoyed the taste of his signature Spicy Secreto cocktail — with its elderflower liqueur and red-chile rim — and the Local Beet — a Tom Collins made with beet syrup and a touch of ginger — we didn’t find them complementary to the food. Enjoy them on their own. No matter where you sit, Bordan’s cooking is worth the visit, even if it’s not always spot on. He’s taken the clichéd New Mexican items off the dinner menu (don’t worry — you can still get enchiladas and tamales with red or green chile at lunch) and replaced them with meatier fare, such as steaks, chops, seafood, and a tender pile of braised short ribs on top of a potato gratin. Yes, green chile flavors a number of dishes, but cipollini onions, bacon, and white truffles are equally common components. Bordan’s plates are visually appealing, most taking the stacked or vertical approach that became popular a decade or two ago. Of course, food stacking is about more than visual appeal. It also makes the ingredients nearly inseparable and helps the flavors meld, as they did with the seared sea scallops and their base of creamy risotto. A bed of polenta beneath the tiger prawns didn’t compete with the grilled flavor of the shrimp. Earthy, finely done lamb chops came on top of bland sautéed tomato and zucchini with a bit of bacon, which might have been better off to the side. Many dishes are topped with a tangle of radish spouts, a purely artistic garnish. I’ve made a meal here of appetizers, including a robust cup of roasted artichoke and tomato soup topped with a swirl of oil and delicate grilled quail stuffed with a savory green-chile sausage. The soup was thick and hearty, and a glass of Chilean Llai Llai pinot noir gave it some spice. On another visit, we tried Bordan’s take on that indelicate Canadian delicacy called poutine, a daring addition to any menu. This variation had fries swimming in a bone marrow gravy so richly flavored that I couldn’t distinguish its touch of truffle. It was topped with shreds of slightly fatty braised short rib. Melting lumps of mozzarella took the place of the traditional cheese curds. The dish, especially that assertive gravy, started out exquisitely, but as the mess was stirred together, it all became too salty, possibly from the overseasoned fries.

My sensitive palate noticed a bit too much salt on the scallops and the lamb chops as well, but my dining partners didn’t seem to mind. Desserts include a simple, delectable tres leches cake and a firm, not-too-sweet flan. The molten chocolate cake is purely an indulgence, unrefined but perfect for those needing a chocolate fix. Presentation goes out the window at brunch. Our bowl of red flannel hash, with beet bits joining the meat and potatoes, came ungarnished and with a single piece of dry toast. The poached eggs on top hadn’t been trimmed of their stringy edges. Visual appeal returns at lunch, though the food still doesn’t measure up. Blue corn enchiladas stuffed with chicken were attractive but were topped with a pedestrian green chile sauce. The salmon sandwich with bacon might have been better if the fish had been warm. The service is professional in the evening, although some of our dishes arrived not quite hot. Each of our daytime visits saw only one server staffing the floor, seating guests as well as bringing food and clearing tables. That’s more than one person can do. If breakfast and lunch are going to stack up to dinner, Tabla needs to pay more attention to the details, food included. ◀

Check, please Dinner for four at Tabla de Los Santos: Glass, Llai Llai pinot noir..................................... $ 10.00 Spicy Secreto cocktail.......................................... $ 10.00 Local Beet cocktail............................................... $ 11.00 Sea scallop appetizer............................................ $ 14.00 Grilled quail appetizer......................................... $ 14.00 Cup, roasted artichoke and tomato soup............. $ 5.00 Prawns de Los Santos.......................................... $ 13.00 Goat cheese salad................................................. $ 9.00 Lamb chops......................................................... $ 29.00 Filet mignon........................................................ $ 36.00 Braised green-chile short ribs............................... $ 27.00 Molten chocolate cake......................................... $ 12.00 Flan...................................................................... $ 8.50 Tres leches cake................................................... $ 9.50 TOTAL................................................................. $208.00 (before tax and tip) Lunch for two, another visit: Baked goat cheese appetizer................................. $ Blue corn enchilada plate..................................... $ BLT salmon sandwich.......................................... $ TOTAL................................................................. $ (before tax and tip)

8.00 10.00 12.00 30.00

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Lensic Presents FUSIONTheatre Company Tradition // Innovation // Excellence

The p o t n i a t n Mou

Thanksgiving Dinner 2013 Roasted Natural Free Range Diestel Turkey with Aged Port and Thyme Glaze Cornbread, Toasted Pecan Stuffing with Sundried Apricots - or Classic Herb Bread Stuffing Walter’s Home-style Pan Gravy, Wild Mushrooms, Madeira Whipped Yukon Gold Potatoes, Roasted Garlic, Horseradish Green Beans, Pearl Onions, Sautéed Shitake Mushrooms with Cream Oven Roasted Butternut Squash, Tangerine Yuzu Glaze Fresh Cranberry Orange Relish Herbed Buttermilk Biscuits Desserts (choose one) Kentucky Bourbon Chocolate Pecan Pie • Pumpkin Ginger Cheese Cake Quaker Apple Cake with Vanilla Sauce Fresh Whipped Cream with All Desserts $39.00 per person / 6 person minimum Additions or changes available at an additional cost Delivery ($50) or Pickup at our Office on Wednesday the 27th or before noon on Thanksgiving Day

November 15 & 16

Friday 8 pm Saturday 2 pm, 8 pm $20-$40 discounts for Lensic members & students

2010 Olivier Award, Best New Play

Hall i r o t a K By Tickets: 505-988-1234

phone: (505) 473-9600 fax: (505) 473-1080

the lensic is a nonprofit, member-supported organization




2013 Writing Contest for All Seasons Tell Us a Story in Poetry or Prose Storytelling is an honored New Mexico pastime. Here is your chance to be part of that tradition. Write about a memory, a special place, or a person who has had an impact on your life. Fiction, nonfiction, parody, or fantasy; in the style of Thurber or Ferber, Sedaris or Seuss, Hillerman or Cather — it’s up to you. Prose: 1,000 word limit for adults (ages 19 and over) and for teens (13-18) 500 word limit for children (5-12) Poetry: Up to two pages Prizes to the winners

Rules: Entries must be received by 4 p.m. Monday, Dec. 2. No exceptions. We reserve the right to edit work for publication. Submissions must include name, address, telephone number, email address, and age; entries from schools should also include grade and teacher’s name. No previously published material. One submission only per entrant. Submissions cannot be returned.

Winning entries will be published in Pasatiempo on Friday, Dec. 27

Prize Sponsors:



Email entries to: Email submissions are highly recommended.

