Pasatiempo November 21, 2014 by The New Mexican

The New Mexicanâ€™s Weekly Magazine of Arts, Entertainment & Culture

November 21, 2014

Messiah Mes Me esssssiiiaaahh George Frideric Handel

Now accepting Holiday Reservations!

Individual reservations, group bookings and private parties available

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231 Washington Ave. Santa Fe NM 87501

HOME

Thanksgiving 2014 | 2pm - 7pm APPETIZERS Green Chile Corn Cheddar Soup - 7.00 Crispy Herbed Calamari with Spicy Lime Dipping Sauce - 10.00 Black Mediterranean Mussels Chipotle, Mint & Aromatics-14.00 Tuna & Salmon Tartare Capers, Fried Plantains, Mango & Avocado Salsa - 16.00 Golden & Red Beets, Goat Cheese, Pistachios and Balsamic Vinaigrette – 14.00 Arugula, Fennel & Roasted Almond Salad with Lemon Vinaigrette– 14.00 Grilled Pear & Bibb Lettuce Salad Ricotta, Pepitas, & Balsamic Vinaigrette - 13.00 Crab Cakes & Citrus Salad with Ginger Mango Sauce - 15.00 Grilled Romaine and Asparagus Salad with Crumbled Bleu Cheese, & Raspberry Chipotle Dressing - 14.00 Lobster & Shrimp Ravioli with Seafood Sauce-15.00 ENTREES Roasted Natural Turkey Rosemary Mashed Potatoes, Haricots Verts, Kabocha Squash, Saffron Pinon Stuffing, Pan Gravy, & Cranberry Relish - 28.00 Poblano Relleno Wild Rice, Spaghetti Squash, Sun Dried Tomato, Piquillo Pepper Coulis - 19.00 Grilled Wild Alaskan King Salmon Saffron Couscous, Asparagus, Sautéed Artichokes with Cherry Tomatoes & Lemon Beurre Blanc – 29.00 Natural Pork Rack Roasted Fingerling Potatoes, Brussel Sprouts, Baby Carrots & Creamy Marsala Sauce -26.00 Sautéed Sea Scallops with Creamy Risotto, Spinach & Madeira Sauce – 26.00 Grilled Spiced Duck Breast Potato & Spinach Gratin, Sautéed Broccolini, & Apricot Demi Glaze- 29.00 Grilled Ahi Tuna Parsnip Puree, Leek Fondant, Mushrooms & Port Sauce - 32.00 Braised Lamb Shanks Turnip Gratin and Sautéed Kale w/ Cranberry Cabernet Sauvignon Mint Sauce – 32.00 Grilled Filet Mignon Cantal Green Chile Creamer mashed Potatoes, Green Beans & Pink Peppercorn Sauce – 39.00 Executive Chef – Ruben Terrazas / Artwork Courtesy of ZANE-BENNETT GALLERY

548 Agua Fria / Santa Fe, New Mexico / 505-982-8608 RistraRestaurant.com

PASATIEMPO I November 21 - 27, 2014

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asted s Double Breas asted s Natural all Turkey with Cranberry ryy Relish, Green Beans A Allmondine, • Roas Sausage and Sage Stuﬃng, Mas ashed s Sweet Potatoes and Giblet Gravy vyy • Blue Cornmeal all Crusted Sal almon l with Manchego and Corn Polenta, Broccolini and Wild Mushroom Ragu • Veggie Turkey Day: Tucumcari Manchego & Corn Polenta, Broccolini, Green Beans Almondine, All Mas ashed s Sweet Potatoes, Cranberry ryy Relish and Mushroom Ragu

Desserts

kin i Pie with Spiced Chantilly Cream • Chocolate Chunk Pumpki • Deep Dish Pecan Pie with Jack Daniels Hard Sauce and Chocolate Chip Ice Cream

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PASATIEMPOMAGAZINE.COM

The Art in Wax

National Jurried Small Works Exhibition Opening Reception 11/21/14 5 - 7 PM and through 12/30/14

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PASATIEMPO I November 21 - 27, 2014

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READINGS & CONVERSATIONS brings to Santa Fe a wide range of writers from the literary world of fiction, nonfiction, and poetry to read from and discuss their work.

FRIDAY, NOVEMBER 21ST DJ QUICO

SATURDAY, NOVEMBER 22ND DJ BEATNICK

GARY SHTEYNGART with Mary

Karr

WEDNESDAY 10 DECEMBER AT 7PM LENSIC PERFORMING ARTS CENTER Gary Shteyngart was born in Leningrad, U.S.S.R., in 1972 and immigrated with his family to New York at the age of seven. Speaking of fellow Soviet Jews coming to America under Jimmy Carter, Shteyngart deadpans: “Russia gets the grain it needs to run; America gets the Jews it needs to run: all in all, an excellent trade deal.” His recent memoir, Little Failure, equal parts hilarious and heartbreaking, chronicles his early memories of the Solomon Schechter Hebrew School in Queens, New York, through university years to his present status as an established (albeit insecure) writer. …a testament to Mr. Shteyngart’s abilities to write with both self-mocking humor and introspective wisdom, sharp-edged sarcasm and aching—and yes, Chekhovian—tenderness. — Michiko Kakutani of The New York Times on Little Failure

TICKETS ON SALE NOW

ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID Video and audio recordings of Lannan events are available at:

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9th Annual

Winter Indian Market

Thanksgiving Weekend November 29–30 Santa Fe Community Convention Center santafeindianmarket.com

PASATIEMPO I November 21 - 27, 2014

C H RI S TM A S TRE E L I G H T I N G R EC EPT IO N

ANNUAL

Join us Friday, November 28 on the plaza for holiday cheer from 5pm to 7pm.

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Stuffed Poblano Chile Calabacitas, quinoa, pinenuts, mushrooms, green peas and asadero cheese, walnut cream sauce, pomegranate seeds or

Cinnamon-Maple Glazed Pork Tenderloin Harvest Apple Compote, Red Chile Scalloped Potatoes Oven Roasted Green Beans ART BY FREYR A. MARIE

GE n ER ouslY sp on so RE d B Y

Climb to the Moon with the 11th Annual Circus Luminous— Acrobats, Aerial Artists, Animation, and More!

And for Dessert- well, pie, of course! Pumpkin, Pumpkin-Pecan, Apple Crumb, Wicked Cocoa, Strawberry-Rhubarb, Pecan Price per person $35.95 Child’s Turkey Plate with small piece of pie $13.95

Make your reser vation today! Open 12-7

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PASATIEMPO I November 21 - 27, 2014

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We hope you have a plethora of reasons to celebrate this holiday season and whether you wish to toast an old friend, celebrate camaraderie amongst your office staff or just enjoy a night out we have three great restaurants waiting to make your outing a memorable one.

Over 50 unique stores, restaurants and theater North Guadalupe & Paseo de Peralta • Free Parking! • Walking Distance from Railyard & Plaza 505-982-2655 • devargascenter.com PASATIEMPOMAGAZINE.COM

THE SANTA FE NEW MEXICAN

November 21 - 27, 2014

www.pasatiempomagazine.com

ON THE COVER 32 The life of Messiah Handel’s Messiah, originally presented as an Easter piece, was first perf rformed in Dublin on April 13, 1742. The composer, a longtime London resident, wrote it in three weeks and offered it as a fundraising vehicle for hospitals and prisons. By the first half of the 19th century, the work began to drift ft from April to December perf rformances, and by the 20th century, it had become a yuletide classic. The Santa Fe Symphony and Chorus gives this masterw rwork an early outing on Sunday, Nov. 23, at the Lensic Perf rforming Arts Center. On the cover is an engraving of the composer.

MOVING IMAGES

BOOKS 16 18

42 44 48

In Other Words Welcome to Subirdia Two views of glory The Land of Little Rain

MUSIC AND PERFORMANCE 22 26 28 31 38

CALENDAR

Soundwaves Let there be Sky kylight Terrell’s Tune-Up On the scent Pasa Tempos Album reviews Random Acts La Santa Cecilia Noises on Playwrights Forum

13 15 52

Almost heaven Jennifer Schlesinger

Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 E. Marcy St., Santa Fe, NM 87501. Editorial: 505-986-3019. E-mail: pasa@sfnewmexican.com

Tinariwen (detail), photo by Brooks Saucedo-McQuade

Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com

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Assistant Editor — Madeleine Nicklin 505-986-3096, mnicklin@sfnewmexican.com

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Associate Art Director — Lori Johnson 505-986-3046, ljohnson@sfnewmexican.com

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Calendar Editor — Pamela Beach 505-986-3019, pambeach@sfnewmexican.com

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Copy Editor — Susan Heard 505-986-3014, sheard@sfnewmexican.com

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STAFF WRITERS Michael Abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Jennifer Levin 505-986-3039, jlevin@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com CONTRIBUTORS Loren Bienvenu, Taura Costidis, Ashley Gallegos-Sanchez, Laurel Gladden, Peg Goldstein, Robert Ker, Bill Kohlhaase, Iris McLister, James McGrath Morris, Robert Nott, Adele Oliveira, Jonathan Richards, Heather Roan Robbins, Casey Sanchez, Steve Terrell, Khristaan D. Villela PRODUCTION Dan Gomez Pre-Press Manager

The Santa Fe New Mexican

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Robin Martin Owner

www.pasatiempomagazine.com

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Mixed Media Star Codes Restaurant Review: Sushi Land East

ADVERTISING: 505-995-3852 santafenewmexican.com Ad deadline 5 p.m. Monday

PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com ■

Pasa Week

AND

ART 40

Keep on keepin’ on Pelican Dreams Chile Pages

Ginny Sohn Publisher

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ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007

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MARKETING DIRECTOR Monica Taylor 505-995-3824

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RETAIL SALES MANAGER - PASATIEMPO Art Trujillo 505-995-3852

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ADVERTISING SALES - PASATIEMPO Chris Alexander 505-995-3825 Amy Fleeson 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Kelly Moon 505-995-3861 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830

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GRAPHIC DESIGNERS Rick Artiaga, Jeana Francis, Elspeth Hilbert, Joan Scholl

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ADMINISTRATIVE ASSISTANT Claudia Freeman 505-995-3841

Ray Rivera Editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

NOW OPEN El Castillo’s New Health Care Center We proudly announce that the final phase of our expansion is complete.

We are now offering Assisted Living, Nursing Care and Memory Care to all area residents. Large Assisted Living Apartments, Private Single Rooms in Nursing, Spacious Santa Fe style apartments in Memory Care. Call today for more information and a tour: 505-995-2128

Quality care means quality of life. • We have proudly served the Santa Fe community since 1971.

• Our trained staff provides quality care in a comfortable setting.

• You don’t have to be a resident of El Castillo to benefit from our excellent services.

Residents are already moving into our gorgeous new private Health Care Rooms and enjoying the natural beauty of our campus from the beautiful new solarium.

Our Residents Say: Lovely Accommodations, Light, Cheery, Homelike, Warm and Comfortable Main Campus 250 East Alameda • The Garden Memory Center 239 E. DeVargas • Santa Fe • 505.988.2877 • elcastilloretirment.com PASATIEMPOMAGAZINE.COM

BLACK FRIDAY BOTOX DAY

The Mystical Arts of Tibet Santa fe, nM

NOVEMBER 28, 2014 9:00 to 5:00pm

NOV 23 - DEC 7, 2014 M andala Sand Painting live exhibition

5054280402

nov 23 - deC 7

Seret & Sons Gallery (next to Alpine Sports) 121 Sandoval St. The monks of Drepung Loseling Monastery will construct an Akshobhya sand mandala by pouring millions of grains of colored sand into place owver a period of days. The Akshobhya Buddha is the Unshakable Victor for Conflict Resolution and Peace. Opening Ceremony

NOV 23, 2 pm • FREE

Mandala Construction & Viewing

NOV 23 - 26 & NOV 28 - DEC 5 • 10 am - 4:30 pm DEC 6 - 7 • 10 am - 1 pm • FREE

Daily Meditation & Chanting

NOV 23 - 26 & NOV 28 - DEC 5 • 4:30-5:00 pm

The Drepung Loseling monks will lead chant and meditation sessions at the end of each day’s construction, giving the public an opportunity to meditate with them. By donation Closing Ceremony

DEC 7, 3:00 pm • Suggested donation $10

Meditation & Chanting by Drepung Loseling Monks

nov 26 & deC 3

Upaya Zen Center - 1404 Cerro Gordo Road

NOV 26 & DEC 3, 5:30 pm

The Drepung Loseling monks will lead chant and meditation. Public will have an opportunity to meditate with them. By donation

WorkShoP

huMan PoWer of CoMPaSSion : eMerging inSightS in CbCt reSearCh by Geshe Lobsang Tenzin Negi, Director Seret & Sons Gallery (next to Alpine Sports) - 121 Sandoval St.

$11.50 *a unit on Friday (11/28/2014) or Bank 100 units at $11.00 for future use.

deC 6

DEC 6, 2:00 - 4:30 pm

Contemplative investigator Geshe Lobsang Tenzin Negi will discuss the latest research on compassion meditation and its implications for physical and psychological well-being. The presentation will include a discussion of new findings demonstrating a positive correlation between the practice of Cognitively-Based Compassion Training and factors related to social connectivity. He will also explore how and why social connectivity contributes to individual flourishing. A question and answer period will follow the presentation. Suggested donation $45

Schedule soon – limited space available

“...a universal expression of the human subconcious... it transports you”

*minimum 25 units

In Association With

The Washington Post

www.sterlingaestheticssantafe.com

1651 Galisteo St. Sutie 6 | Santa Fe, NM 87505 | 505-428-0402

leCture : SyMboliSM of the M andala by Gala Rinpoche

deC 7

Seret & Sons Gallery (next to Alpine Sports) - 121 Sandoval St.

DEC 7, 2 pm

The Mandala is a sacred cosmogram used as an object of contemplation. It depicts the pure nature of the world in which we live as well as how we can live most effectively. By creating a sand Mandala, we bring the creative energy of that sacred dimension into our lives and attune to this natural perfection. Suggested donation $10

Mandala Closing Ceremony will follow this lecture

For information on these events, or to schedule a house blessing, please call Marcia Keegan at (505) 660-3352

c e l eb e bra ra ting 25 ye ars of music ic-ma kin ing

Chorus and Soloists

Featuring Bach’s Cantata 140, “Sleepers, Wake,” and works from Handel, Duruflé, & Paulus

Friday, November 21, 7pm Bethlehem Lutheran Church 2390 North Road, Los Alamos

Saturday, November 22, 7pm December 3 | 6-8pm UNM Continuing Education, 1634 University Blvd.