Garcia Street Books

Mail entries to: 2013 Writing Contest c/o The Santa Fe New Mexican, 202 E. Marcy St., Santa Fe, N.M. 87501

PASATIEMPO I November 15 - 21, 2013

pasa week Friday, Nov.15

Pueblo of Tesuque Flea Market 9 a.m.-4 p.m.,, 15 Flea Market Rd., Friday-Sunday through the year. Recycle Santa Fe Art Festival Recycled art market, exhibit, and Trash Fashion and Costume Contest, 5-9 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., $5, 505-988-1234,; continues Saturday and Sunday,


American Indian Photo Encaustic Studio 1036 Canyon Rd. Anasazi: Stone & Bone, new work by Angel Wynn, reception 5-7 p.m., through December. Phil Space 1410 Second St., 505-983-7945. A Roswell Sojourn/A Prairie Return, paintings by Jerry West, reception 5-8 p.m., through December. Santa Fe Time Bank 1219 Luisa St., Suite 1, 505-490-2119. Holiday group show, reception 5-7 p.m. Verve Gallery of Photography 219 E. Marcy St., 505-982-5009. La Rêve, works by Susan kae Grant (see story, Page 48), Kamil Vojnar, and Krzysztof Wladyka, reception 5-7 p.m., through Jan. 11. Zane Bennett Contemporary Art 435 S. Guadalupe St., 505-982-8111. Ruminative Figures, sculpture by Dunham Aurelius, reception 5-7 p.m., through Dec. 27.


¡Chispa! at El Mesón The Three Faces of Jazz and friends, 7:30 p.m., no cover. Cowgirl BBQ Jim Almand, Americana, blues, and rock, 5-7:30 p.m.; Jay Boy Adams & Zenobia with Mister Sister, R & B, 8:30 p.m., no cover. Duel Brewing TV Killers, alt. rock, 7 p.m., no cover. El Cañon at the Hilton Gerry Carthy, tenor guitar and flute., 7 p.m., no cover. El Farol Rolling Stones tribute band Little Leroy and His Pack of Lies, 9 p.m., no cover. Junction Rock cover band Chango, 10 p.m., no cover. La Fiesta Lounge at La Fonda Local country band Boris & The Salt Licks, 8 p.m., no cover. La Posada de Santa Fe Resort and Spa Nacha Mendez Trio, pan-Latin rhythms, 6:30-9:30 p.m., no cover. Pranzo Italian Grill Geist Cabaret with David Geist, 6-9 p.m., call for cover. Tiny’s Classic-rock band The Jakes, 8:30 p.m., no cover. Upper Crust Pizza Gary Paul sings and tells tall tales, 6-9 p.m., no cover.


TGIF recital The Santa Fe Women’s Ensemble performs works by Singh, Lange, Gjeilo, Durufle, Antognini, and Saraola, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., no charge, donations welcome, 505-982-8544, Ext. 16.


Disappear Fear Sonia Rutstein and her pop-folk band, 7 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $15 in advance at, $23 at the door. Sandra Wong The instrumentalist performs music from around the world on fiddle and nyckelharpa, 7:30 p.m., Gig Performance Space, 1808-H Second St., $20,

Saturday 16


Our Lady of 121st Street Stephen Adly Guirgis’ comedy about a missing corpse, 7 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12-$15, discounts available,, 505-988-1234. The Mountaintop Fusion Theatre presents Katori Hall’s drama reimagining events the night prior to the assassination of Martin Luther King, Jr., 8 p.m., the Lensic, $20-$40, student discounts available,, 505-988-1234. The Hobbit Santa Fe Performing Arts’ City Different Players (ages 7 to 12) present J.R.R. Tolkien’s classic for the stage, 7 p.m., Armory for the Arts, 1050 Old Pecos Trail, $8, 505-984-1370. The Jungle Book Pandemonium Productions presents the musical based on the 1967 Disney film,

Pasa’s Little Black Book......... 62 Elsewhere............................ 64 People Who Need People..... 64 Pasa Kids............................ 64 In the Wings....................... 65

compiled by Pamela Beach,


Karan Ruhlan Gallery shows work by Mary Long-Postal, 225 Canyon Rd.

7 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., call 505-982-3327 for tickets or visit

Student poetry reading New Mexico School for the Arts poetry students share their poems and songs, 6 p.m., Collected Works Bookstore, 202 Galisteo St., no charge, 505-988-4226.



Film as Liberal Art: Reading Francis Ford Coppola’s The Godfather St. John’s College tutors explore the 1972 film, 3:15 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, no charge, 505-984-6000.

At the Galleries.................... 66 Libraries............................. 66 Museums & Art Spaces........ 66 Exhibitionism...................... 67

DJ at Dance Station Varied DJ’d music, class 7-7:30 p.m., dancing 7:30-9 p.m. every first and third Friday of the month, 910 W. Alameda St., Solana Center,, $5.

Nedra Matteucci Galleries 1075 Paseo de Peralta, 505-982-4631. Leon Gaspard: Impressions of Russia and the Faraway, retrospective exhibit, reception 2-4 p.m., through December. Flying Cow Gallery Warehouse 21, 1614 Paseo de Peralta, 505-989-4423. Group show of Day of the Dead-themed works, reception 5-9 p.m., through Dec. 2.


Cathy Faber’s Swingin’ Country Band The local group hosts its monthly swing dance, 7-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $15, ▶▶▶▶▶▶▶▶

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, 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 or See our calendar at, and follow Pasatiempo on Facebook and Twitter. PASATIEMPOMAGAZINE.COM



High Mayhem Fall Concert Series 2013 Performances by Out of Context Guitar Choir, Angelo Harmsworth, the QT, the Starlit Mire, and Ink on Paper, 7 p.m., High Mayhem Emerging Arts, 2811 Siler Ln., $10 suggested donation, Max Gomez New Mexico singer/songwriter, 7 p.m., High Desert Guitars, 111 N. Guadalupe St., $15,, 505-328-2918. Rory Block Delta blues, 7:30 p.m., Garrett’s Desert Inn, 311 Old Santa Fe Trail, $28 in advance at, $30 at the door (see story, Page 30). Santa Fe Public Schools Music Fest SFPS music faculty and friends cabaret, with host Oliver Prezant, conductor of the Santa Fe Community Orchestra, 8-10 p.m., Pranzo Italian Grill, 540 Montezuma Ave., $15; $25 per couple,, 505-474-0240.


Our Lady of 121st Street Stephen Adly Guirgis’ comedy about a missing corpse, 7 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12-$15, discounts available,, 505-988-1234. The Mountaintop Fusion Theatre presents Katori Hall’s drama reimagining events the night prior to the assassination of Martin Luther King, Jr., 2 and 8 p.m., the Lensic, $20-$40, student discounts available,, 505-988-1234. Global Dance and Music Concert Funky Afro-house dance with Jaime Duggan, West African dance with Elise Gent and D’jeune D’jeune, Bollywood and Kathak dance with Alina Deshpande; fundraiser for Golden Acorns Summer Camp, 6:30 p.m., Railyard Performance

317 Aztec 20-0150 317 Aztec St., 505-8 the Inn Agoyo Lounge at E. Alameda St., 3 30 a ed on the Alam 21 -21 84 5-9 50 nt Anasazi Restaura Anasazi, the of Inn d oo Rosew e., 505-988-3030 113 Washington Av Betterday Coffee 5-555-1234 50 905 W. Alameda St., nch Resort Ra e Bishop’s Lodg Lodge Rd., ps ho Bis 97 12 a & Sp 77 505-983-63 Café Café 5-466-1391 500 Sandoval St., 50 ó ay Casa Chim 5-428-0391 409 W. Water St., 50 ón es M ¡Chispa! at El 505-983-6756 e., Av ton ing ash 213 W Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. te Café The Den at Coyo 5-983-1615 50 , St. r 132 W. Wate Duel Brewing 5-474-5301 1228 Parkway Dr., 50 lton Hi e El Cañon at th 88-2811 5-9 50 , St. al ov nd Sa 100


PASATIEMPO I November 15-21, 2013

Center, 1611-B Paseo de Peralta, $15 suggested donation; $5 for teens; ages 12 and under free, 505-795-0979. The Hobbit Santa Fe Performing Arts’ City Different Players (ages 7 to 12) present J.R.R. Tolkien’s classic for the stage, 2 p.m., Armory for the Arts, 1050 Old Pecos Trail, $8, 505-984-1370. The Jungle Book Pandemonium Productions presents the musical based on the 1967 Disney film, 2 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., call 505-982-3327 for tickets or visit WTF! Where’s My Community? Community Learning Collaborative’s social issues theater production, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, Suite B, $12, discounts available, 505-986-0541.


Susan Weber The local author discusses her book Nativities of the World, 2 p.m., Garcia Street Books, 376 Garcia St., no charge, 505-986-0151. Artist talk Joseph Ascensión López, Diego López, Byron Martinez, and Thomas Vigil discuss their works in Red Dot’s annual Día de los Muertos show, 1-2:30 p.m., Red Dot Gallery, 826 Canyon Rd., no charge, 505-820-7338. Darylle Mak The local writer signs copies of her graphic novel Ambrosia, 2:30-6:30 p.m., Hastings Books, Movies, and Videos, 542 N. Guadalupe St., no charge, 505-699-3411. From Burma to Myanmar Slide presentation by Ken Collins, 5 p.m., Travel Bug Books, 839 Paseo de Peralta, no charge,, 505-992-0418.

Pasa’s little black book Spa Eldorado Hotel & St., 505-988-4455 o isc nc Fra 309 W. San El Farol 5-983-9912 808 Canyon Rd., 50 ill Gr & El Paseo Bar 92-2848 5-9 50 , St. teo lis Ga 208 Evangelo’s o St., 505-982-9014 200 W. San Francisc erging Arts High Mayhem Em -2047 38 5-4 50 ., 2811 Siler Ln Hotel Santa Fe ta, 505-982-1200 1501 Paseo de Peral asters Iconik Coffee Ro -0996 28 5-4 50 , St. na Le 00 16 La Boca 5-982-3433 72 W. Marcy St., 50 ina La Casa Sena Cant 5-988-9232 50 e., Av e 125 E. Palac at La Fonda La Fiesta Lounge , 505-982-5511 St. o isc 100 E. San Franc a Fe Resort nt Sa de La Posada Ave., 505-986-0000 e lac and Spa 330 E. Pa g Arts Center Lensic Performin St., 505-988-1234 o 211 W. San Francisc e Lodge Th at ge un Lo e Lodg Francis Dr., St. N. 0 75 Fe at Santa 505-992-5800

K.B. Laugheed The author reads from her novel The Spirit Keeper, 6 p.m., Collected Works Bookstore, 202 Galisteo St., no charge, 505-988-4226. Native Peoples of North America: What They Grew and Gathered A talk by naturalist Bill Dunmire, 3-5 p.m., Cerrillos Hills State Park Visitor Center, 37 Main St., Cerrillos, 16 miles south of Santa Fe off NM 14, donations welcome, 505-474-1096.


Santa Fe Artists Market 8 a.m.-1 p.m. Saturdays at Railyard Park across from the Farmers Market, through November, 505-310-1555. Santa Fe Farmers Market Featured event, mobile MoGro Store showcase, 8 a.m.-1 p.m., Railyard Plaza and Farmers Market Pavilion, 1607 Paseo de Peralta, free.


Annual Holiday Fair Shop for needlework, stained glass, woodwork, jewelry, toys, and more; sponsored by the Santa Fe County Extension Association of New Mexico, 10 a.m.-3 p.m., Santa Fe County Fairgrounds, 3229 Rodeo Rd., no charge. CCA swap meet Electronics, furniture, artwork, movie posters, and other ephemera associated with the organization, 10 a.m.-1 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, 505-982-1338. Mandala sand painting opening ceremony The monks of Drepung Loseling Monastery construct a mandala for environmental healing, 2 p.m., construction continues 10 a.m.-5 p.m. Wednesday-Sunday through Dec. 8, Seret & Sons Gallery, 121 Sandoval St.,, no charge. Our Bodies of Water in Watercolor Inspired by O’Keeffe’s connection to Lake George, participants will create watercolor paintings of bodies of water with special meaning to them; bring photos, 9:30-11:30 a.m., Georgia O’Keeffe Museum, 217 Johnson St., no charge, or 505-946-1039. Recycle Santa Fe Art Festival Recycled art market and exhibit, 9 a.m.-5 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., no charge,, concludes on Sunday.

Low ’n Slow Lowrider Bar at Hotel Chimayó de Santa Fe 125 Washington Ave., 505-988-4900 The Matador 116 W. San Francisco St., 505-984-5050 The Mine Shaft Tavern 2846 NM 14, Madrid, 505-473-0743 Museum Hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Garrett’s Desert Inn 311 Old Santa Fe Trail, 505-982-1851 Omira Bar & Grill 1005 S. St. Francis St., 505-780-5483 The Palace Restaurant & Saloon 142 W. Palace Ave, 505-428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 505-986-0022 Pranzo Italian Grill 540 Montezuma Ave., 505-984-2645 Rouge Cat 101 W. Marcy St., 505-983-6603 San Francisco Street Bar & Grill 50 E. San Francisco St., 505-982-2044 Santa Fe Community Convention Center 201 W. Marcy St., 505-955-6705 Second Street Brewer y 1814 Second St., 505-982-3030

Chispa! at El Mesón Ryan Finn Quartet, Caribbean-infused jazz, 7:30 p.m., no cover. El Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7 p.m., no cover. El Farol Sean Healen, classic rock, 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 Local country band Boris & The Salt Licks, 8 p.m., no cover.


Museum of International Folk Art 706 Camino Lejo, Museum Hill, 505-476-1200. Brasil and Arte Popular, exhibit of more than 350 pieces from the museum’s Brazilian collection, including prints, sculptures, and costumes, reception 1-4 p.m. with music and printmaking activities for kids, through Aug.10.