The Church of the Holy Faith 311 East Palace Avenue, Santa Fe

corodecamara-nm.org 12

PASATIEMPO I November 21 - 27, 2014

Do ac nat ce io pt ns ed gr at at th efu e d ll oo y r

Information Session

MIXED MEDIA

Sand mandala by monks of the Drepung Loseling Monastery, 2005

In-a-Vajra-da-Vida -a-Vajra-da-Vida

With his right hand touching the earth and his left clutching the vajra scepter (which represents many concepts, including indivisible enlightenment and unconquerable force), the Akshobhya Buddha (also known as the Immovable One) embodies unshakable peace in the face of conflict in Vajrayana Buddhism. The monks of the Drepung Loseling Monastery — originally based in Tibet until its seat was destroyed after the Communist takeover in 1959 and was then rebuilt in Karnataka, India — return to Santa Fe to construct an Akshobhya sand mandala at Seret & Sons Gallery (121 Sandoval St., 505-988-9152) on Sunday, Nov. 23. The traditional mandala is an elaborate, geometrically arranged Buddhist representation of the universe that is ritually composed from millions of grains of colored sand, taking several days of intense focus to create. The opening ceremony is at 2 p.m. on Sunday, Nov. 23. From 10 a.m. to 4:30 p.m., beginning on Nov. 23 and going through Wednesday, Nov. 26, visitors can watch the mandala being built, taking part in meditation sessions and chanting at the close of each day’s construction. From Nov. 28 through Dec. 5, the mandala continues to take shape, followed again by meditation sessions and chanting. On Dec. 6 and 7, the final two days of the mandala’s creation, the process comes to a close between 10 a.m. and 1 p.m. The Upaya Zen Center (1404 Cerro Gordo Road, 505-986-8518) hosts more meditation and chanting on Wednesday, Nov. 26, and again on Dec. 3, at 5:30 p.m. Donations for attending any of these activities are encouraged. On Dec. 6 at 2 p.m., Geshe Lobsang Tenzin Negi, the founder and spiritual director of the Drepung Loseling Monastery’s North American seat in Atlanta, presents a workshop, Human Power of Compassion: Emerging Insights in CBCT Research, also at Seret & Sons Gallery. His presentation addresses “cognitively-based compassion training” (CBCT) as it relates to social connectivity. There is a suggested donation of $45 to attend the workshop. At 2 p.m. on Dec. 7, H.E. Gala Rinpoche, resident teacher at the Atlanta Drepung Loseling Monastery, gives a lecture titled “Symbolism of the Mandala.” This event precedes the 3 p.m. mandala closing ceremony at Seret & Sons Gallery; there is a suggested donation of $10. All events are sponsored by the Mystical Arts of Tibet, a nonprofit that promotes the Drepung Loseling Monastery as well as Tibetan arts; donations help support the monastery. For more information, call 505-660-3352 or contact the Mystical Arts of Tibet at 404-982-6437. — Michael Abatemarco PASATIEMPOMAGAZINE.COM

Sunday ay, November 23 23—4 4 pm at The Lensi Lensic Enjoy the power and inspiration of Handel’s masterpiece with the glorious voices of The Symphony Chorus, Directed by Linda Raney.

devon Guthrie Soprano

daryl Freedman Mezzo-Soprano

Gary thor WedoW Guest Conductor

Joshua dennis Tenor

Of Gary Thor Wedow, The New York Times noted of his performance with the New York Philharmonic “a fleet, lithe orchestral performance, aptly complemented by the buoyant singing of the chorus.”

Tickets $22—$76 • 505.988.1234

Joseph Beutel Bass-Baritone

Sponsored In Part By

www.santafesymphony.org The 2014–2015 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.

SEPTEMBER 16 – DECEMBER 16, 2014

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PASATIEMPO I November 21 - 27, 2014

STAR CODES

Heather Roan Robbins

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The mood changes drastically as the sun and moon finish

burrowing through introspective Scorpio today and join Venus in upbeat, outspoken Sagittarius over the weekend. The mood stays inspired if impatiently honest through Thanksgiving. Friday begins with some urgent focus under a waning Scorpio moon — pay attention to the deeper work, but don’t get snagged on stray emotional hooks. The mood becomes lighter, brighter, more direct, and proactive after Saturday’s new moon in Sagittarius. We remember sunlight dancing on the Himalayas and fish jumping off the coast of Japan. We don’t want to stew in old or dysfunctional situations and are perfectly happy to say so in no uncertain terms; this Sagittarius lineup encourages us to change the scenery through travel, politics, or a fresh story. The moon shifts into industrious (if a bit harsh) Capricorn the first few days of next week and aids people finishing term papers and preparing for the holiday. Travel is easier on Wednesday and Thursday with the moon in friendly and opinionated Aquarius. Sagittarius encourages gratitude. People are freewheeling this holiday — conversation rollicks around the dinner table as verbal Mercury enters eclectic Sagittarius late on Thursday. Engage in debate, but choose to be kind when doing so.

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Friday, Nov. 21: The waning Scorpio moon can leave us disconnected. Emotional extremes spike midday, as the moon squares Jupiter. We are steeped in a thoughtful, even depressed, reserve tonight — the view may be very different in a few days. Saturday, Nov. 22: The sun and moon enter expansive, restless Sagittarius this morning. Get out of that funky mind-set. People may suddenly need to speak up or take drastic action. Let the moon lift spirits as it conjuncts friendly Venus close to the western horizon just after sunset.

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Sunday, Nov. 23: It’s a restless day. Have patience, and assess how much of the restlessness is walking away from one thing and how much is walking toward something else. A lovely moon-Jupiter trine helps us greet small difficulties and old friends with equanimity. Monday, Nov. 24: Prepare for the holiday. Organization will make all the difference as the moon enters Capricorn and adds form and function to our restlessness. Stay on task. Control issues can be a response to excitement or anxiety — our quirks are more evident toward evening. Tuesday, Nov. 25: Watch mood swings early in the day, and roll with unexpected changes or glitches in plans this afternoon. Unusual karmic quirks bring an opportunity to repay a favor. An intelligent Mercury/Saturn conjunction helps us stay focused but makes us grim. Travel can go relatively efficiently if we make the journey an adventure. Wednesday, Nov. 26: Camaraderie returns as the moon enters collective Aquarius. Some last-minute confusion can make it a technically tricky day, but we can adapt. Solve problems together.

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IN OTHER WORDS book reviews Welcome to Subirdia by John M. Marzluff, Yale University Press, 303 pages Bird lovers may need a lift after reading the National Audubon Society’s recent report that climate change could drive 50 species from New Mexico by 2050. A new book written by ornithologist John M. Marzluff and beautifully illustrated by his University of Washington colleague Jack Delap offers a small measure of comfort. While rising temperatures and the associated consequences threaten the most fragile avian populations, other birds are evolving physically and socially in response to the stresses of industrialization, disease, urbanization, harassment, noise, light, traffic, and pollution. This is especially true in “subirdia,” the suburban greenbelts that Marzluff, a professor of wildlife science, calls “compact microcosms of the plant world.” Where different habitats meet, as they do in the wildlife-urban interface, birds enjoy more diversity in their diets and housing, and their populations are larger and healthier. But this is true only where the human touch is more creative than destructive. The lawns, gardens, trees, and variable landscapes of subirdia attract a mélange of the hardiest birds — adapters and exploiters, as they’re known to scientists. The “fab five” of the latter group — Canada geese, rock pigeons, house sparrows, European starlings, and mallards — occupy most of the world’s large cities and need no assistance to survive, Marzluff writes. Adapters benefit when we modify the environment — homes, neighborhoods, parks, and cities — to nurture birds, amphibians, and other creatures that are symbiotic with our species. Avoiders, though, exist only in specific habitats, many of which are disappearing. The sage grouse needs vast tracts of its namesake shrubbery, just as the wood thrush thrives only in mature deciduous forests with leafy understories. These birds, among many others, are ill-equipped by biology or habit to find workable alternatives or develop complex coping behaviors. Saving these birds from extinction requires that people act with deliberation. Marzluff proposes 10 ways in which people can enrich communities for birds and other wildlife. He frames them as commandments. Two of them, “Do not covet your neighbor’s lawn” and “Do not light the night sky,” dovetail with local efforts to reduce water use on non-native lawns and with New Mexico’s Night Sky Protection Act. Admonishments to “keep your cat indoors” and “make your windows more visible to birds that fly near them” address two of the most significant ways to avoid bird mortality. Marzluff encourages people to provide food and nest boxes and design variability in lawns and landscapes. We can coexist with native predators, such as bears 16

PASATIEMPO I November 21-27, 2014

and mountain lions, by building barriers around homes and outbuildings and doing less to lead large carnivores into temptation, such as not leaving food and garbage outside. Other guidelines require collective political action, with communities building bridges or underpasses for animals where highways intersect with migration paths and reserving undisturbed corridors that link land and water. By following these commandments, urban and suburban dwellers can recover from “environmental amnesia” — an alienation from the natural world that encourages apathy about its neglect, mismanagement, and devaluation. The rewards of reconnection are enormous — and measurable. According to an economic analysis by the U.S. Fish and Wildlife Service released in 2009, birds are the foundation of a multibillion-dollar tourism industry in the United States alone. Besides enticing people outdoors to admire them, birds scavenge roadkill, disperse seeds, aid in pollination, and help us monitor the planet’s health. They feed on insects that spread disease, destroy buildings, and devastate crops. Any many of them sing like opera divas. “As the birds of a forest adjust to human settlement, the entire community is reshuffled,” Marzluff writes. “The changing abundance of one species may ripple through the full web of life. The web is refashioned, as new strings are added and old ones are diminished or reconnected into a new architecture.” The pace of evolution is explosive among birds and other animals that live close to human settlements. Birds are morphing into new species within a few generations, and the evolution is cultural, not just physical. City birds, for example, raise their voices to be heard over traffic and other urban and suburban noise and lower their pitch on weekends and holidays. They rise earlier than their country cousins and stay up later to accommodate rush-hour racket. The measured optimism of this book is based on exhaustive research and fieldwork, including the banding and monitoring of thousands of birds. “The life we create does not replace what we have destroyed,” Marzluff writes, “but … all destructive forces in nature have a creative side; fires create unique ecosystems and diversify forest structure, earthquakes create lakes, volcanic eruptions enrich the soil. Urbanization too has the ability to create biological diversity. “Nature is fragile, but it does not always break when bent: sometimes it evolves. Evolution is not something that happens only in the abstract eons of geological time. It is happening right now, in your own backyards. You are a force, as potent as the glaciers of the last ice age, shaping your feathered neighbors.” — Sandy Nelson

SUBTEXTS Dream journal In Deathmark, a new novel by Jann ArringtonWolcott published by Pronghorn Press, Callahan O’Connor paints images of 18th-century Lakota Indians that sell well in Santa Fe and elsewhere. Callahan’s inspiration comes from her dreams, where she lives another life as a young Indian woman in a new marriage to a warrior. When Callahan travels to San Francisco to attend a reception at a gallery exhibition of her work, she meets a male escort named Luke, who just might be the connection between her waking and sleepingselves.Arr rri ringtoni Wolcott is the author of one previous novel, Brujo, which was made into a television movie starring Suzanne Somers. You read it there Steep discounts on current offerings from several publishers are available from 1 to 4 p.m. on Sunday, Nov. 23, at the Holiday Book Fair at the Santa Fe Public Library’s main branch (145 Washington Ave.). Choices run the gamut from fiction titles to cookbooks to coffeetable books, on sale for 20 to 40 percent off, and many items are between $1 and $5. Among the publishers represented are SAR Press, Azro Press, Bathtub Row Press, ABQ Press, New Mexico Book Association, and LPD Press & Rio Grande Books. Copies of How Chile Came to New Mexico are available for purchase, signed by Rudolfo Anaya, the author; Nicolas Otero, the illustrator; and Nasario García, the translator. Otero will display original art from the book. There is also a silent auction to benefit the Friends of the Santa Fe Library. Call 505-955-6789 for moree information. information — Jennifer Levin

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December 26 edition. Please request your space reservations Friday, December 19, for the Friday, December 26 edition of Pasatiempo by 4 p.m. Ads must be approved no later than Monday December 22, 4 p.m.

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Don’t miss this world-famous a cappella group in their final Santa Fe performance. Please contact your Multimedia Consultant or call 505-995-3852 to reserve your space today.

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Partially funded by the City of Santa This project is supported in part by New Mexico Arts, a division of the Department Fe Arts Commission of Cultural Affairs, and by the National and the 1% Lodgers’ Tax. Endowment for the Arts.

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Paul Weideman I The New Mexican

two views of glory WA LT E R F E L L E R ’ S P H OTO S E N H A N C E A C L A S S I C

The coyote is your true water-witch, one who snuffs and paws, snuffs and paws again at the smallest spot of moisture-scented earth until he has freed the blind water from the soil. Many water-holes are no more than this detected by the lean hobo of the hills in localities where not even an Indian would look for it. — Mary Hunter Austin, The Land of Little Rain

Sunrise at Amboy Crater, Bristol Valley, California

PASATIEMPO I November 21-27, 2014

his is a charming book, and I think it’s going to come back,” Gary Snyder said about a new version of Mary Hunter Austin’s The Land of Little Rain, which many value as one of the early classics of environmental writing. The new volume was commissioned by William Randolph Hearst III, who had the idea to combine the text from the 1903 book with Walter Feller’s contemporary color photographs of the Mojave Desert, Owens Valley, and adjacent landscapes in eastern California. “Will Hearst has done us all a service by contacting Walter Feller and then bringing this project to Counterpoint Press,” said Snyder, a veteran poet who was asked to write a statement for the book cover. “It’s interesting because nobody was out there screaming that we need another Mary Austin edition. Although I don’t quite understand it, that book remains her most popular and best-known work. She wrote a lot of other things.” Hunter Austin was born in Carlinville, Illinois, in 1868. She married Stafford W. Austin in 1891 and lived and wrote for years in the Golden State’s Owens Valley — in the towns of Independence, Lone Pine, and Bishop.

Seldom have I met and known anyone of such intellectual and spiritual power and discipline. — Ansel Adams, on Mary Hunter Austin

Red Mountain, California

It’s neat that the book includes a picture of Austin taken by Santa Fean Ina Sizer Cassidy (wife of artist Gerald Cassidy) because the writer lived in Santa Fe the last 10 years of her life, and died there. “I think The Land of Little Rain is a very interesting book,” Snyder said. “First of all, you have to get your mind around the territory she’s speaking of: it’s all of Owens Valley, down into the Mojave, but west of the Colorado River. The first time she went up Owens Valley, she rode all the way from Los Angeles to Lone Pine on a horse, a hundred and some miles. She was really an outdoor person — without making a point of telling you about it. “She was 12 or 13 years living there and learning a lot about the place, the lore, and the gossip from old white guys and old Indians. What I like about her prose is she comes at everything kind of slantwise. She doesn’t tell you everything about anybody. She doesn’t give you any back story to speak of. She doesn’t give you any footnotes. She just leaves enough tracks for you to figure it out for yourself, including the way she uses Native place names instead of English place names for some of the spots she’s writing about.”

Owens Valley is a longtime favorite of Snyder, as it was of Austin. He has lived northeast of Sacramento for 45 years, but travels to the valley as a jumping-off place to venture into the High Sierra or the White-Inyo Range; in the latter, he composed “The Mountain Spirit,” the longest and most ambitious poem in his epic Mountains and Rivers Without End. “I like Austin because she had a remarkable sensibility for low brush and mice and lizards going on their own trails down to the water. Nobody else was doing that. She paid attention to the details of small, local, backyard wildernesses and the creatures that live there. “Also, she does not overwrite. So many nature writers later on overdo it; they say too much. She holds an interesting restraint there, and the underlying tone of it all remains the ‘little rain’ of the title. I think she must have known what John Wesley Powell called the West, that this is an arid country, but she doesn’t exploit it.” The sense of aridity is obvious in some of Feller’s photographs, but the more than 100 images chosen for the new book actually depict a great variety of environments. After Hearst contacted him with the idea of producing a coffee-table resurrection of the Austin classic, he spent a month delving into his store

of photos — Feller has been documenting the natural history of the Mojave Desert for nearly 20 years. Part of his task was to match images to pithy snippets of Austin’s text. These range from a modest picture of a rabbit captioned, “One sees the long clean flanks of the jackrabbits,” to a breathtaking photo of Convict Lake accompanied by the words, “The lake is the eye of the mountain, jade green, placid, unwinking, also unfathomable.” Feller had already addressed the idea of pairings years before. “Reading this book early on, I started seeing these things in different parts of the desert,” he said from his home in Hespiria, California. “Mary Austin traveled as far as Wickenburg, Arizona, where the Hassayampa River is, and back up into Death Valley and just all over, and I think she found that the desert is the desert: There are so many common things going on. In Independence, you can see some of the same things you see in Twentynine Palms, in Victor Valley, or even up in Death Valley in Nevada. In that book she made a setting. I can see her all over the desert; it affects you that way. When I’m in Lone Pine or any of continued on Page 20

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PASATIEMPO I November 21-27, 2014

Sunrise in Rainbow Basin, Barstow, California

these other areas — say, northwestern Arizona by the Virgin River — it still has the same feel to it as down in Joshua Tree National Park.” In all his wanderings searching out photographs, Feller has taken in the natural history of the place. As in other types of landscapes, it’s the edges — in this case, where desert meets mountain — that are the richest in terms of biodiversity. “Oh, absolutely,” he said. “That’s where the action is. That’s where the water comes out of the hills. These are your population centers for the cats that eat rats and the coyotes that eat whatever they can find.” Feller remembered that he was one of the first people in the area to get a digital camera. “That was way back in the 1990s. At first I could only take about 20 photos at a time, so I would drive a hundred miles out in the desert, and after an hour or two, I’d drive home.” In a video interview with Hearst, the photographer says he first used the camera in the Mojave with the intent of documentation. But when he began staying overnight and spending longer stretches of time on the land, he noticed more about the plants and animals, the rocks and mountains, and the light. At a certain point, he decided he wanted to be a landscape photographer rather than merely document the desert’s various aspects. Those landscape images, which are often spread across two pages in the new book, show habitats both stark and glorious. Sometimes the viewer may wonder if the place is really that colorful; the vibrancy can be the result of well-conceived twilight time exposures and sometimes also adjustments in Photoshop. “I’m not showing you what you will see; I’m sharing with you what I have seen,” Feller said. “This is the way I see it. If I have to bring out certain things, I guess it’s my style, and one thing is that you can tell all the shots are by the same photographer, and I like that. “If you do a time exposure at sunset, you’re collecting all that color, and I want everything to be very sharp. I want you to think you’re there, sitting, enjoying the scenery. If you look at a cloud in the morning, you can see the color changing, and I want people to see that, so whatever I do to bring that out is cool.” His photographs are thus offerings to his viewers, and many also hold special memories for Feller — sometimes they speak to unique solitary encounters, and other times to sharing. Take that picture of Convict Lake, at the foot of the Sierra Nevada. “I had rented a flatboat, and I let my granddaughter be the pilot, and I shot it. A lot of this is not only my emotion, but the karma I get when I’m with the people I love — with my wife and my grandchildren. But I also love the isolation, having adventures by myself. The desert is absolutely indifferent to a person being there. It puts the scale on who you are inside. “A photo is not just a photo,” Feller said, referring to his sunrise image of Amboy Crater that features a long line of sunlight and bursts of blue in the fragrant clumps of desert sand verbena. “You have to have a pretty good idea of where to go, and when you have to be there. To me, there’s a rhythm out there. It’s like vibrations. You get into it, and you just follow the music, and things will happen.” ◀ “The Land of Little Rain” by Mary Hunter Austin, with photography by Walter Feller, is published by Counterpoint and San Simeon Press. Images ©2014 Walter Feller, reprinted by permission.

Annual Fall

CONTEMPORARY CLAY FAIR Saturday & Sunday November 22—23, 10am—5pm At the Santa Fe Woman’s Club

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One of today’s most celebrated young pianists. nEw YEar’s EvE ConCErt Performance santa Fe orchestra and violinist vadim Gluzman wednesday, december 31, 2014 | 5:00 pm tickets: $27–100 location: lensic performing arts center New works by: Lee Akins · Michelle Arterburn · Luisa Baldinger · Maggie Beyeler · Karin N. Bergh Elaine Bolz · Mary Sharp Davis · Miya Endo · Sean Fairbridge · Jackie Gerstein Andrea Pichaida Gonzales* · Joretha Hall* · Sandra Harrington · Linda Hayden Cheryl Hoagland · Douglas Hough* · Kathleen Koltes · Amy Lin* · Carolyn Lobeck Bonnie Lynch · Pat Marsello · Kathleen Savage* · John Sapienza Barry Slavin · Esther Smith · Sally Stark · Todd Volz* · Mike Walsh Frank Willett · Mary Yee · Ginny Zipperer *New Artists

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SOUND WAVES

Brooks Saucedo-McQuade

Loren Bienvenu

Tinariwen performing at Skylight

Let there be Skylight: A nightlife venue reaches for the stratosphere

“Happy problems” is how Joe Ray Sandoval characterizes the main challenges he and his team have faced since opening Skylight, the new restaurant and live-music venue in downtown Santa Fe. The owner and general manager told Pasatiempo that they include things like discovering on any given night that “we don’t have enough bartenders — the kind of problems we want to have.” Skylight first opened its doors on Friday, July 25, occupying the site at 139 W. San Francisco St. that formerly housed the occasionally rowdy nightclub and restaurant Milagro 139. The success of the opening offered a hint of things to come. “We did 500 paid covers that night, and again Saturday. Then we shut down for a few days to catch our breath, and we’ve been open since.” Strictly speaking, the venue closes on Sundays and Mondays, but will open even on those nights if a notable event warrants it. Such was the case on the first Monday of November, when Sandoval spoke with Pasatiempo. At 6 p.m., the place was already bustling with activity, though the roughly 400 advance ticket

PASATIEMPO I November 21-27, 2014

holders for the evening’s concert had yet to gain entry. Skylight was hosting (through Heath Concerts) the internationally acclaimed, Grammy-winning band of nomadic Tuareg musicians known as Tinariwen. Like its predecessor, Skylight takes up two stories. The front entrance opens on a large bar and reception area that in turn leads into what Sandoval calls the theater — a sizable indoor courtyard that features something of an endangered species in local bars: an actual stage. Upstairs, a square, wraparound mezzanine overlooks the courtyard below, offering additional seating and standing room; off this mezzanine are two distinct bars that allow for a more intimate escape from the showcase space. In one of these — a rather posh lounge with leather seating known as the Skybar — Sandoval took a break from his preparations to talk about why he thought Skylight was filling a nightlife void. “Ever since the Paramount closed [in 2005], we’ve wanted to do this. We knew Santa Fe wanted it, liked it, needed it.” Sandoval has plenty of perspective on the fluctuations of local nightlife. As a poet, DJ, and promoter, the Santa Fe native has interacted in some capacity with

virtually all the major nightclubs in town since the mid-1990s, including Milagro 139. He has acquired a particularly steady following over the years in the hip-hop community through his longtime collaboration with DJ Dynamite Sol (another partner in the business), among others. “We built on all the stuff we learned from every venue we’ve worked in, from management, from trends — and from our regular night. We’ve had a following for 15 years now, so we built it around hip-hop, which is really just Top 40 music now: dance music, party music. Friday and Saturday nights at 10, it’s a nightclub. Every other day, it’s this,” Sandoval said, referring to the impending performance by Tinariwen and opening act the Harpoonist & The Axe Murderer (a Vancouver-based blues duo that was loudly soundchecking below). Sandoval stressed that even if the weekend dance music provided the foundation for the business and helped establish a key segment of its clientele, Skylight’s vision was based on a diversity of offerings. “We’ve had bluegrass and metal shows, country, comedy, theater, flamenco. That’s part of

what we want to continue to do. That’s part of our mission statement. We need people to know that we are not just a nightclub and this is not just for young people. This is for anyone who likes music. We are a performance venue.” As the activity continued to increase below, Skylight did feel much more like a performance venue than just a restaurant or nightclub. Bartenders polished glasses, servers moved tables, and sound engineers twisted knobs, creating an anticipatory behind-the-scenes atmosphere whose main undertone was excitement rather than anxiety. The place still seemed to be coasting on the energy generated by the early success of its honeymoon phase. Though Sandoval and his team were working out some final logistical challenges before the show — one moment he was asking for updates via earpiece on the growing line outside, and the next he was called aside to determine which area of the mezzanine would be designated to comply with the Americans With Disabilities Act — such wrinkles were ironed out with efficiency. He conceded that starting and running a business has taken over most of his free time. “It’s a lot. I expected it, I’m not surprised. I knew I’d be here for 12 hours a day, day in and day out, and I’m fine with that. … It’s dedication, and I think that it shows. I think when people walk in here, they get that vibe, they get that sense that like, wow, these guys are hands-on. Because I’ve seen a lot of places where you don’t ever see the owners; they’re not involved.” One indication that the hard work is paying off is that the venue has already expanded during its relatively brief existence. Sandoval estimated the original square footage of the business at 5,400 feet. When the adjoining art gallery, Eggman and Walrus, closed in October, the Skylight team jumped at the opportunity to add another 1,500 or so square feet. “It was a no-brainer situation,” Sandoval recalled. The new space was converted into a private green room for performers, as well as a smaller bar and performance area that is industrial in feel. “This is the Skylab,” Sandoval said, giving a tour of the space, which is designed to allow for a distinct and simultaneous performance experience from any main shows happening below. “It’s a whole other Brooklyn, New York, kind of raw space. Even on Friday and Saturday nights, we want to be able to offer something new and something different here.” Not long before being called away to track down a missing will-call list for the door with some 250 names on it (“Oh, this is going to be fun,” he told his earpiece), Sandoval reiterated that having diverse options is the only way he envisions staying in business for the long term. “This isn’t a get-rich scheme or anything like that. We want to be here for a long time. I have a five-year lease with a five-year option. I’d like to be here for 10 years. In order to do that, I know that we’re going to need to do a lot of events, a lot of different kinds of events, and target a lot of different kinds of people.” Staying in operation for a decade may be bucking the trend of average nightclub longevity in Santa Fe, but the Tinariwen show certainly served as a good example of the kinds of attractions Sandoval hopes to keep bringing in. That an estimated 400 people paid $30 and up to fill a standing-room-only venue on a cold Monday night is itself a significant accomplishment, further bolstered by the diversity of the all-ages crowd. The atmosphere was surprisingly orderly and friendly, given how full the house was. There were no long bar waits, no apparent security violations, and no hiccups in the transition between bands or with the live sound (the room came across as a little reverb-heavy during sound check, but the mass of audience bodies helped soak up many of the harsher resonances). At the end of its long, entrancing set, Tinariwen generously served up multiple encore songs. The lively audience, which included a number of swaying dancers typically ubiquitous around the Plaza only in the summer, during Santa Fe’s Bandstand season, cheered and listened with rapt attention to the robed rockers throughout the show. This may be the ultimate sign of a successful venue — that the many different operations in place harmonized in such a way that the focus wasn’t drawn away from the main act. As a result, even if some viewers were tempted to look up through the huge skylight overhanging the courtyard that gives the venue its name, the real stars could be found much closer: onstage. ◀

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TERRELL’S TUNE-UP Steve Terrell

On the scent

It doesn’t sound that thrilling on paper. A band plays basic, unfettered, rocking blues — closer to gutbucket than to the smooth, tame uptown stuff — cranks it up, adds a little rockabilly sneer, and in the process of honoring ascended masters like Hound Dog Taylor and Howlin’ Wolf, also pays sly homage to The Yardbirds and maybe even the Count Five and other ’60s garage crazies. Yes, that’s been done before. And yet, when it’s done right with plenty of spirit, there isn’t much that can beat it. This is the case with a new band called The Bloodhounds. Their debut album, Let Loose!, despite all its obvious roots in the past, is some of the freshestsounding music I’ve heard lately. The Hounds are a predominantly Chicano band from East L.A. — which means they’re undoubtedly getting a little tired of the obvious comparison to early-1980s Los Lobos. But the comparison is apt. Let Loose!, especially the faster songs, reminds me a lot of ... And a Time to Dance, the 1983 EP that introduced Los Lobos to the rock ’n’ roll world. None of The Bloodhounds are up to David Hidalgo’s level as a songwriter yet. But give them time. (All the songs here are originals, credited to the four band members, except one Bo Diddley song and one by Otis Redding.) The album comes bucking out of the stall with “Indian Highway,” which has an irresistible, bluesy guitar hook that evokes Bob Dylan’s “Obviously Five Believers.” As singer Aaron “Little Rock” Piedraita belts out the lyrics and guitarist Branden Santos makes his sonic offering to the voodoo loas of rock ’n’ roll, a listener knows it’s going to be a joyful journey. The next tune, “Wild Little Rider,” starts off slow, like a sweet Mexican song. There are even marimbas in the background. But then, the sleepy cantina explodes. It’s on this track that The Bloodhounds reveal one of their most lethal weapons, the rave-up harmonica. (Three members are listed in the credits as playing harp, so I’m not sure who is playing on this song.) On “The Wolf,” the musicians prove that they are perfectly capable of slowing it down to a swampy groove. With Santos playing spooky Hubert Sumlin licks and Piedraita name checking various Howlin’ Wolf song titles, this sounds like “Wang Dang Doodle” for a new generation. There’s one song here that might someday end up as an advertising jingle in, say, Colorado, Washington, Oregon, or Alaska. That’s “Try a Little Reefer,” which features a cool Hammond organ. 26