Cantu Spiritus Chamber Choir In Love and War, poetry readings by actors Michael Graves and Jennifer Graves, accompanied by the choir, 3 p.m., Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20,, students no charge.

Second Street Brewery at the Railyard 1607 Paseo de Peralta, 505-989-3278 Steaksmith at El Gancho 104-B Old Las Vegas Highway, 505-988-3333 Sweetwater Harvest Kitchen 1512-B Pacheco St., 505-795-7383 Taberna La Boca 125 Lincoln Ave., Suite 117, 505-988-7102 Thunderbird Bar & Grill 50 Lincoln Ave., 505-490-6550 Tiny’s 1005 St. Francis Dr., 505-983-9817 The underground at Evangelo’s 200 W. San Francisco St., 505-819-1597 upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000 Vanessie 427 W. Water St., 505-982-9966 Warehouse 21 1614 Paseo de Peralta, 505-989-4423 Zia Diner 326 S. Guadalupe St., 505-988-7008

Santa Fe Concert Association Family Concert Series Music by Bach, Corelli, and Brahms as well as the premiere presentation of March and Fugue by 12-year-old violinist Ezra Shcolnik of Santa Fe launches the series, 4 p.m., United Church of Santa Fe, 1804 Arroyo Chamiso, $10,, 505-988-1234.


Our Lady of 121st Street Stephen Adly Guirgis’ comedy about a missing corpse, 2 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12-$15, discounts available,, 505-988-1234. Another Step in the Journey An intergenerational concert of music, poetry, and dance, featuring the Lifesongs Choir, students, and elders, 1 and 4 p.m. performances, Academy for the Love of Learning, 133 Seton Village Rd., no charge, 505-995-1860, The Hobbit Santa Fe Performing Arts’ City Different Players (ages 7 to 12) present J.R.R. Tolkien’s classic for the stage, 2 p.m., Armory for the Arts, 1050 Old Pecos Trail, $8, 505-984-1370. The Jungle Book Pandemonium Productions presents the musical based on the 1967 Disney film, 2 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., call 505-982-3327 for tickets or visit WTF! Where’s My Community? Community Learning Collaborative’s social issues theater production, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, Suite B, $12, discounts available, 505-986-0541.


In the Country of Empty Crosses Arturo Madrid reads from his memoir, which explores the lands and people of remote northern New Mexico, 2 p.m., Garcia Street Books, 376 Garcia St., no charge, 505-986-0151. A marathon reading of The Road Participants take turns reading aloud from Cormac McCarthy’s best-selling novel; join in for part or all of the reading; copies of the book will be available for loan or purchase, or bring your own copy, 2 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, $5 suggested donation, Muse Times Two Poetry Series Eleni Sikelianos reads from her collection The Loving Detail of the Living & the Dead; Sherwin Bitsui reads from his collection Flood Song, 4 p.m., Collected Works Bookstore, 202 Galisteo St., no charge, 505-988-4226.


An evening with the Harvey Girls Premiere screening of The Harvey Girls: Opportunity Bound, followed by a reception with the filmmaker, 4-7 p.m., New Mexico History Museum Auditorium, 113 Lincoln Ave., $80-$100, tickets available at the museum shop or by calling 505-982-9543. Israeli dances Weekly on Sundays, 8 p.m., Odd Fellows Hall, 1125 Cerrillos Rd, $5 donation at the door, call 505-466-2920 for details. Mandala sand painting The monks of Drepung Loseling Monastery construct an Amitayus sand mandala for environmental healing, 10 a.m.-5 p.m. Wednesday-Sunday through Dec. 8, Seret & Sons Gallery, 121 Sandoval St., no charge, Recycle Santa Fe Art Festival Recycled art market, juried exhibit, and trash fashion contest, 10 a.m.-5 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., no charge,

Kalyaya Tjukurpa, by Kay Baker, Chiaroscuro Contemporary Art, 702½ Canyon Rd.

Western art auction Including works by Albert Bierstadt, E.I Couse, Edward Curtis, Frederic Remington, and Glenna Goodacre, 11 a.m., Altermann Galleries & Auction Facility, 345 Camino del Monte Sol,, 505-690-3514.


Cowgirl BBQ Broomdust Family Revival, noon3 p.m.; Ray Tarantino, Nashville folk-rock singer/ songwriter, 8 p.m., no cover. La Fiesta Lounge at La Fonda Sunday’s classic movie night, 6 and 8 p.m., no cover. La Posada de Santa Fe Resort and Spa Cowboy singer and guitarist Wiley Jim., 7 p.m., No cover.


Aboriginal Cotton Production in Northern New Mexico: Archaeological and Ethnographic Perspective A Southwest Seminars lecture with Richard I. Ford and Glenna Dean, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12, Growth of the Galleries Katherine Ware, New Mexico Museum of Art curator of photography, chronicles the impact that photography has had on New Mexico art history, from photographic surveys to commercial galleries, 10-11:30 a.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave.,, $5, 505-476-5072. Susan Topp Weber The author discusses her book Nativities of the World, 6 p.m., Collected Works Bookstore, 202 Galisteo St., no charge, 505-988-4226. The Caste System in New Mexico and New Spain Lecture by historian Rob Martinez, 2-3 p.m., Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, $10,, 505-982-2226.


Weekly all-ages informal swing dances Lessons 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance only $3, lesson and dance $8, 505-473-0955.


Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m. weekly, no cover. El Farol Jazz saxophonist Trey Keepin, 7 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 Blues band Night Train, 7:30-11 p.m., no cover.

Tuesday 19 IN CONCERT

Charles Lloyd & Bill Frisell Jazz reedist/composer, with Reuben Rogers on bass, Eric Harland on drums, and Bill Frisell on guitar, 7 p.m., the Lensic, $20-$45,, 505-988-1234 (see story, Page 24).


Alfred Stieglitz at Lake George Discussion of the book by John Szarkowski, 6-7:30 p.m., Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., no charge, 505-946-1039, Hakim Bellamy The Albuquerque poet laureate reads recent works, 7 p.m., O’Shaughnessy Performance Space, 1600 St. Michael’s Drive, no charge, 505-473-6200. Paul Bogard The author discusses his book The End of Night: Searching for Natural Darkness in an Age of Artificial Light, 7 p.m., Santa Fe Prep, 1101 Camino de Cruz Blanca, no charge,

The Decline and Fall of the Neolithic Mega-city at Çatalhöyük Dr. Arkadiusz Marciniak (University of Poznan, Poland) discusses the ancient settlement, 6:30 p.m., doors open at 6 p.m., Scottish Rite Center, 463 Paseo de Peralta, $20, Friends of Archaeology lecture, 505-982-7799 (see story, Page 46). Tim Z. Hernandez The author reads from his book Mañana Means Heaven, 6 p.m., Collected Works Bookstore, 202 Galisteo St., no charge, 505-988-4226 (see story, Page 18).