PASATIEMPO I November 21-27, 2014

Besides their rocking side, The Bloodhounds sometimes slip into jug-band or skiffle mode. On songs like “Dusty Bibles and Silver Spoons,” “Hey Lonnie,” and the goofball “Olderbudwiser,” the group includes instruments like washtub bass, banjo, rub board, spoons, and kazoo. It’s good fun, and I’m a jug-band fan, but with three such tunes on one album, the novelty wears a little thin. But even with that nitpicking, Let Loose! is a dandy debut. I hope these Bloodhounds keep sniffing. Check out www.alive-records.com/artist/the-bloodhounds. Here are some other recent punk, garage, gutbucket blues, and rock albums I’ve been enjoying: ▼ The Man Who Rode the Mule Around the World by John Schooley. It filled my heart with joy to see a new John Schooley album — on Voodoo Rhythm Records, no

less. It’s his first since 2007’s One Man Against the World. Hailing from Austin, Schooley is a venerated pioneer of the punk-blues one-man-band movement. On this album, he plays nearly everything: guitars — electric and otherwise — banjo, and drums, though Austin harmonica player Walter Daniels joins him on several cuts. (Daniels and Schooley have another new album together, Dead Mall Blues, which I just learned about.) Some cuts sound like crazed blues, while others, like “Cluck Old Hen,” might be bluegrass from the Red

Planet. Then there is “Poor Boy Got the K.C. Blues,” in which Schooley sounds like he’s been listening to John Fahey (though Fahey never used drums miked nearly that high). The title song comes from a great American troubadour and legendary drunkard, Charlie Poole. It’s a surreal little hillbilly classic with lyrics like “Oh, she’s my daisy, she’s black-eyed and she’s crazy/The prettiest girl I thought I ever saw/Now her breath smells sweet, but I’d rather smell her feet/She’s my freckle-faced, consumptive Sara Jane.” Schooley and Daniels soup it up into an eardrum blaster, jamming like madmen until the last minute or so. It’s sheer feedback squall. Charlie Poole meets Metal Machine Music. I love it! Find out more at www.johnschooley.com. ▼ Man Monkey by O Lendário Chucrobillyman & His Trash Tropical One Band Orquestra. Speaking of one-man bands, this is the new album by Chucrobillyman (real name Klaus Koti), my very favorite Brazilian one-man punk/blues assault team. According to his website, he was “born in the depths of the Amazon jungle, spent his childhood listening to the frenzied roar of the beasts of the forest” and to “old albums of songs from rock-and-roll, blues, post punk, and youthful music.” (That’s from a Google translation of the original Portuguese.) Truly, this is my kind of youthful music from the jungle. It’s even denser, crazier, and more voodoo-fueled than The Chicken Album, his previous record from Off Label Records (a German company specializing in wild sounds from across the planet). The new album actually has just as many chicken songs (“Chicken Style,” “Chicken Groove,” and “Fried Chicken Blues”) as The Chicken Album. The poultry-obsessed Chucrobillyman also likes jungle songs. Here we have “Midnight Jungle,” an instrumental featuring wild rhythms and animal noises, and “She Lives in the Jungle,” a spooky blues stomper. My favorite on Man Monkey is another jungle tune called “The Trip of Kambo.” Kambo refers to a traditional shamanic medicine made from the secretions of a giant monkey frog, which has been used for thousands of years by native tribes in the Amazon. Kambo sounds downright psychedelic with this musical backdrop that reminds me of some of Louisiana hoodoo rocker C.C. Adcock or Tony Joe White’s swampier excursions. Monkey around at www.koti.com.br/fonfon/artists/chucro. Same blog, new URL: Find my music reviews, videos, songs, radio playlists, and rants at www.steveterrellmusic.com. ◀

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PASATIEMPO I November 21-27, 2014

ENSEMBLE AURORA Arcangelo Corelli: The “Assisi” Sonatas (Glossa) For three centuries, Arcangelo Corelli (1653-1713) has been exalted as the acme of balance, the musical equivalent of the faultlessly measured architecture of Palladio. His reputation is fully deserved, but it seems strange that it derives from a small published oeuvre comprising six collections — four of trios sonatas, one of solo violin sonatas, one of concerti grossi — that together contain only 72 pieces. In fact, quite a few other works circulated in manuscripts with his name attached, but when the Baroque revival arose in the mid-20th century, these were largely regarded as spurious, and therefore ignored, due to the judgment of a single influential musicologist. Scholars have recently taken a closer look, and the acclaimed violinist Enrico Gatti and his colleagues in the Ensemble Aurora here provide elegantly played espousal for their arguments in favor of the bona fides of some of these works. Meet the 12 sonatas for violin and basso continuo attributed to Corelli in an 18th-century manuscript collection housed in Assisi. These three-movement sonatas display traits we recognize as Corellian yet not in full-blown form. Instead these seem to be early pieces by the great master, writing as a teenager during a period dominated by such lesser masters as Legrenzi and Vitali. Some sound almost like early versions of sonatas that would gain immortality in Corelli’s published collections — poised perfection in the making. — James M. Keller. ANDY STOTT Faith in Strangers (Modern Love) You may want to wear a sweater while listening to English producer Andy Stott’s fourth full-length album. You won’t find any of the happy vibes from his city of Manchester’s dance-music history; instead, a chill blows through, giving the music the feel of Björk’s more contemplative songs. Built primarily from found sounds, field recordings, and instrumentation, Faith in Strangers is an industrial world of mechanical bass and heavy beats accompanied by high, synthetic whistles. Throughout these noises drifts the voice of Alison Skidmore, Stott’s childhood piano teacher, who sings in what could be an R & B style if it contained more emotion and was set against more organic-sounding compositions. The album lurches forward at a glacial pace until “Science and Industry” livens up the pulse shortly before the halfway point, introducing a clacking beat that one could even dance to. “No Surrender” alternates booming thumps of a tom-tom with swooshing noises that recall the sound effects of kicks in a kung-fu flick and what sounds like a church organ with the hard edges smeared away with reverb. The mood thaws by the time we get to the title track, which contains warm bass lines and a sultry atmosphere worthy of a 1980s-era slow jam. By then, it feels earned, like sitting next to a fireplace after a long snowshoe expedition. — Robert Ker

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RANDOM ACTS Dancing with the saints: La Santa Cecilia

One of the biggest rising stars in Latin rock comes to La Fonda to benefit Dual Language Education of New Mexico. Named after the patron saint of musicians, La Santa Cecilia won this year’s Grammy in the Best Latin Rock, Urban, or Alternative Album category. The six-piece group from Los Angeles plays lively, dance-inducing music with Latin, jazz, and rock influences — it’s no wonder promoter AMP Concerts promises that the ballroom at La Fonda (100 E. San Francisco St.) will provide plenty of space for dancing. Doors open at 7 p.m. for the 8 p.m. Friday, Nov. 21, show. Tickets are $22 in advance from www.holdmyticket.com and $27 at the door. For information, visit www.dlenm.org. — Loren Bienvenu

THIS WEEK

Mob rule: Den of Thieves

There’s a 12-step program for almost every addiction. But the approach doesn’t work for everyone, especially when temptation has a way of finding you and you are talented at talking yourself in and out of things. In Den of Thieves, a comedy written by Stephen Adly Guirgis in 1996, small-time criminals Maggie, Paul, Flaco, and Boochie get caught up with the mob, and suddenly these hapless ne’er-dowells — two of whom are struggling to improve themselves — must lobby for their lives. Den of Thieves, performed by Santa Fe University of Art and Design students at the Greer Garson Theatre (1600 St. Michael’s Drive), opens Friday, Nov. 21, at 7 p.m., with additional performances on Saturday, Nov. 22, at 7 p.m. and Sunday, Nov. 23, at 2 p.m., as well as on Friday through Sunday, Dec. 5 to 7. Tickets ($15, discounts available) may be purchased from Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org). — Jennifer Levin

Hail, hail, Armenia: the VEM Quartet

Indie orchestrations: Evarusnik

Local indie-world-rock group Evarusnik amps up its big sound with an even bigger band at a concert at Iconik Coffee Roasters (1600 Lena St., 505-428-0996). Performing under the name the Evarusnik Orchestra, the band’s two stalwart mainstays and masterminds, pianist Andrew Tumason and vocalist Miranda Scott, pictured, are joined by six friends and collaborators, including Gregory Gutin on Indian percussion and Karina Wilson on violin. Audiences can expect a live experience that evokes the fullness of sound captured on the group’s ornately layered 2013 album, In a Poker Slash Refrain. The show takes place at 7:30 p.m. Saturday, Nov. 22. Tickets ($10, no charge for the under-12 crowd) can be purchased at www.evarusnik.brownpapertickets.com. Brian Haas, the pianist for Jacob Fred Jazz Odyssey, opens the night with a solo set. — L.B.

The VEM Quartet, which is the graduate string quartet in residence at UCLA’s Herb Alpert School of Music, is spearheading a new incentive there to raise the profile of Armenian musical traditions. When the group appears in Santa Fe, it accordingly includes among its offerings a set of Armenian Miniatures by the Armenian ethnomusicologist and composer Komitas (1869-1935). The foursome also plays Mendelssohn’s Quartet in E minor (Op. 44, No. 2) and a movement from Lou Harrison’s Quartet Set. Following intermission, former Santa Fean Stephanie Nagler (now as violinist, although she is the quartet’s violist) is joined by a percussion ensemble from Santa Fe Univeersity of Art and Design for Harrison’s Concerto for Viiolin and Percussion Orrchestra, with Steve Paxton conducting. Althou ugh Harrison’s modernist concerto, begun in 1940 and completed in 1959, most audibly reflects his interest in Southeast Asian music, it, too, has an Armenian conn nection; it was written for Anahid Ajemian, an American violinist of Armenian heeritage, who played its premiere in 1961. The concert takes place at 8 p.m. on Saturrday, Nov. 22, at San Miguel Chapel, 401 Old Santa Fe Trail. Ticketss ($15, no charge for students) are available at the door. — James M. Keller

PASATIEMPOMAGAZINE.COM

Messiah

The life of

Thhe The

• Left, a page from the original score of George Frideric Handel’s Messiah Top, the chapel of the London’s Foundling Hospital, the venue for regular charity performances of Messiah Opposite page, the composer

Christmas season is upon its suddenly us, presence made official the arrival of by that most dependable of harbingers, Handel’s Messiah. The Santa Fe Symphony and Chorus places this masterwork on its calendar every year about this time, and it follows precedent on Sunday, Nov. 23, when it performs it at the Lensic Performing Arts Center. The solo parts will be dispensed by soprano Devon Guthrie, mezzo-soprano Daryl Freedman, tenor Joshua Dennis, and bass-baritone Joseph Beutel, all of whom have been apprentices at Santa Fe Opera in recent seasons. Just this past summer, Guthrie and Dennis appeared together there as the tentative lovers Marzelline and Jaquino in Fidelio and, much though we enjoyed them then, it will be nice to hear them in surroundings other than the Nazi concentration camp that served as the setting for that production. The conductor for this year’s go-round is Gary Thor Wedow. His credits center largely on opera, including quite a few Baroque works, so one might expect from him a Messiah that is energetically paced and geared for musical drama. To be sure, Messiah is not an opera. It is an oratorio, a sacred dramatic work conceived for concert presentation rather than for staging, and by the standards of Handel’s oratorios it is uncharacteristically contemplative. It lacks characters entirely. Where other Handel oratorios are operas in all but name, spotlighting persuasively drawn Old Testament characters like Samson, Esther, Jephtha, or Solomon, Messiah is an abbreviated “Life of Christ” told entirely in biblical verses that intersperse biography with theological refl flection. l The first of its three parts is basically the Christmas story, from prophecy through to the shepherds and angels who greet the birth of the Christ child. Part Two is a largely subdued meditation on the Passion that leads to the jubilation of resurrection (and the “Hallelujah” Chorus), and Part Three focuses on hope, salvation, and belief in the redemption of Christian believers. Messiah was originally given as an Easter piece, unveiled on April 13, 1742, in Dublin. Handel had accepted an invitation to present concerts in the relative calm of the Irish capital following a string of unprofitable opera

James M. Keller I The New Mexican

•

ventures he had overseen in his longtime home city of London. He wrote it in a white heat of inspiration before embarking on his trip — the composition occupied him for just three weeks — and he offered it as a fundraising vehicle for charities involved with hospitals and prisons. Music lovers vied for admission, and the presenters took extreme measures to admit as many of them as possible. A Dublin newspaper printed a plea prior to the premiere: “Many Ladies and Gentlemen who are wellwishers to the Noble and Grand Charity for which this Oratorio was composed, request it as a Favour, that the Ladies who honour this Performance with their Presence would be pleased to come without Hoops as it will greatly encrease the Charity, by making Room for more Company.” It added in a follow-up article, “The Gentlemen are desired to come without their Swords, to increase audience accommodation yet further.”

he piece was revived frequently during Handel’s lifetime. The last concert he ever attended was a performance of Messiah on

April 6, 1759, just eight days before his death. Performances of this work were often attached to a charitable purpose, most particularly to aid the Foundling Hospital that had been opened in London in 1739 for the “education and maintenance of exposed and deserted young children.” Handel and the hospital had a rough patch in 1754 — the hospital got pushy about trying to gain exclusive performance rights to Messiah — but in the end everything was sorted out, and in 1757 he drew up a codicil to his will that provided for the hospital’s continuing rights to raise money by performing the piece. In the first half of the 19th century, Messiah began its drift from April to December, and by the 20th century it was firmly ensconced as a yuletide classic. Today it seems that every Christmas brings with it a new recording of Messiah, not that the catalog does not already groan with options. (At this moment, 110 performances of the complete Messiah seem to be in print on CDs.) The one with the highest profile this year comes from the Handel and Haydn Society of Boston, led by its artistic director, Harry Christophers, on the Coro label. It is an honorable reading, if not more than that. The solo quartet is not of contender quality when compared with many other CD versions out there, but the choral work is very good, marked by clear and natural diction. What this release has that others do not is an exciting connection to history. The “H+H” (as the organization refers to itself) is the oldest continuously operating musical group in the United States, having been founded in 1815 — which makes this a bicentennial-season recording. It was the H+H that presented the first complete performance of Messiah in America, on Christmas Day of 1818, though excerpts from the oratorio were already familiar on these shores, with documented performances of selections going back to the 1770s in New York, Philadelphia, and Boston. What really does stand out in the new Coro release is its program booklet, which contains two fascinating essays by musicologist Ellen T. Harris — one about the general history continued on Page 34

PASATIEMPOMAGAZINE.COM

Messiah, continued from Page 33

urther scholarship by Harris arrives by way of a new book titled George Frideric Handel: A Life With Friends (Norton). This is not a standard life-and-works treatment of the composer, and it’s just as well since some good, up-to-date ones already exist, including an insightful one by Donald Burrows (1994/2012), an entertaining one by Jonathan Keates (1985/1992/2009), and a particularly browsable one, rich in period commentary and lavish in illustrations, by Hogwood (1984/2007). Harris has previously authored volumes on specific strands of Handelian repertoire — Handel and the Pastoral Tradition (1980) and Handel as Orpheus: Voice and Desire in the Chamber Cantatas (2001) — but in this new book, she takes on a problem that has perpetually bedeviled Handel enthusiasts. Although the composer was famous, successful, and much discussed during his lifetime, we are frustrated when we try to get to know him as a man. His professional life is well documented, but his personal life is practically a cipher. No friendly or newsy correspondence in his hand has survived, if it ever existed. “The lack of such sources for Handel,” Harris writes, “means that his biographers have hardly any testimony from the composer himself.”

PASATIEMPO I November 21-27, 2014

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of Messiah, the other about Messiah in America and particularly at the H+H. She relates that the society instituted annual performances of the work in 1854, and that, as the 19th century progressed, the performing forces refl flected l the period’s trend toward gigantism. “There were 150 singers in 1817; by 1891, there were 438.” As the number of performers grew, the accustomed instrumentation apparently seemed paltry, so in 1875 H+H commissioned the German lieder-composer Robert Franz to prepare an expanded orchestral setting, enlarged from the version the group was already using, which was the one Mozart had created in 1788 to include piping flutes fll (and even a piccolo), warbling clarinets, plangent bassoons, and staunch horns and trombones. Franz’s version, she relates, served as H+H’s standard until the late 1930s, after which the group started moving gradually toward more authentic editions and period practices (not without enduring audience complaints). Fullblown “historically informed performance” took over in 1986, when then-music director Christopher Hogwood (who passed away this September) instituted a period-instrument orchestra. Christophers became director in 2009, and the period-practices recording he leads therefore represents a distinguished Messiah tradition that in the course of two centuries has come full circle on American soil.

Harris noticed, however, that Handel did maintain a small but relatively stable circle of friends during his nearly half-century living in London. He had six close friends, all but one of whom lived within a radius of a quarter miile py, near London’s Hanover Square: Joseph Goup Mary Delany (aka Mrs. Pendarves), Jam mes Hunter, Elizabeth Mayne, Anne Donnellaan, and Elizabeth Palmer. He left all of thee m “friendship bequests” in his will, except for Goupy, an artist with whom he had a fallin ng and retaliated by a out who painting famous picture of the increasingly corpulent composser as a gluttonous, organ-playing hog, which he then reproduced as an etching so more peop ple could see it. The friends were all music loverrs, and most of them were unconventional in marital status, either being unmarried (lik ke Handel) or wed to spouses their families disaapproved of. Only one had children. They all experienced serious financial troubles fro om time to time, but they were nonetheless geneerous in their charitable giving. Harris explores this circle in the hope th hat what we learn about them will shed light on the celebrity at their center. “By examining the sources concerning his friends,” she maintain ns, “one can glimpse Handel’s personal interactio ons and posit motivations and threads of action n.” Rather than proceed chronologically, as hiistorians tend to do, she lays out various topiics to investigate through the prism of the Hand del circle, including (among several otherr s)

“Music at Home,” “Marriage, Wealth, and Social Status,” “Making and Collecting,” and “Religion and Charity.” This is a creative approach filled with optimism.

easured by facts per inch, the book is a raging success. Readers learn all about the friends’ genealogies, which in the main are neither more nor less interesting than anyone else’s family history, and information piles up about the bills they paid, the paintings they bought, the beliefs they espoused, and so on. Harris has scoured primary sources in British archives for every shred of relevant information. That said, a surprising amount of the strictly biographical data did already figure in Hans Joachim Marx’s magisterial two-volume “biographical encyclopedia,” Händel und seine Zeitgenossen (Handel and His Contemporaries, 2008), which at least might deserve a citation in Harris’ bibliography. Not all of the friends prove to be terribly fascinating. The most interesting are probably the painter Goupy and certainly Delany, who was also an artist; a book published in 2010 (The Paper Garden, by Molly Peacock) examines the thousand anatomically precise botanical “mosaicks” she created in her later years by gluing bits of paper to black backgrounds. Apart from these, the sections that most jump from the page relate directly to Handel. Perhaps the most enlightening of all are Harris’ deft demonstrations of how some of the composer’s operas related quite specifically, in both their topics and certain compositional details, to events that were fleetingly fll in the public eye, connections that would be almost surely lost on less-attuned modern observers. But in the end, the book does not manage to reveal very much about Handel’s inner being. Notwithstanding occasional insights about his friendships, he remains largely secretive — and Harris has threshed these fields so thoroughly that he seems likely to remain ever so. ◀

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The Music Hall in Fishamble Street, Dublin, where Messiah was first performed Opposite page, top, Santa Fe Symphony and Chorus Opposite page, bottom, Louis-François Roubiliac’s marble statue of the composer

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Annual

WRITING CONTEST Prose or poetry: fiction, nonfiction — satire, fantasy, memoir, etc. What you write about is up to you. Just send us your best work and keep it tight. Winning entries will be published in Pasatiempo on Friday, Dec. 26. Winners get prizes.

Guidelines: Flash prose: up to 500 words Poetry: up to 20 lines One submission per entrant only.

Email entries to: writingcontest@sfnewmexican.com. Email submissions are preferred. Mail entries to: 2014 Writing Contest c/oThe Santa Fe New Mexican 202 E. Marcy St. Santa Fe, N.M. 87501

Please make sure to include the following information with your submission: Age group: Adult (19+), teen (13–18), or child (5–12). Author’s name, address, phone number, and email. Entries from schools should also include the school name, grade, and teacher’s name. Entries must be received by 4 p.m. on Monday, Dec. 1. No exceptions. For electronic submissions, please attach as an MS Word file and cut and paste the text of your submission into the body of the email. Do not submit Notepad attachments or PDFs. Do not submit previously published material. We reserve the right to edit work for publication. Submissions cannot be returned.

PASATIEMPO I November 21 - 27, 2014

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Left to our own Devices A community production examining the impact of our relationship with electronic devices.

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“Humorous, thought-provoking & powerful” For more information, call (505) 992-8284 Play contains material which parents may consider inappropriate for young children.

Desert Academy

Engaging the mind. Engaging the world.

www.desertacademy.org

SOUTHWEST CARE CENTER’S

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Preview Reception & Gala 6:30pm $100 Auction PREVIEW / early biddinG music by david geist, julie trujillo and Guitarist Yves Lucero champagne

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gift bag

Gala 8:00 pm $50

Silent auction buffet music by the pleasure pilots, David Geist & dj luna

Pleasure Pilots

David Geist

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view and bid on breakfast at tiffany’s memorabilia from the collection of henry and ginny mancini

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For more information on the evening events: southwestcare.org

Tickets: https://southwestcare.ejoinme.org/2014Gala or 505-216-9078

PASATIEMPOMAGAZINE.COM

words on paper, a play isn’t a complete work of art. It has potential, but a script needs the physicality and psychology that only actors can supply to put flesh on its bones. When playwrights see and hear their words come alive in the mouths of actors, even without the benefit of a full-fledgged theatrical production,, what theyy have written is transformed. A few uncostumed men and women, sitting on a bare stage, have the power to create new possibilities and make dead ends obvious. This process can help writers let go of what isn’t working and refine what is — and get a better sense of who their characters really are. At the Santa Fe Playhouse’s first Playwrights Forum, four writers whose plays were selected from more than 40 submissions in a national contest are set to receive all the feedback they can handle during staged readings of their work taking place at the theater Friday, Nov. 21, through Sunday, Nov. 23. Using a written survey, audience members evaluate each play’s strengths and weaknesses, and then vote on which of the four they’d like to see in a full production. Two plays will be read each day; seeing all four involves attendance on at least two of the three performance days. On Friday, Best Kept Secrets, a suspense drama by Peggy Aultman, is staged at 6 p.m., followed by The Oddboy, a comedy by Mark Dunn, at 8 p.m. On Saturday, Sworn to Water, a “poetic” biographical one-act play by Dale Dunn, is staged at 6 p.m., followed by Best Kept Secrets at 8 p.m. On Sunday, The Hat, a drama by Dianna A. Lewis, is staged at 2 p.m., followed by The Oddboy at 4 p.m.

Cristina Duarte, the Playhouse’s artistic director, intends to hold the Playwright Forum contest every year. Though submissions came from writers all around the country, three of the four winners are Santa Feans. Duarte, who is directing the staged readings, said she did not purposely choose such distinct genres — a comedyy, a drama,, an exp perimental playy, and a suspense thriller — but the lineup worked out very well for audiences, who are in for high tension and confl flict with all the stories. “I think confl flict is what makes great writing. What drives a play is interesting characters who have to make big decisions.” In Dianna A. Lewis’ The Hat, Zillah, an internationally acclaimed photographer, has become famous for her pictures of Jewish Holocaust survivors. She is preparing to open an exhibit at a gallery ry in Cracow near Auschwitz tz. z Zillah was sent to a Swiss orphanage as a child during the war, and she has just one photo of herself with the woman she presumes to be her mother, taken the day she boarded the train to leave her family. The image was sent to a Cracow paper to promote the exhibit. The other characters in the play are Simon, Zillah’s manager and romantic partner (who loves her more than she loves him), Milo, the gallery ry’ y s owner, and Yanina, a mysterious stranger who comes to the gallery and leaves behind what appears to be the hat the woman was wearing in the old photograph. The secrets about the photo that are eventually revealed go to the heart of Zillah’s personal and artistic identity and pose a tremendous dilemma for Simon. Lewis is a co-founder of the annual Benchwarmers one-act playw ywriting w competition at the

NOIS ES

Playhouse. Her stories and plays have won numerous awards, and she is the author of The Number Giver, also about Holocaust survivors, which was produced at Theaterwork in Santa Fe in 1999. The Oddboy is a farce about life behind the scenes at a small theater. The founder has died and left millions to the Grayyson Playyhouse with the stip pulation that his houseboy, Jeremy — who has also inherited a tidy sum — become the artistic director. Despite a distinct lack of experience, Jeremy takes a hands-on approach to his new duties, infuriating the resident master thespians, Mona and Reggie, while fl flummoxing the former artistic director and seducing the stage manager. Playwright Mark Dunn recently moved to Santa Fe after living in New York City and Albuquerque. He is the author of more than 30 plays, including Five Tellers Dancing in the Rain and Belles. Sworn to Water is a biographical play based on the life and work of Wisconsin Objectivist poet Lorine Niedecker (1903-1970). Written by Dale Dunn, who lives in Santa Fe and teaches at New Mexico School for the Arts and Santa Fe University of Art and Design, much of the play repurposes lines of Niedecker’s poetry as dialogue. Neidecker lived with her mother, who went blind with the birth of her daughter, and she carried on an epistolary romance with a writer in New York. The poetic elements of the play “aren’t rhythmic,” Duarte said, “and it doesn’t rhyme. It has pacing and mood that should follow the staging, but it works as dialogue. It doesn’t sound like reading a poem.” The poetry is strong enough to drive plot,

four orig inal play s ge t th e tr eatm Jenn ifer ent Levi n I T he N ew M ex ic an

character, setting, and tone in a narrative that captures oppressed longing and passion without sentimentality or cliché. Best Kept Secrets is set at the country home of Liz, who is hosting a weekend getaway for three of her friends, whom she hasn’t seen since her writer husband moved her to the middle of nowhere. The four women play a parlor game in which each one writes down a secret on a scrap of paper and puts it in a bowl. Then each woman pulls out one of the scraps and is called upon by the rest of the group to make up a story related to the secret it contains and answer questions about it as if it were hers. When one of the secrets is a confession of murder, the weekend suddenly takes a turn for the terrifying as the women alternate between assuring one another that it was just a joke and worrying that one of them is a killer. Their fear increases as they feed off one another. Peggy Aultman, who wrote the play, teaches English and drama to junior-high students at Christ Episcopal School in Covington, Louisiana. Her most recent play, Trying to Get to You, about two teenage girls coming of age during Beatlemania, was as published by Heartland Plays. Plays

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When playw ywr wrights see and he ear th heir words come alive e in the mouths of actors, even without the benefit of a fu ull-fledged theatrical production, what they ha ave written is tr ransfor rmed.

Th The Pl Playwrights i ht F Forum ttakes k a play l ffrom th the page to t th the stage t in i sequential steps: After the winning piece is selected, its author will then work with Duarte to revise the play and prepare it for a fully staged production at the Playhouse in March. It’s an opportunity for Santa Feans to become attached to a new theatrical work by having a say in which one is chosen, then watching it evolve through the creative process. The actors reading in the Playwrights Forum are Joe Meyers, Lee Meyers, Cindy Coulter, BJ Stokey, Kerry Kehoe, Mark Westberg, Isabelle Zuniga, Barbara Hatch, Kathi Collins, Lynn Goodwin, Jennifer Graves, Charles Gamble, Justin Golding, Danette Sills, Patrick Briggs, and Kelly Huertas. Though they all bring much talent to the readings, Duarte emphasized that the goal is not to showcase the actors, but the plays. “My number-one rule is that this is about the plays and the playwrights, so they can see their words spoken.” ◀

details ▼ Playwrights Forum: staged readings from four original works 6 & 8 p.m. Friday & Saturday, Nov. 21 & 22; 2 & 4 p.m. Sunday, Nov. 23

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topia calls to mind a peaceful, harmonious, and just society where there is no poverty or war and citizens enjoy a fair portion of prosperity and happiness. It is a society where there is no want, an idyllic state not unlike heaven but similarly difficult, perhaps even impossible, to reach. The photographs of Jennifer Schlesinger, on view in Figments of Reality: An Exhibition of Contemporary Landscape Images at Verve Gallery of Photography, underscore the notion of the idealized world as unattainable, ephemeral as a dream. Her Utopia series is an uncanny body of work in black and white, made using the 19thcentury albumen-print process. “It has yet to be determined whether or not the series is complete, but there are 10 images here,” Schlesinger, who is represented by Verve and also serves as the gallery’s director, told Pasatiempo. “They’re kind of exploring the idea of whether or not a perfect society can exist. I wanted to tweak them a little bit so that there would be something just a little off. I tried to make them these ideal, perfect landscapes, but with just a little slight something that makes them imperfect. That’s the idea behind the series.” Figments of Reality is a group show of works by four Verve photographers and two guest artists, all of whom approach landscape photography in singular ways, exploring the use of

PASATIEMPO I November 21-27, 2014

mixed media or alternative processes. The show also includes images by Duane Monczewski, Beth Moon, Takeshi Shikama, and guests Keith Taylor and Blue Mitchell. “Some are more literal, and others more interpretive and surreal,” Schlesinger said. The Utopia pieces are daytime photographs that look like they were shot at night or perhaps dusk. Even the sun, which casts dark shadows on a snowy landscape, is easy to mistake for the moon in her work because the sky surrounding it is dark and ominous. But the sun itself is bright, illuminating the mountain roads, paths, and forest trees that are depicted in several of the Utopia images. “None of them are nighttime shots,” she said. “I just make them really dark. The luminous quality is actually the egg white. That’s what’s giving it that glossy glow.” Albumen prints require a lot of preparation time. Schlesinger began working with albumen in 2011, after taking a workshop with Taos-based photographer Zoë Zimmerman. “Basically, you take egg whites and you strain them — and you strain them, and you strain them, and you just keep straining them — until the mixture gets really soupy. And then you let that sit for a long time — at least two weeks, because you want the proteins to start to break down. You add a little bit of ammonium chloride and other chemicals to it, and then you whip it and strain it again. Then you put it into a tray

Michael Abatemarco I The New Mexican

ALMOST HEAVEN A photographer uses 19th-century techniques to create dreamy visions