International folk dances Weekly on Tuesdays, lessons 7-8 p.m., dance 8 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5 donation at the door, call 505-501-5081 or 505-466-2920 for details. Santa Fe Farmers Market 8 a.m.-1 p.m., Railyard Plaza and Farmers Market Pavilion, 1607 Paseo de Peralta, no charge.


Cowgirl BBQ Singer/songwriter Eryn Bent, 8 p.m., no cover. El Farol Canyon Road Blues Jam, 8:30 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 Blues band Night Train, 7:30-11 p.m., no cover.

Wednesday 20 BOOKS/TALKS

Friends of the Wheelwright book club Discussion of I’ll Go and Do More: Annie Dodge Wauneka, Navajo Leader and Activist by Carolyn Niethammer, 1:30 p.m., Wheelwright Museum of the American Indian, 704 Camino Lejo, Museum Hill, no charge, 505-471-4970. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM


Luís Alberto Urrea The writer in conversation with Michael Silverblatt, a Lannan Foundation Readings and Conversations event, 7 p.m., the Lensic, $6, seniors and students $3, 505-989-1234, (see story, Page 38). New Mexico Forests: Past, Present, and Future A lecture by research ecologist Craig D. Allen, 6:30 p.m., Christ Lutheran Church, 1701 Arroyo Chamiso, no charge, 505-690-5105. Retracing Audubon: Contemporary Views Photographer Krista Elrick’s slide presentation about the writings and artwork of John James Audubon, 6 p.m., Photo-eye Gallery, 370-A Garcia St., no charge, 505-988-5152, Ext. 112, or 505-438-4441. Richard McCord The author discusses his book No Halls of Ivy: The Gritty Story of the College of Santa Fe, 5:30 p.m., Fogelson Library, SFUA&D, 1600 St. Michael’s Dr., no charge (see Subtexts, Page 14). Wednesday Spotlight Tour A docent-led talk on Tasha Ostrander’s 26 Thousand Butterflies, 12:15 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $5, What Are We Waiting For? A dharma talk with Gina Jiryu Horrocks, 5:30-6:30 p.m., Upaya Zen Center, 1404 Cerro Gordo Rd., no charge, donations appreciated, 505-986-8518,


Cowgirl BBQ Rock singer/songwriter Tiffany Christopher, 8 p.m., no cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, classical country, 7:30-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Omar Villanueva, Latin fusion, 7 p.m., no cover.


Pop Gallery 142 Lincoln Ave., Suite 102, 505-820-0788. Wild Rumpus, 50th anniversary tribute to the late children’s book author/ illustrator Maurice Sendak, through December.


The Secret War Monologist Mike Daisey’s new work exploring national security, privacy, and freedom, 7 p.m., the Lensic, $10 and $20,, 505-988-1234, encore Nov. 23 (see story, Page 22). Ferocity and Poetry: AMFlamenco Adriana Maresma Fois, José Moro, Juan Gomez, and Rocio Soto, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, Suite B, $23, 505-424-1601,


Dawn Wink The local author/professor reads from and signs copies of Meadlowlark, 6 p.m., Jemez Room, Santa Fe Community College, 6401 Richards Ave., no charge. Santa Fe Art Institute Monthly open Studio Meet-and-greet with writers and artistsin-residence, 5:30 p.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., no charge, 505-424-5050. SFAI 140 Meet-and-greet for Santa Fe Art Institute’s new director, Sanjit Sethi, 7 p.m., Santa Fe Art Institute, SFUA&D, 1600 St. Michael’s Dr., no charge, 505-424-5050 (see story, Page 44).


Mandala sand painting The monks of Drepung Loseling Monastery construct an Amitayus sand mandala for environmental healing, Seret & Sons Gallery, 64

PASATIEMPO I November 15-21, 2013

lectures, and Bosque del Apache National Refuge tours, birdwatching begins at 5:30 a.m. Tuesday, Nov. 19, events continue daily through Sunday, Nov. 24, event prices vary, for details visit

▶ people who need people Actors/Filmmakers/Musicians

Flying Fish Studio shows drawings by Peter Weiss, 821 Canyon Rd.

121 Sandoval St., no charge, construction continues 10 a.m.-5 p.m. Wednesday-Sunday through Dec. 8,


Cowgirl BBQ Don Curry and Pete Springer, classic-rock duo, 8 p.m., no cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, classical country, 7:30-11 p.m., no cover. Low ‘n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe Gerry Carthy, tenor guitar and flute, 9 p.m., call for cover. Rouge Cat Techno and house beats with DJ Feathericci, 9:30 p.m., call for cover, 21+. The Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m., no cover.

▶ Elsewhere AlbuquErquE

Chatter Sunday The ensemble performs Beethoven’s String Quartet No. 9 in C Major and David Lang’s Wed; a poetry reading by Sherwin Bitsui follows, 10:30 a.m. Sunday, Nov. 17, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-242-4600. Open 9 a.m.-5 p.m. Tuesday-Sunday; adults $4 ($1 discount for NM residents); seniors $2; children ages 4-12 $1; 3 and under no charge; the first Wednesday of the month and 9 a.m.1 p.m. Sundays no charge. National Hispanic Cultural Center 1701 Fourth St. S.W., 505-246-2261. En la Cocina With San Pascual, works by New Mexico artists. Open 10 a.m.-5 p.m. Tuesday-Sunday, no charge. UNM Art Museum 1701 Fourth St. S.W., 505-724-4771, From Raymond Jonson to Kiki Smith, the museum celebrates it’s 50th anniversary with exhibits of works from the permanent collection, through Dec. 21 • Andy Warhol’s Snapshots and Takes • From Rembrandt to Pollock to Atget • Agnes Martin: The Early Years 1947-1957 • Life’s a Beach, work by Martin Parr, through Dec. 14. Open 10 a.m.-4 p.m. Tuesday-Saturday; $5 suggested donation.


Bond House Museum 706 Bond St., 505-747-8535. Visions of the Heart, Images of the Road: Three Views From El Rito, works by Susan Guevara, Nicholas Herrera, and David Michael Kennedy, through Dec. 20. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Open noon-3:30 p.m. MondayWednesday, noon-4 p.m., no charge.

los AlAmos

Bradbury Science Museum 1350 Central Ave., 505-667-4444. Open 10 a.m.-5 p.m. Tuesday-Saturday, 1-5 p.m. Sunday-Monday, no charge. Pajarito Environmental Education Center 3540 Orange St. Exhibits of flora and fauna of the Pajarito Plateau; an herbarium, live amphibians, and butterfly and xeric gardens. Open noon4 p.m. Tuesday-Friday, 10 a.m.-1 p.m. Saturday, no charge,


E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish colonial antiques. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m. Sunday. Adults $8, under 16 $4, children under 5 no charge. Harwood Museum of Art 238 Ledoux St., 575-758-9826. The Harwoods: Burt Harwood • Historic Photographs • Highlights From the Taos Municipal Schools Historic Art Collection; visit for full schedule of ancillary events. 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. Kit Carson Home & Museum 13 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 10 a.m.-5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge.