Jennifer Schlesinger: Utopia 4, 2013; opposite page, left, Utopia 3, 2013; right, Utopia 7, 2014; all images albumen prints

and lay the paper on top of the albumen. Then you peel the paper off and hang it up to dry. That’s the first step. The second step is when you’re ready to print. You coat the paper with silver nitrate. That’s what makes it sensitive to light.” Albumen printing is a temperamental process, but its difficulties make it suited to the nature of the Utopia series. “It took me quite a while to hone the process because it’s very troublesome. You can make 15 prints in a day, and you’ll get maybe four or five that are really perfect. There’s always some imperfection.” Several images from Utopia are photomontages in which Schlesinger has taken two images and merged them into a single print. For instance, in Utopia 4 — a photo of a lone tree on a small, barren hill — a second image is inset that depicts a girl positioned as if she’s pushing, like Sisyphus, a large boulder. She appears

to be crouching on the hill, but the hill’s curvature in the inset image is set off from the rest of the composition. Another curious aspect adds to this magical quality of Schlesinger’s photography, in which day and night seem to merge. The artist printed her Utopia series on thin drawing paper. Its grain, along with the prints’ soft focus, evokes the aesthetics of graphite drawings or etchings more than those of photographs. “I think that’s a combination of some of the techniques I’m doing on the computer,” she said. “Back in the 19th century, when this process was being used, they had 8 x 10 and 4 x 5 cameras — large-format cameras that produced that same size negative. Your image was always the same size as whatever camera you were using. They would make contact prints of the negatives, which were usually glass. But now you can make

digital negatives. You can take any size negative you want and contact-print it onto the paper. I choose to work small just because it is such a feisty process and it gives me the freedom to play around digitally. They’re not straight images. Sometimes I’m incorporating Photoshop into them.” “The way to heaven out of all places is of length and distance,” the 16th-century philosopher Thomas More wrote in his novel Utopia, a description of the customs and beliefs of a fictional island society. But, as with the sole cairn positioned on a hill in Utopia 3, Schlesinger offers us signposts along the way. Utopia is the artist’s second body of work produced with the albumen-print process. Her first series, Here Nor There, is more panoramic. And though its works also blur the line between daylight and nighttime photography, they are more

concerned with a child’s perceptions of the environment. “The series was focusing on childlike imagination and how it braves convention.” Like the 19th- and early-20th-century Pictorial photographers, Schlesinger produces images in the darkroom that have a haunting stillness and a mystical, dreamlike quality not unlike that of twilight. Her new works mirror the same childlike wonder she captured so well in the earlier series: “I use photography to philosophically understand my surroundings, to understand life.” ◀

details ▼ Figments of Reality: An Exhibition of Contemporary Landscape Images ▼ Exhibit through Jan. 10, 2015 ▼ Verve Gallery of Photography, 219 E. Marcy St., 505-982-5009

PASATIEMPOMAGAZINE.COM

MOVING IMAGES

film reviews

What goes around Keep on Keepin’ on, documentary, not rated, Center For Contemporary Arts, 3 chiles First-time director Alan Hicks’ documentary about jazz trumpeter Clark Terry’s relationship with the young, blind pianist Justin Kauflin gets right to the specifics of jazz pedagogy. The film opens with Terry, a mentor to many great jazz musicians, Miles Davis among them, in bed, fixed with breathing tubes. Kauflin has pulled a portable keyboard bedside, and Terry is coaching him through a warbling boogie line by scatting the notes. Every syllable that Terry sings — its open vowels and clipped consonants — reveals the pitch of a note and its quality. Tones slide one to another and are drilled, staccato-style, as Terry gives voice to the phrasing. Kauflin immediately recognizes the distinctions in Terry’s presentation, translating every inflection from the trumpeter’s lips directly to the piano. This kind of exchange happens several times during the course of Keep on Keepin’ on, a film that studies what goes on around the adversity both men live with. Kauflin, born in 1986, is shown after a move to New York, learning to navigate the city’s subways and street crossings with the help of Candy, his seeing-eye dog. Terry, born in 1920 and still with us, is struggling with complications from diabetes. He’s losing his sight, and worse consequences loom. His wife, Gwen, speculates that the trumpeter was drawn to Kauflin, a member of the jazz ensemble that Terry taught at William Patterson University (Hicks was also a member), because of their shared vision issues. Kauflin’s sight gradually went during his childhood; by age eleven, he could only see shadows. The bond between the two men is an unchanging constant at the center of the film. What story there is moves ahead on their individual struggles — Terry coping with declining health and Kauflin trying to jump-start a career. Kauflin’s entry into the Thelonious Monk International Jazz Piano Competition gives the men purpose even as

PASATIEMPO I November 21-27, 2014

Bond of brothers: Justin Kauflin and Clark Terry

Terry, his horn put aside, is at his most fragile. As the camera follows them around, it’s apparent that the two men come alive in each other’s company. The biographical aspects of Keep on Keepin’ on are only generally about Terry’s illustrious career. Terry came out of St. Louis playing in the bands of Charlie Barnet and Count Basie. He spent most of the 1950s in Duke Ellington’s various ensembles. Ellington put Terry’s ability to swing, sound the blues, and play pretty to extensive use, featuring him in suites and as a soloist. Terry famously recorded with pianist Oscar Peterson and cut dozens of recordings under his own name for labels big and small. Studio work in New York led to a long association with Skitch Henderson’s (and, later, Doc Severinsen’s)Tonight Show Band. Terry became known for his scatting on “Mumbles,” a tune of his own making with lyrics of nonsense syllables sung to a bebop beat. On a clip not seen in the film, Johnny Carson, announcing Terry’s induction into the International Academy of Jazz Hall of Fame, talks back to the trumpeter in mumbles-speak. “Mumbles” became Terry’s nickname. Terry also has a significant reputation as an educator and mentor. Even as a young man, he was sought out by trumpet initiates for guidance. In his autobiography, Miles (written with Quincy Troupe), Davis recalls how Terry first took him around to St. Louis clubs and allowed him to stay in his apartment while the younger trumpeter struggled with heroin. In the film, Quincy Jones relates the story of how, as a fourteen-year-old kid in Seattle, he went up to Terry, who was touring with Basie, and boldly asked for lessons. Terry agreed, and the two would meet early in the morning in Terry’s hotel room before Jones went to school — even though Terry would have just gotten in from his gig with Basie a couple of hours earlier. Not mentioned in the film is the fact that Jones gave Terry an arrangement he’d done. Terry took it to Basie, and the band performed it at its next stop, in San Francisco.

Jones’ relationship with Terry is central to the film’s what-goes-around-comes-around spin. Jones visits Terry during a hospital stay and while the on-camera reunion seems a bit self-conscious at first, it becomes apparent that the two men are tight. Terry has a favor he wants from Jones. He tells the famous composerarranger and once-upon-a-time trumpeter that he wants him to hear Kauflin play. There are plenty of sentimental moments in the documentary, and Hicks comes dangerously close to overplaying them. Encouragement and platitudes flow from Terry to Kauflin and back to Terry at times when they both need it. Terry is seen being slid into a hyperbaric chamber, one of many such treatments, in an attempt to heal his feet. Kauflin visits, and the two talk music through the arch of the chamber. Kauflin seems conscious of the camera and uncomfortable in the personal moments. But Hicks has a way of waiting these moments out, keeping the camera close on his subjects’ faces and letting them process what to say next. This patience is frequently rewarded with candor. The two men are at their most genuine when they are working out music. Hicks makes it clear, adversities aside, that music is the foundation of their relationship. The soundtrack, as you can imagine, is full of beautiful moments, some written and performed by Kauflin (and some written by Dave Grusin). Hearing Terry over the years, both on trumpet and fluegelhorn, is a revelation. Hicks has pulled together an array of historic footage showing Terry in action, all of which serves to remind us of his grace and inventiveness. Yes, a “Mumbles” performance, seen briefly, is hilarious, yet done with obvious craft. You can’t help but think of “Mumbles” when the scene jumps decades ahead, and you hear Terry give Kauflin the exact sound of each note of a phrase in nonsense syllables — and the rising young pianist knows exactly what he means. — Bill Kohlhaase

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MOVING IMAGES

film reviews

Fear of flying Pelican Dreams, documentary, not rated, The Screen, 2.5 chiles Gigi is the kind of chick who stops traffic. More specifically, she is a young California brown pelican who was discovered in 2008 wandering along the Golden Gate Bridge, dehydrated and disoriented, unable to fly, and closing down a lane of busy bridge traffic with the aplomb of Chris Christie while cops and bystanders tried to wrangle and remove her. Shortly after this rescue, the bird was remanded to a wildlife rehab facility to be nursed and coaxed back to health for release into the wild. If she doesn’t make it, she will, as the film delicately euphemizes, be euthanized. It was at this point that avian documentarian Judy Irving (The Wild Parrots of Telegraph Hill), who had heard about the incident, tracked her down. Irving had been fascinated by these birds since childhood. “As a little girl,” she recalls, “I used to have flying dreams.” She got hold of amateur footage of the pelican’s bridge capture, which, she says, “felt like an invitation to follow it,” and used it as an opening for the film she had long wanted to make about these extraordinary creatures. “They look like flying dinosaurs,” Irving muses. “She was found on the Golden Gate,” Irving exclaims to Monte, the bearded young wildlife rehabilitator (who knew?) in charge of the facility. “Let’s call her Gigi!” Monte greets this suggestion with restrained enthusiasm. “We don’t usually name them,” he tells her drily. “We don’t hand-feed them. We try not to even make eye contact.” Monte fits the pelican with an ankle tag and calls her by a number, not a name (reminiscent of an old Johnny Cash prison song: “On this old rock pile with a ball and chain/They call me by a number, not a name, Lord, Lord”). The job of rehab is to make these birds fit to return to the wild, not to make pets of them. Irving’s documentary takes us to the Channel Islands, home to the only major breeding population of California brown pelicans in the western U.S., and

PASATIEMPO I November 21-27, 2014

Have pouch — will travel: a feathered commuter in London

captures some exhilarating nature footage, including early attempts of the pelican young to learn to fly, a tentative process that resembles hang-gliding as they take off from the rocky coastline with wings awkwardly spread and catch the wind and the air. She shows us their early efforts to hunt, and the sometimes brutal, even fratricidal, sibling rivalry in which the chicks engage as they compete for food. She takes us through the recent history of the species — the terrible blight of massive coastal oil spills that leave them coated with sludge and helpless, their near-extinction in the mid-20th century under the now-banned scourge of DDT (in 2009 they were removed from the endangered species list), and the new threats they face from climate change and industrial fishing. She captures spectacular shots of pelicans diving for fish, a fascinating technique in which they plunge from a height into the water, streamlining their large bodies into the shape of an arrow for an entry that would be the envy of an Olympic diver. We also visit the home of a wildlife-preservationist couple that has taken in a trio of wounded pelicans

and are trying to nurse them back to health for release. Bill and Dani Nicholson do not seem to share Monte’s scruples about naming the birds, and they introduce us to Morro, the one of their pelican charges who never regains the ability to fly. Happily, when it becomes clear that he will never be able to return to the wild, they are able to get him reclassified as a “teaching pelican,” using him for educational talks and demonstrations about the birds, and thus spare him the executioner’s block. Because Morro has achieved pet status, we spend plenty of time with him, watching as he becomes fascinated with his reflection in a mirror, or plays with a stick, or wanders into the Nicholsons’ house to explore the human habitat. But we do keep checking back in with Gigi as we learn more about the life and times of pelicans, and we follow the suspense over whether she will make the grade. There are a lot of rehabbing pelicans in the facility — pelicans, we learn, thrive on the companionship of their fellow pelicans — but Gigi, with her name and her history and her pink anklet, is the one we’re rooting for. Pelican Dreams is a sweet and informative documentary about the bird immortalized in Dixon Lanier Merritt’s classic limerick (quoted in the film) that begins, “A wonderful bird is the pelican/His bill will hold more than his belican.” Despite occasional speculative anthropomorphizing (“When [in courtship] a pelican swings its head around 360 degrees, it means, ‘I like you. I don’t want to leave. But I will if you want me to’ ”), Irving, for the most part, keeps things nicely objective, and we come away with a greatly enhanced understanding of pelicans. The documentary would have fit nicely as an hour on the Nature Channel. But as a feature film, even at a modest 80 minutes, it feels stretched a bit thin, as though its bill is trying to hold more than its belly can. — Jonathan Richards

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Art and Craft Fri Nov 21

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Sat-Sun Nov 22-23

11:00a - My Neighbor Totoro 11:30a - Keep On Keepin’ On* 1:00p - Art & Craft 1:30p - Princess Kaguya* 3:00p - Citizenfour 4:15p - Keep On Keepin’ On* 5:15p - Princess Kaguya 6:15p - Art & Craft* 8:00p - Citizenfour 8:30p - Listen Up Philip*

Mon Nov 24

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W itten and Tues Nov 25Dir ed bWeds Nov 26

4:00p - Citizenfour* 4:45p - Princess Kaguya 6:30p - Art & Craft* 7:30p - Citizenfour 8:30p - Keep On Keepin’ On*

11:45a - Art & Craft* 12:15p - Princess Kaguya 2:00p - Keep On Keepin’ On* 3:00p - My Neighbor Totoro 4:00p - Citizenfour* 4:45p - Princess Kaguya 6:30p - Art & Craft* 7:30p - Citizenfour 8:30p - Keep On Keepin’ On

CLOSED THANKSGIVING!

Concessions Provided by WHOLE FOODS MARKET

PASATIEMPOMAGAZINE.COM

holiday events • stocking stuffers • glorious music

Feliz Navidad

TAMALADA

the season of

making memories

Giving

WINTER 2014-15 • THE SANTA FE NEW MEXICAN www.santafenewmexican.com

Enjoy Santa Fe’s festive and culturally rich holiday season with Feliz Navidad: • Advent Calendar of Holiday Events • Angels Among Us & The Gift of Service • Bringing Back the Tamalada • Grandma and Biscochitos • Holiday Performances • Pueblo Dances: A Spiritual Feast • A New Start at Delancey Street … And More

SATURDAY NOV. 23 46

PASATIEMPO I November 21 - 27, 2014

INSIDE

The Jewish Scribe

Santa Fe Prep’s Performing Arts Department PRESENTS

PICNIC By William Inge

Scholar-in-Residence Weekend, December 4-7 with Rabbi Ron Wittenstein There is more to a Torah scroll than meets the eye. Explore the beautiful forms and ancient tradition of Jewish scribal arts (safrut). Delve into deeper meanings with Kol BeRamah’s own Rabbi Ron Wittenstein, accomplished scribe/sofer.

Tools of the Trade

Thursday, December 4, 7pm at Sanbusco Center

From Alef to Tav

Friday, December 5 at Kol BeRamah Shabbat Evening Services, 4:40pm Dinner & Dessert Lecture, 5:15pm

Safrut Around the World

Saturday, December 6 at Kol BeRamah Shabbat Morning Services, 9am Lunch & Discussion, ~11am

Hands-On Program for Children & Families Sunday, December 7, 2pm at Kol BeRamah

Detailed information available at KolBeRamah.org Register online now! Registration will close when space is full.

Friday, November 21, 7:30pm Saturday, November 22, 7:30pm Sunday, November 23, 2:00pm 1101 Camino de la Cruz Blanca ● Santa Fe, NM 87505 ● 505.982.1829 ● www.sfprep.org

1305 Luisa Street, Suite B Santa Fe, NM 87505 KolBeRamah.org 505.216.6136

PASATIEMPOMAGAZINE.COM

MOVING IMAGES chile pages

— compiled by Robert Ker

KEEP ON KEEPIN’ ON First-time director Alan Hicks’ documentary about Justin Kauflin, an aspiring jazz pianist who gradually lost his vision during childhood, and Clark Terry, the ninety-something trumpet legend who is losing his sight, is a touching, occasionally sentimental film about the way that jazz passes from generation to generation. Arranger Quincy Jones’ relationship with Terry is central to the film’s whatgoes-around-comes-around spin. Only part of the documentary covers Terry’s distinguished history, but it’s a firm reminder of his importance to music. Kauflin’s piano-competition anxiety and Terry’s health concerns give background to a true musical friendship. Not rated. 84 minutes. Center For Contemporary Arts, Santa Fe. (Bill Kohlhaase) See review, Page 42. THE MET LIVE IN HD: IL BARBIERE DI SIVIGLIA Isabel Leonard, Lawrence Brownlee, and Christopher Maltman star in this staging of Rossini’s opera, which is broadcast live from the Met. 11 a.m. Saturday, Nov. 22, with a 6 p.m. encore. Lensic Performing Arts Center, Santa Fe. (Not reviewed) Jennifer Lawrence in The Hunger Games: Mockingjay — Part 1, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week ART AND CRAFT This film tells the story of Mark Landis, an unassuming, soft-spoken, unusual individual who made his living as an art forger thanks to a legal loophole. For decades he deceived the art world with his accomplished fakes, until curator Matthew Leininger discovered the ruse. Peering back into the life of the pathological Landis, who was institutionalized as a young man after a nervous breakdown and was diagnosed with schizophrenia, Art and Craft takes a nonjudgmental look at a talented, if troubled, person whose con underscores the perverse value placed on works by big-name artists. The cat-and-mouse game played by Landis and Leininger, whose career suffered in his pursuit of the forger, leads to a satisfying conclusion. 89 minutes. Not rated. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) BLAZING SADDLES Time may have worn the edge off this irreverent spoof of Western films — some of the gags now seem forced and dated — but there are still a lot of laughs to be had in this saga of a black sheriff (Cleavon Little) who teams with a washed-up drunk of a gunfighter (Gene Wilder) to save a town of bigots and racists from politicians and businessmen. Mel 48

PASATIEMPO I November 21-27, 2014

Brooks co-wrote, acted in, and directed this 1974 comedy, which features respectful homages to the great Western plots and stars of old. Santa Fe actor David Huddleston, who plays Mayor Olson Johnson in the film, introduces it and hosts a Q & A after the screening. A benefit for the Santa Fe Animal Shelter & Humane Society (tickets $10 and $50). 7:30 p.m. Friday, Nov. 21, only. The Lensic Performing Arts Center. Rated R. 93 minutes. (Robert Nott) HORRIBLE BOSSES 2 The other Thanksgivingweek sequel (besides The Hunger Games) is this follow-up to the 2011 surprise hit about folks who work for jerks and hatch harebrained revenge schemes. The strong cast boasts Jason Bateman, Jason Sudeikis, Charlie Day, Jennifer Aniston, Kevin Spacey, Jamie Foxx, Chris Pine, and Christoph Waltz. Opens Wednesday, Nov. 26. Rated R. 108 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) THE HUNGER GAMES: MOCKINGJAY — PART 1 Following in the footsteps of Harry Potter and The Hobbit, the studio behind this popular franchise has split the film adaptation of the final Hunger Games book into two parts to keep the money train rolling. Does anyone mind? Heck no! More Katniss (Jennifer Lawrence) is always a good thing. This time, she’s talking ’bout a revolution. Rated PG-13. 123 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

PELICAN DREAMS Gigi is the kind of chick who stops traffic. More specifically, she is a young California brown pelican who was discovered in 2008 on the Golden Gate Bridge, dehydrated, disoriented, and closing down a lane of busy bridge traffic with the aplomb of Chris Christie as cops and bystanders tried to remove her. Judy Irving (The Wild Parrots of Telegraph Hill) uses this incident as a springboard for a lovely and informative study of pelicans, their history, their habits, and their challenges in the modern world. The documentary would have worked nicely as a onehour special on the Nature Channel, but as a feature film, at a modest 80 minutes, it feels stretched a bit thin, as though its bill is trying to hold more than its belly can. Not rated. 80 minutes. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 44. PENGUINS OF MADAGASCAR What’s black and white and green all over? Penguins at the box office! Whether they’re marching (March of the Penguins) or dancing (Happy Feet), those birds make cash registers ring. The Madagascar animated series is also popular, so this penguin-led spy-movie spinoff will surely attract audiences. The studio woos the art-house crowd by giving Werner Herzog a voice credit. Opens Wednesday, Nov. 26. Rated PG. 92 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. (Not reviewed) PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with a showing of The Pharaoh’s Daughter from Russia’s Bolshoi Ballet. Svetlana Zakharova, Nina Kaptsova, and Ruslan

Skvortsov dance the main roles. 11:15 a.m. Sunday, Nov. 23, only. Not rated. 140 minutes, plus two intermissions. The Screen, Santa Fe. (Not reviewed) THE THEORY OF EVERYTHING James Marsh, a director best known for the documentaries Project Nim and Man on Wire, delivers his highest-profile narrative film yet with this look at the romance between Stephen Hawking (Eddie Redmayne) and Jane Wilde (Felicity Jones). The film puts special focus on the years when the brilliant physicist’s body broke down due to a motor-neurological disease. Opens Wednesday, Nov. 26. Rated PG-13. 123 minutes. Regal DeVargas, Santa Fe. (Not reviewed)

now in theaters ALEXANDER AND THE TERRIBLE, HORRIBLE, NO GOOD, VERY BAD DAY Steve Carell and Jennifer Garner are parents to Alexander (Ed Oxenbould) in this loose adaptation of the picture book of the same name. When the entire family has a bad day all at once, each member learns that the terrible, horrible, no good, very bad days make the excellent, incredible, not bad, very good ones that much sweeter. Rated PG. 81 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) AWAKE: THE LIFE OF YOGANANDA This documentary walks us through the life of Paramhansa Yogananda, the Indian guru who introduced millions of people in the Western world to meditation and yoga through his book Autobiography of a Yogi. The story follows him from his youth in India to his move to America in the 1920s. Not rated. 87 minutes. The Screen, Santa Fe. (Not reviewed) BEYOND THE LIGHTS Gina Prince-Bythewood, writer and director of the adored Love & Basketball, turns her camera from the court to the stage. Gugu Mbatha-Raw plays a popular singer who feels trapped by celebrity. When a police officer (Nate Parker) thwarts her suicide attempt, an unlikely romance blossoms. Regal Stadium 14, Santa Fe. (Not reviewed) BIG HERO 6 This animated film from Disney (loosely based on a Marvel comic) emphasizes hard work, the pursuit of science, the strength of friends, and the ability to handle setbacks and loss — all while ripping off an exciting superhero tale that is full of heart and is funny without being rude or obnoxious. Hiro (Ryan Potter), a boy who lives in a city that’s a hybrid of Tokyo and San Francisco, adopts an inflatable “health care” robot named Baymax from his big brother.

Tragedy strikes, which pushes boy and Baymax into a mystery so challenging that they enlist five friends to join them. Ingenuity abounds in the movie’s setting, animation, and plot, and the time breezes by — you get all this, plus a gem of an animated short. Rated PG. 102 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE) In Alejandro González Iñárritu’s searing, hilarious, sometimes unsettling backstage satire, Michael Keaton tosses his hat into the Oscar ring with his brilliant dissection of a movie star, in artistic eclipse in the years since he sold his soul to play a masked comic-book superhero, looking for redemption on the Broadway stage. Packed with a terrific supporting cast headed by Edward Norton, Naomi Watts, and Emma Stone and shot in a simulated single take by the great Emmanuel Lubezki, Birdman crackles with wit, self-referential allusions, fantasy, and penetrating insights about show business, relevance, and the modern world. Iñárritu, sloughing off the ponderous artiness of his recent movies, makes magic here. Rated R. 119 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) THE BOOK OF LIFE The Day of the Dead gets its own mainstream movie with this story about a reluctant bullfighter Manolo named (voiced by Diego Luna), who competes with his friend and rival (Channing Tatum) over the woman they both admire (Zoe Saldana) until Manolo is killed. All is not lost, however: He can travel through fantastical worlds to return to her. The visuals, inspired by Mexican folk art, are colorful, imaginative, and atypical of current animated films. That and the swift pacing go a long way, but the corny jokes and lame use of modern pop songs distract from the filmmakers’ best intentions. Rated PG. 95 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) CITIZENFOUR This you-are-there documentary should be required viewing, whichever side of the Edward Snowden patriot/traitor bias you fall on. Laura Poitras, the documentary director contacted by Snowden to break his story, presents only one side here, but it’s a compelling brief that asks what constitutional freedoms we’re willing to surrender for security. Poitras pads her film to nearly two hours with some sleepy footage of Snowden sitting in his Hong Kong hotel room, but there’s plenty of meat, and it’s riveting. Investigative journalist Glenn Greenwald is the film’s other focal point. William Binney, a career-NSA-analyst-turned-critic, observes

that the indiscriminate gathering of information on citizenry is what dictatorships have always done. Rated R. 114 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) DUMB AND DUMBER TO Way back in 1994, Jim Carrey and Jeff Daniels put on silly wigs and joined the proud tradition of the Three Stooges and Steve Martin’s Navin R. Johnson (from The Jerk), acting like extreme buffoons in the name of comedy. Not only was Dumb and Dumber a big hit, but it put the Farrelly brothers on the map. It’s OK to admit you laughed at that film, and there are moments in this belated sequel that will inspire the same. The story is merely a flimsy excuse for Carrey and Daniels to convince you to have as much fun as they clearly are having, and there is truth in advertising in the film’s title. It’s good — often gross — fun, but a little bit of these actors and these characters goes a long way; one movie every 20 years should do it. Rated PG-13. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) FORCE MAJEURE A prosperous Swedish businessman, his wife, and his children vacation at a French Alps ski resort. On their second day, a controlled avalanche gone wrong threatens the terrace where they are having lunch. The man panics and saves himself, leaving his wife and kids to survive on their own. Moments later, the crisis has passed, and everyone is safe. Director Ruben Östlund paints a tense, emotionally fraught observation of the consequences of the man’s instinctive reaction of self-preservation and the shame of his compromised role as male protector. Some scenes don’t hold up, but it’s a provocative, powerful film, and the key event will send you home with something uncomfortable to think and talk about. Rated R. 118 minutes. In Swedish, French, and English with subtitles. The Screen, Santa Fe. (Jonathan Richards) FURY War is hell, and writer-director David Ayer puts us through it in this dense, dark, claustrophobic, sometimes riveting, sometimes trashy adventure. Much of the action takes place in an American tank in the waning months of World War II, as the Allies are pushing toward Berlin. Brad Pitt is Wardaddy, a sergeant who is tough as nails, except when he’s showing his sensitive side. The audience surrogate is Norman (Logan Lerman), a clerk-typist thrust into combat. There’s some fine acting from the core group’s members, who mostly rise above the typical war-movie roles they’re given. Rated R. 134 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) continued on Page 50 PASATIEMPOMAGAZINE.COM

MOVING IMAGES chile pages

continued from Page 49

GONE GIRL This twisted noir from David Fincher is based on the bestseller by Gillian Flynn, who penned the screenplay, boiling her own work down to its deep, dark, gripping essentials. Amy Dunne (Rosamund Pike) mysteriously disappears, leaving her husband, Nick (Ben Affleck), as a possible murder suspect. The story unfolds forward and in flashback and is told from the viewpoint of two unreliable, unlikeable narrators. It’s strategically assembled and briskly paced. Pike brings an icy perfection to Amy, while Affleck makes Nick simultaneously amiable and untrustworthy. Rated R. 149 minutes. Regal Stadium 14, Santa Fe. (Laurel Gladden) INTERSTELLAR Christopher Nolan’s space epic is one of the most phenomenally silly movies ever made. But it has an odd majesty. It’s filled with earnest hokum and riddled with theoretical-physics chatter, most of which can’t be understood because Hans Zimmer’s raging score and the thundering sound effects are in a perpetual death struggle with the (mostly mumbled) dialogue. On a theoretical-physics level, it’s all about relativity and the oddity that time proceeds more slowly when you’re hurtling through space than when you’re stuck back on the farm. On an emotional level, it’s about fatherdaughter bonds and the power of love. Rated PG-13. 168 minutes. Jean Cocteau Cinema, Santa Fe; Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) JOHN WICK If you abhor violence, don’t see this movie. The bodies pile up with abandon after the punk son (Alfie Allen) of a crime boss (a superb Michael Nyqvist) takes a fancy to a ’69 Mustang belonging to ex-hitman John Wick (Keanu Reeves). He steals the car and does something else so vile it brings Wick out of retirement with a stylish vengeance. This movie is the spectacular directorial debut of Chad Stahelski, who was Reeves’ stunt double in movies like The Matrix. He knows his action, and he knows when the movie should talk and when it should shut up. Derek Kolstad’s dialogue is spare, but it’s choice and often very funny. Rated R. 101 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards)