Festival of the Cranes Annual celebration of the cranes’ return to their wintering grounds, including workshops,

Auditions for Benchwarmers Eight one-act plays, all ages and experiences welcome, auditions 1 p.m. Saturday, Dec. 14, and 6:30 p.m. Sunday, Dec. 15, Santa Fe Playhouse, 142 E. DeVargas St., 505-988-4262 or for information. Auditions for The Lyons All ages and ethnicities, noon Saturday, Dec. 7, 6:30 Sunday, Dec. 8, Santa Fe Playhouse, 142 E. DeVargas St., 505-988-4262 or for information. Reel New Mexico Independent Film Series New Mexico filmmakers may submit shorts, narrative and documentary features, student films, and works-in-progress through 2013; for more information or to submit a film, contact Santa Fe Bandstand Applications to perform at the 2014 Santa Fe Bandstand are being accepted; Nov. 29 deadline for submissions; visit


Fight Illiteracy Literacy Volunteers of Santa Fe will train individuals willing to help adults learn to read, write, and speak English; details available online at, or call 505-428-1353. Many Mothers Assist new mothers and families, raise funds, plan events, become a board member, and more; requirements and details available online at; call 505-466-3715 for more information or to schedule an interview. Santa Fe Humane Society and Animal Shelter Dogs desperately need individuals to take them on daily walks; all shifts available, call Katherine at 505-983-4309, Ext. 128. Santa Fe Women’s Ensemble Always in need of ushers for concerts; to volunteer email or call 505-954-4922. St. Elizabeth Shelter Help with meal preparation at residential facilities and emergency shelters; other duties also available; contact Rosario, 505-982-6611, Ext. 108,

▶ pasa Kids Tranquil-music concert Sees the Day and Crystal Bowls, 4-5:30 p.m. Saturday, Nov. 16, Warehouse 21, $8, infants and toddlers no charge with one adult, 505-989-4423. Children’s Water Conservation Poster Contest Students grades 1-6 invited to submit posters, call 505-955-4225 or visit santafenm. gov/waterconservation for guidelines, entry deadline Friday, Nov. 22. The Food Depot L.o.V.E. program Child-friendly projects for ages 3 and older (accompanied by an adult) are available between 1 and 3 p.m. the third Friday of each month; contact Viola Lujan, 505-471-1633, Ext. 11, or Preschooler’s Story Hour 10:45 a.m. weekly on Wednesdays and Thursdays, Collected Works Bookstore, 202 Galisteo St., 505-988-4226. ◀

In the wings MUSIC

Santa Fe Music Collective vocal series Catherine Donovan with Brian Bennett on piano, Andy Zadrozny on bass, and John Trentacosta on drums, 7 p.m. Friday, Nov. 22, Museum Hill Cafe, 710 Camino Lejo, $25, 505-983-6820, Serenata of Santa Fe Windstream, music of Beethoven, Thuille, and Poulenc, 3 p.m. Sunday, Nov. 24, Scottish Rite Center, 463 Paseo de Peralta, $25; discounts available, 505-989-7988. Santa Fe Symphony Orchestra & Chorus Handel’s Messiah, 4 p.m. Sunday, Nov. 24, pre-concert lecture 3 p.m., the Lensic, $20-$70,, 505-988-1234. Third Annual Winter Solstice Concert Music of Bach, Handl, Monteverdi, and Palestrina, 4 p.m. Sunday, Dec. 1, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., call 505-474-4513 for tickets. Drummin’ Man Gene Krupa tribute with percussionist John Trentacosta and vocalist Catherine Donovan, 6 p.m. Sunday and Monday, Dec. 1-2, La Casa Sena Cantina, $25, 505-988-9232. Leahy Family: A Celtic Holiday Irish folk band, 7:30 p.m. Monday, Dec. 2, the Lensic, $20-$55, 505-984-8759 or, 505-988-1234. The King’s Singers British vocal ensemble, 7:30 p.m. Friday, Dec. 6, Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Pl., $20-$55. Brian Wingard Jazz saxophonist, 7 p.m. Friday, Dec. 6, with bassist Colin Deuble, pianist Chris Ishee, and percussionist John Trentacosta, 7 p.m. Friday, Dec. 6, Museum Hill Cafe, 710 Camino Lejo, $25,, 505-983-6820. Sangre de Cristo Chorale The 45-member ensemble presents Deo Gracias, 3 p.m. Sunday, Dec. 8, First Presbyterian Church of Santa Fe, 208 Grant Ave., $20 in advance and at the door, Roger Landes and Douglas Goodhart Bouzouki and fiddle music from the Irish, French, French-Canadian, and Balkan traditions, 7:30 p.m. Thursday, Dec. 12, Gig Performance Space, 1808-H Second St., $20 at the door, Ian Moore Blues/rock guitarist. 7:30 p.m. Thursday, Dec. 12, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25 in advance at, $29 at the door. Dan Hicks Singer/songwriter, 7:30 p.m., Greer Garson Theater, SFUA&D, 1600 St. Michael’s Dr., $34-$44, 505-988-1234, The Met Live in HD James Levine conducts Verdi’s opera Falstaff, 6 p.m. Saturday, Dec. 14, the Lensic, $22-$28,, 505-988-1234. Santa Fe Desert Chorale The 2013 Winter Festival opens with Carols and Lullabies, 8 p.m. Saturday Dec. 14, Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Pl., $15-$65; student discounts available, visit for details and full schedule of concerts to Dec. 23.

Santa Fe Symphony Orchestra & Chorus: Christmas Treasures An afternoon of Christmas favorites, 4 p.m. Sunday, Dec. 15, the Lensic, $20-$70,, 505-988-1234. Chuscales Local flamenco guitarist in Forever in My Heart, annual flamenco holiday concert, visit for details, 7:30 p.m. Friday and Saturday, Dec. 20-21, El Museo Cultural de Santa Fe, 555 Camino de la Familia, $30 in advance at Pink Martini Latin, jazz, and classic pop orchestra, 7:30 p.m. Monday, Jan. 20, the Lensic, $54-$84, 505-988-1234, Ray Wylie Hubbard Country, folk, and blues, 7:30 p.m. Sunday, Jan. 26, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $25 in advance at, $29 at the door.


Under One Umbrella Festival The public is encouraged to share five- to ten-minute creativity-themed performances, Friday and Saturday, Nov. 22-23, Teatro Paraguas Studio, 3205 Calle Marie, no charge, visit teatroparaguas. org for full schedule of events.

Upcoming events A Christmas Carol Santa Fe Playhouse presents Charles Dickens’ classic adapted by Doris Baizley, Friday, Dec. 6, Santa Fe Playhouse, 142 E De Vargas St, preview $10; opening gala $30; general admission $20; discounts available;, 505-988-4262. Einstein: A Stage Portrait Tom Schuch appears in the award-winning one-man show, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, Dec. 6-8, Teatro Paraguas Studio, 3205 Calle Marie, Suite B, $16, $12 seniors and students, 505-424-1601. The Second City Comedy-theater troupe. 7 p.m. Saturday, Dec. 7, the Lensic, 211 W. San Francisco St., $27-$44,, 505-988-1234. Winter Dance SFUA&D Garson Dance Company presents new works. 7 p.m. Wednesday, Dec. 11, Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, Paula Poundstone Stand-up comedian. 7:30 p.m. Friday, Dec. 13, the Lensic, $27.50 and $35,, 505-988-1234. Jewels of Bellydance Bellydancing showcase. 8 p.m. Saturday, Dec. 14, The Dance Barns, 1140 Alto St., $15-$25, 505-988-1234, Annie Presented by Musical Theatre Works Santa Fe, 7 p.m. Friday, Dec. 20, Greer Garson Theatre, 1600 St. Michael’s Dr., $15 in advance at, student discounts available, $20 at the door, 505-946-0488. The Nutcracker Aspen Santa Fe Ballet presents the holiday favorite, 2 and 7:30 p.m. Saturday, 1 and 5 p.m. Sunday, Dec. 21-22, the Lensic, $25-$72, aspensantafe or, 505-988-1234.


From Zapruder to Taksim Square An event marking the 50th anniversary of the Kennedy assassination, featuring journalists Richard Stolley and Hal Wingo, 7 p.m. Friday, Nov. 22, Lensic Performing Arts Center, 211 W. San Francisco St., no charge. Twenty-fifth AID & Comfort Gala Presented by Southwest CARE Center; featuring theatrical singer Prince Poppycock, a VIP reception, and a silent auction, 6 p.m. Saturday, Nov. 23, Eldorado Hotel & Spa, 309 W. San Francisco St., $50 and $200, 505-216-1541. Eighth Annual SWAIA Winter Indian Market More than 200 participants; artist demonstrations; fashion show; and silent art auction. 9 a.m.-5 p.m. Saturday and Sunday, Nov. 30-Dec. 31, Santa Fe Community Convention Center, 201 W. Marcy St., $10 per day, $15 weekend pass, tickets available at the door only, visit for details. Traditional Winter Spanish Market Juried artisans carrying on the work of 17thand 18th-century Spanish colonial arts, Friday and Saturday, Nov. 29-30. 9-5 p.m. Friday, Nov. 29, Hotel Albuquerque at Old Town, 800 Rio Grand Blvd. N.W., $6; $10 for couples; children 12 and under free,, 505-982-2226. Santa Fe Women’s Ensemble benefit Caroling party and silent auction. 5:30 p.m. Saturday, Dec. 7, Manitou Galleries, 123 W. Palace Ave., $50, 505-988-1234, The Dark Room Collective Reunion Tour A Lannan Foundation Readings & Conversations event bringing together some of the original founders of the African-American poets group; 7 p.m. Thursday, Dec. 12, participants include Natasha Trethewey, Thomas Sayers Ellis, and Tisa Bryant, the Lensic, $6, seniors and students $3, 505-988-1234,

the irish band Leahy performs Dec. 2 at the Lensic.




Andrew Smith Gallery 122 Grant Ave., 505-984-1234. Mannequin, Lee Friedlander’s photographic series, through Jan. 5. Argos Studio/Gallery Eli Levin Studio 1211 Luisa St., 505-988-1814. Work on Paper, group show of gallery artists, through Nov. 22. Back Street Bistro 513 Camino de los Marquez, 505-982-3500. Paintings, prints, and clocks by Hillary Vermont, through Jan. 4. Chiaroscuro Contemporary Art 702½ Canyon Rd., 505-992-0711. Group show of works by Austrailian Aboriginal artists and gallery artists, through Nov. 23. David Richard Gallery 544 S. Guadalupe St., 505-983-9555. Life Support: Art, Design, Sustenance, international group show of functional and interior designs, through November. Eggman & Walrus Art Emporium 130 W. Palace Ave., second floor, 505-660-0048. Fusion, group show of encaustic paintings, through Nov. 18. Ellsworth Gallery 215 E. Palace Ave. 505-989-7900. Kathryn Stedham: Alluvium, gestural abstract paintings, through Jan. 4. Flying Fish Studio 821 Canyon Rd., 505-577-4747. Arete, drawings by painter Peter Weiss, through Dec. 1. Gerald Peters Gallery 1011 Paseo de Peralta, 505-954-5700. Photographs by Chuck Forsman, through November. Jean Cocteau Cinema 418 Montezuma Ave., 505-466-5528. Billy Schenck’s southwestern and gangster Hollywood paintings, through Dec. 11. LewAllen Galleries at the Railyard 1613 Paseo de Peralta, 505-988-3250. Beyond Earth’s Rhythms, paintings by Michael Roque Collins, through Nov. 24. Photo-eye Gallery 370-A Garcia St. 505-9885159. Across the Ravaged Land, Nick Brandt’s photographic study of East Africa, through November. Red Dot Gallery 826 Canyon Rd., 505-820-7338. Fifth annual Día de los Muerto group show, through Nov. 22. Rotunda Gallery New Mexico State Capitol Building, 490 Old Santa Fe Trail, 505-986-4589. Group show of book art, through Dec. 13. Turner Carroll Gallery 725 Canyon Rd., 505-986-9800. New paintings by Igor Melnikov, through November. Zane Bennett Contemporary Art 435 S. Guadalupe St., 505-982-8111. WholeInOne, drawings by Emily Cheng; In Case of Emergency, wood assemblages by Roger Atkins, through Nov. 22.

Libraries Beaumont and Nancy Newhall Library Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 505-474-5052. Open by appointment only. Catherine McElvain Library School for Advanced Research, 660 Garcia St., 505-954-7205. Open Monday-Friday, call for hours. Chase Art History Library Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 505-473-6569. Open Monday-Friday, call for hours. Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 505-984-6041. Visit for hours of operation, $40 fee to nonstudents and nonfaculty. 66

PASATIEMPO I November 15-21, 2013

argos studio/Gallery shows work by eli Levin, 1211 Luisa st.

Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 505-476-5090. Open 1-5 p.m. Tuesday-Friday. Laboratory of Anthropology Library Museum of Indian Arts & Culture, 505-476-1264. Open 1-5 p.m. Monday-Friday, by museum admission. New Mexico State Library 1209 Camino Carlos Rey, 505-476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. Monday-Friday. Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 505-467-6825. Rare books and collections of metaphysical materials. Open Monday-Friday, call for hours. Santa Fe Community College Library 6401 Richards Ave., 505-428-1352. Open Monday-Friday, call for hours. Santa Fe Institute 1399 Hyde Park Rd., 505-984-8800. Open 1-5 p.m. Monday-Friday to current students (call for details). Visit for online catalog. Santa Fe Public Library, Main Branch 145 Washington Ave., 505-955-6780. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.-6 p.m. Friday-Saturday, 1-5 p.m. Sunday. Santa Fe Public Library, Oliver La Farge Branch 1730 Llano Street, 505-955-4860. Open 10 a.m.-8 p.m. Monday-Wednesday, 10 a.m.6 p.m. Thursday-Saturday. Closed Sunday. Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 505-955-2810. Open 10 a.m.8 p.m. Monday-Thursday, 10 a.m.-6 p.m. FridaySaturday. Closed Sunday. Supreme Court Law Library 237 Don Gaspar Ave., 505-827-4850. Online catalog available at Open 8 a.m.-5 p.m. Monday-Friday.

MuseuMs & artspaces Center for Contemporary Arts 1050 Old Pecos Trail., 505-982-1338. Atomic Surplus, multidisciplinary group exhibit surveying

the global nuclear legacy • Tony Price and the Black Hole, exhibit of ephemera from the Los Alamos Black Hole salvage yard and works from the estate of Tony Price, through Jan. 5. Gallery hours available online at or by phone. Georgia O’Keeffe Museum 217 Johnson St., 505-946-1039. Modern Nature: Georgia O’Keeffe and Lake George, through Jan. 26. Open 10 a.m.-5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Friday; $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; no charge for NM residents first Friday of each month. Museum of Contemporary Native Arts 108 Cathedral Pl., 505-983-1666. Changing Hands: Art Without Reservations 3/Contemporary Native North American Art From the Northeast and Southwest, group show • Steven J. Yazzie: The Mountain • Jacob Meders: Divided Lines; Cannupa Hanska Luger: Stereotype: Misconceptions of the Native American; exhibits continue through December. Open 10 a.m.-5 p.m.; noon-5 p.m. Sunday; closed Tuesday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays. Museum of Indian Arts & Culture 710 Camino Lejo. 505-476-1250. What’s New in New: Recent Acquisitions, through 2013 • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays. Museum of International Folk Art 706 Camino Lejo, 505-476-1200. Let’s Talk About This: Folk Artists Respond to HIV/AIDS, collaborative community exhibit, through Jan. 5 • Tako Kichi: Kite Crazy in Japan, exhibition of Japanese kites, through March • New World Cuisine: The Histories of Chocolate,

Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art • Brasil and Arte Popular, pieces from the museum’s Brazilian collection, reception Sunday, Nov. 17, through August 10. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; no charge for NM residents over 60 on Wednesdays; no charge for NM residents on Sundays; school groups no charge. Museum of Spanish Colonial Art 750 Camino Lejo, 505-982-2226. Beltrán-Kropp Peruvian Art Collection, exhibit of gift items, including a permanent gift of 60 art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso, through May 27 • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late colonial period re-creation. Open 10 a.m.5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays. New Mexico History Museum/ Palace of the Governors 113 Lincoln Ave., 505-476-5200. Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9 • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe. Open 10 a.m.5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge on Wednesdays for NM residents over 60; NM residents no charge on Sundays; free admission 5-8 p.m. Fridays. New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. Collecting Is Curiosity/Inquiry • A Life in Pictures: Four Photography Collections, through Jan. 19 • 50 Works for 50 States: New Mexico, through April 13 • Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, through Jan. 12 • It’s About Time: 14,000 Years of Art in New Mexico, through January. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents free on Sundays. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Pl., 505-988-8900. Open 10 a.m.-5 p.m. TuesdaySunday. $10 admission. Poeh Museum Poeh Center Complex, Pueblo of Pojoque, 78 Cities of Gold Rd. 505-455-3334. Fashion designs by Patricia Michaels, through November. Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.4 p.m. Saturday; donations accepted. SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. Design LAB: Next Nest, group show of furniture, lighting, and interior designs, through December. Open Thursday through Sunday. $10; seniors and students $5; no charge 10 a.m.-noon Saturday; no charge Friday Wheelwright Museum of the American Indian 704 Camino Lejo, 505-982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13. Open 10 a.m.-5 p.m., daily. Donations accepted.


A peek at what’s showing around town

Lee Friedlander: 1962-29, New York City, 2011, silver gelatin print. Reflections in glass give Lee Friedlander’s black-and-white photographs of store mannequins, light fixtures, advertisement signs, and other display items the appearance of abstract photomontages. The images toy with the viewers’ sense of perception. Mannequin, an exhibit of 15 photos Friedlander shot in New York City and New Orleans, is on view at Andrew Smith Gallery (122 Grant Ave.) through Jan. 5. Call 505-984-1234.

Angel Wynn: Hand Made, 2013, photo encaustic. In honor of Native American Heritage Month, Angel Wynn presents a tribute to the legacy of Pueblo culture in Anasazi: Stone and Bone, an exhibition of her photo encaustic work. The show opens at her studio-gallery (1036 Canyon Road) on Friday, Nov. 15, with a reception at 5 p.m. The studio will be open for viewing again on Nov. 29 and Nov. 30 from 10 a.m. to 4 p.m., and encaustic demonstrations will be offered. The studio is also open by appointment. Call 505-819-1103.

Leon Gaspard: Samarkand, 1925, oil on board. Russian artist Leon Gaspard (18821964) is known for painting the folkways and traditions of peoples in Russia, Europe, and the Southwestern United States in scenes alive with color and bustling activity. Gaspard continued to paint scenes of Russia after permanently relocating to Taos in 1918. The exhibition Leon Gaspard: Impressions of Russia and the Faraway opens with a reception at 2 p.m. on Saturday, Nov. 16, at Nedra Matteucci Galleries (1075 Paseo de Peralta). Call 505-982-4631.

Jerry West: Flight Over Roswell, 2013, oil on linen. Jerry West brings a sense of the surreal to his allegorical paintings of Southwestern landscapes. A Roswell Sojourn/A Prairie Return is an exhibition of work he began in 2012 as the Centennial Artist of the Roswell Artist-in-Residence Program. The show is at Phil Space (1410 Second St.) and opens with a 5 p.m. reception on Friday, Nov. 15. Call 505-983-7945.

Dunham Aurelius: Untitled (figure on cow skull), 2012, bronze. Sculptor Dunham Aurelius works in a variety of mediums, including wood, clay, wax, steel, and found objects. Tribal art from Oceania, Africa, and the Pacific Northwest inform his work, which has a rough-hewn appearance. Ruminative Figures, an exhibition of his sculptures, opens at Zane Bennett Contemporary Art (435 S. Guadalupe St.) on Friday, Nov. 15, with a reception at 5 p.m. Call 505-982-8111.




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