spicy bland

medium

mild

heartburn

Read movie reviews online at www.santafenewmexican.com/pasatiempo

PASATIEMPO I November 21-27, 2014

THE JUDGE Robert Downey Jr. climbs out of his Iron Man suit long enough to play a smooth-talking lawyer who returns home from the big city to defend his father, played by Robert Duvall, a grumpy judge who is suspected of murder. Will father and son put aside their differences? Vera Farmiga, Vincent D’Onofrio, and Billy Bob Thornton co-star. Rated R. 141 minutes. Regal DeVargas, Santa Fe. (Not reviewed) LISTEN UP PHILIP This is a great sendup of literary novels and writing culture. Awaiting publication of his second novel, Philip Lewis Friedman (Jason Schwartzman) meets a luminary novelist named Ike Zimmerman (Jonathan Pryce). Fame has made them both crazy. Philip keeps looking for the woman who can set him on the path to righteousness, except that he hates women — and himself and really everyone else, too. The subversion here is that this brilliant movie refuses to give Philip what he desires. Not rated. 108 minutes. Center for Contemporary Arts, Santa Fe. ( Jennifer Levin) NIGHTCRAWLER Jake Gyllenhaal’s terrifically creepy-crawly performance as Louis Bloom, a sociopathic newshound, is the main appeal of this scathing, violent send-up of the local news business, where gore rules the ratings game. Louis talks like a self-help manual and wears a fixed, wide-eyed grin as he uses a police scanner to chase down horrific scenes of violence and murder with his video camera and deliver the goods to an increasingly grateful Nina (Rene Russo), the night-shift producer of a ratings-hungry local TV news show. Some of the story, by writer-director Dan Gilroy, is pretty far-fetched, and many of the twists are predictable, but they exist to make a satiric point, not to be taken seriously. Rated R. 117 minutes. Regal Stadium 14, Santa Fe. (Jonathan Richards) OUIJA A group of teenagers gets together to test out a Ouija board that supposedly had something to do with the death of a young woman. Sure enough, they summon a dark spirit that starts picking them off, particularly when they look in mirrors or through the hole on the board’s planchette. Rated PG-13. 89 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) ROSEWATER In 2009, Newsweek journalist Maziar Bahari (Gael Garcia Bernal) returned to his native Iran to cover the presidential election that generated massive street protests over apparent fraud. Shortly after appearing in a mock interview on The Daily Show, Bahari was arrested in Tehran and thrown into solitary confinement as a spy. He was questioned and tortured for 118 days before finally being released due to international pressure. Jon Stewart, in a crise de conscience, took leave from

his Daily Show duties to shine a cinematic light on the outrage. Stewart does a competent job with his debut directing effort, but misses too many opportunities, and the film doesn’t soar. Jon, don’t quit your Daily job. Rated R. 103 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) ST. VINCENT Bill Murray plays Vincent, a surly alcoholic old-timer who is tasked with taking care of the child (Jaeden Lieberher) of the single mother (Melissa McCarthy) who lives next door, so he teaches the kid how to fight and totes him along to the racetrack. Vincent has to satiate his gambling addiction, but no regular moviegoer would bet against the eventual reveal that this hermit has a heart of gold. The story plays out exactly as you’d expect, and Naomi Watts’ Russian prostitute seems to belong in another story entirely. The film’s saving grace is McCarthy’s affecting performance as a hardworking woman at the end of her rope. Rated PG-13. 102 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE TALE OF THE PRINCESS KAGUYA When an old bamboo cutter discovers a miniature girl in a bamboo grove, he raises her as his own daughter. As Kaguya grows older and the man comes into unimaginable wealth through supernatural means, he is convinced she is of divine origin. He sets her up in a palatial home, where she spurns numerous suitors, longing only for her lost childhood love. She appeals to the moon for help, setting in motion a series of magical events as she races to free herself from the constraints of courtly life. Director Isao Takahata’s beautifully animated feature is an enchanting, poetic tale for the ages. Rated PG. 137 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) WHIPLASH Miles Teller plays teenage jazz drummer Andrew Neiman, whose dreams of becoming one of the greats hinge on surviving elite music instructor Terence Fletcher (a riveting J.K. Simmons), the sort of teacher who’s more likely to throw a chair at his student’s head than say “please” when requesting a drumroll. This indie-drama by Damien Chazelle won two major awards at Sundance and compellingly explores the ways in which the power dynamics of a mentoring relationship can turn a teacher’s obsession into a student’s compulsion. Rated R. 107 minutes. Regal DeVargas, Santa Fe. (Loren Bienvenu)

other screenings Center for Contemporary Arts, 505-982-1338 The Ghibli Celebration presents My Neighbor Totoro. ◀

WHAT’S SHOWING Call theaters or check websites to confirm screening times. CCA CINEMATHEQUE AND SCREENING ROOM

1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Art and Craft (NR) Fri. to Sun. 1 p.m., 6:15 p.m. Mon. and Tue. 6:30 p.m. Wed. 11:45 a.m., 6:30 p.m. Citizenfour (R) Fri. to Sun. 3 p.m., 8 p.m. Mon. to Wed. 4 p.m., 8 p.m. Keep on Keepin’ on (R) Fri. 4:45 p.m. Sat. and Sun. 11:30 a.m., 4:45 p.m. Mon. and Tue. 8:30 p.m. Wed. 2 p.m., 8:30 p.m. Listen Up Philip (NR) Fri. to Sun. 8:30 p.m. My NeighborTotoro (G) Sat. and Sun. 11 a.m. Mon. 5:30 p.m. Wed. 3 p.m. The Tale of Princess Kaguya (PG) Fri. to Sun. 1:30 p.m., 5:15 p.m. Tue. 4:45 p.m. Wed. 12:15 p.m., 4:45 p.m. JEAN COCTEAU CINEMA

418 Montezuma Avenue, 505-466-5528, www.jeancocteaucinema.com Interstellar (PG-13) Fri. and Sat. 2:30 p.m., 6 p.m., 9:20 p.m. Sun. 11 a.m., 6 p.m. Mon. 3:30 p.m., 9:20 p.m. Tue. and Wed. 2:30 p.m., 6 p.m., 9:20 p.m. Thurs. 6 p.m. REGAL DEVARGAS

562 N. Guadalupe St., 505-988-2775, www.fandango.com Birdman (R) Fri. and Sat. 12:20 p.m., 3:20 p.m., 6:20 p.m., 9:05 p.m. Sun. to Tue. 12:20 p.m., 3:20 p.m., 6:20 p.m. Fury (R) Fri. and Sat. 12:10 p.m., 3:10 p.m., 6:10 p.m., 9 p.m. Sun. to Tue. 12:10 p.m., 3:10 p.m., 6:10 p.m. The Judge (R) Fri. and Sat. 12 p.m., 3 p.m., 6 p.m., 8:55 p.m. Sun. to Tue. 12 p.m., 3 p.m., 6 p.m. Rosewater (R) Fri. and Sat. 12:40 p.m., 3:40 p.m., 6:40 p.m., 9:15 p.m. Sun. to Tue. 12:40 p.m., 3:40 p.m., 6:40 p.m. St.Vincent (PG-13) Fri. and Sat. 12:50 p.m., 3:50 p.m., 6:50 p.m., 9:20 p.m. Sun. to Tue. 12:50 p.m., 3:50 p.m., 6:50 p.m. The Theory of Everything (PG-13) Wed. 12:30 p.m., 3:30 p.m., 6:30 p.m. Thurs. 12:30 p.m., 3:30 p.m., 6:30 p.m., 9:15 p.m. Whiplash (R) Fri. and Sat. 12:30 p.m., 3:30 p.m., 6:30 p.m., 9:10 p.m. Sun. to Tue. 12:30 p.m., 3:30 p.m., 6:30 p.m. REGAL STADIUM 14

3474 Zafarano Drive, 505-424-6296, www.fandango.com Alexander and the Terrible, Horrible, No Good, Very Bad Day (PG) Fri. to Mon. 12:35 p.m., 3 p.m.,

5:20 p.m.

Beyond the Lights (PG-13) Fri. to Sun. 10:10 a.m.,

1:15 p.m., 4:10 p.m., 7:05 p.m., 9:55 p.m. Mon. 1:15 p.m., 4:10 p.m., 7:05 p.m., 9:55 p.m. Big Hero 6 (PG) Fri. to Mon. 12:10 p.m., 2:30 p.m., 2:45 p.m., 5:25 p.m., 8:05 p.m., 10:40 p.m. Big Hero 6 3D (PG) Fri. to Mon. 11:50 a.m., 5:10 p.m., 7:50 p.m., 10:30 p.m. The Book of Life (PG) Fri. to Mon. 11:50 a.m., 2:30 p.m., 5:10 p.m., 7:45 p.m. Dumb and DumberTo (PG-13) Fri. to Sun. 10:20 a.m., 12 p.m., 1:10 p.m., 2:35 p.m., 4:10 p.m., 5:15 p.m., 7:15 p.m., 7:55 p.m., 10 p.m., 10:35 p.m. Mon. 12 p.m., 1:10 p.m., 2:35 p.m., 4:10 p.m., 5:15 p.m., 7:15 p.m., 7:55 p.m., 10 p.m., 10:35 p.m. Gone Girl (R) Fri. to Mon. 12:20 p.m., 3:50 p.m., 7:10 p.m., 10:25 p.m.

Horrible Bosses 2 (R) Tue. 7 p.m., 9:35 p.m. Wed. and Thurs. 11:10 a.m., 1:45 p.m., 4:20 p.m., 7:15 p.m., 9:50 p.m. The Hunger Games: Mockingjay — Part 1 (PG-13) Fri. to Sun. 10 a.m., 10:30 a.m., 11 a.m., 1 p.m., 1:30 p.m., 2 p.m., 3:30 p.m., 4 p.m., 4:30 p.m., 5 p.m., 6:30 p.m., 7 p.m., 7:30 p.m., 8 p.m., 9:30 p.m., 10 p.m., 10:30 p.m., 11 p.m. Mon. 1 p.m., 1:30 p.m., 2 p.m., 4 p.m., 4:30 p.m., 5 p.m., 7 p.m., 7:30 p.m., 8 p.m., 10 p.m., 10:30 p.m. Tue. 1 p.m., 4 p.m., 7 p.m., 10 p.m. Wed. 10 a.m., 1 p.m., 4 p.m., 7 p.m., 10 p.m. Thurs. 1 p.m., 4 p.m., 7 p.m., 10 p.m. Interstellar (PG-13) Fri. to Sun. 10:15 a.m., 12:05 p.m., 2:05 p.m., 3:45 p.m., 5:45 p.m., 7:20 p.m., 9:20 p.m. Mon. 12:05 p.m., 2:05 p.m., 3:45 p.m., 5:45 p.m., 7:20 p.m., 9:20 p.m. John Wick (R) Fri. to Sun. 12:30 p.m. Mon. 12:30 p.m., 2:50 p.m., 5:10 p.m., 7:35 p.m., 10:05 p.m. Nightcrawler (R) Fri. to Mon. 7:45 p.m., 10:30 p.m. Ouija (PG-13) Fri. to Mon. 10:25 p.m. The Penguins of Madagascar 3D (PG) Opens Wed. Call for times. The Penguins of Madagascar (PG) Opens Wed. Call for times. THE SCREEN

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Awake:The Life of Yogananda (PG) Sat. 10:30 a.m. Sun. 5:50 p.m. Bolshoi Ballet:The Pharaoh’s Daughter (NR) Sun. 11:15 a.m. Force Majeure (R) Fri. and Sat. 2:15 p.m., 8 p.m. Sun. 7:45 p.m. Mon. to Thurs. 2:15 p.m., 8 p.m. Pelican Dreams (G) Fri. and Sat. 12:30 p.m., 4:40 p.m., 6:20 p.m. Sun. 2:20 p.m., 4:10 p.m. Mon. to Thurs. 12:30 p.m., 4:40 p.m., 6:20 p.m. MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com Big Hero 6 (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. and Tue. 4:30 p.m., 7 p.m. The Book of Life (PG) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. and Tue. 4:35 p.m., 7:05 p.m. Dumb and DumberTo (PG-13) Fri. 4:50 p.m., 7:25 p.m., 10 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:25 p.m., 10 p.m. Sun. 2:25 p.m., 4:50 p.m., 7:25 p.m. Mon. and Tue. 4:50 p.m., 7:25 p.m. The Hunger Games: Mockingjay — Part 1 (PG-13) Fri. 4:25 p.m., 7:10 p.m., 9:55 p.m. Sat. 1:45 p.m., 4:25 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:45 p.m., 4:25 p.m., 7:10 p.m. Mon. and Tue. 4:25 p.m., 7:10 p.m. Interstellar (PG-13) Fri. 4:45 p.m., 6:55 p.m., 9:25 p.m. Sat. 2:15 p.m., 4:45 p.m., 6:45 p.m., 9:25 p.m. Sun. 2:15 p.m., 4:45 p.m., 6:45 p.m. Mon. and Tue. 4:45 p.m., 6:55 p.m. Ouija (PG-13) Fri. 4:55 p.m., 7:30 p.m., 9:45 p.m. Sat. 2:30 p.m., 4:55 p.m., 7:30 p.m., 9:45 p.m. Sun. 2:30 p.m., 4:55 p.m., 7:30 p.m. Mon. and Tue. 4:55 p.m., 7:30 p.m.

hunger games: mockingjay 1:45** 4:25 7:10 Part 1 dumb & dumber to 2:25** 4:50 7:25 big hero 6 2d 2:00** 4:30 7:00 big hero 6 3d 2:00** 4:30 interstellar 2:15** 4:45 6:45 ouija 2:30** 4:55 7:30 book of life 2d 2:05** 4:35 7:05 **saturday & sunday only *friday & saturday only times for friday, november 21 - tuesday, november 25

9:55* 10:00* 9:30* 9:25* 9:45* 9:35*

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RESTAURANT REVIEW Laurel Gladden I For The New Mexican

Bring back the magic Sushi Land East 132 E. Water St., 505-820-1178, www.sushilandeast.com Lunch Mondays-Saturdays 11 a.m.-2:30 p.m.; dinner Mondays-Saturdays 5-8:30 p.m.; closed Sundays Takeout available Vegetarian options Handicapped accessible Noise level: quiet to moderate Beer, wine & sake Credit cards, no checks

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The Short Order Years ago, tiny Sushi Land East took over a space on Water Street formerly occupied by a Cold Stone Creamery. The dining room is cozy but somewhat cluttered, with a few tables along one wall, a small sushi bar, two tatami-mat tables, Japanese-inspired art, and bright-red walls. Menu options range from creative appetizers and flavorful salads to predictable rolls, sashimi, and nigiri, as well as noodle- and rice-based bowls. The food is still fine, but I somehow get the feeling that here, simply being “good enough” is good enough. Recommended: cucumber salad, hijiki salad, Japanese nachos, tuna tataki appetizer special, and crunchy sashimi roll.

Ratings range from 1 to 5 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value. 5 = flawless 4 1/2 = extraordinary 4 = excellent 3 1/2 = very good 3 = good 2 1/2 = average 2 = fair 1 1/2 = questionable 1 = poor

PASATIEMPO I November 21-27, 2014

Connoisseurs judge sushi restaurants based on all sorts of criteria, and while I’m no expert, there are a few points I get persnickety about. However, I take it as a positive sign if I spot a couple of elderly Japanese gentlemen sitting at a sushi bar, scarfing down food and getting a little rowdy on sake or beer — as I did the first time I poked my head in the door at Sushi Land East, which, thank goodness, had just taken over a space formerly occupied by a Cold Stone Creamery. Years have passed since that day. I wondered if the zest of those early days had endured. The dining room is cozy but somewhat cluttered, with Japanese-inspired art and bright-red walls doing their best to liven things up. A handful of chairs and tables runs along the wall opposite the small sushi bar. Two tatami-mat tables occupy a front corner, in case you don’t mind having to remove your shoes before you dine — more of a hassle now that temperatures have dropped. Lunches can be crowded; dinners are sometimes quiet. On a busy night, you’ll have to wander the neighborhood if you choose to wait, since there’s no room to linger inside without hovering over occupied tables. The Japanese nachos are an example of Sushi Land East’s early creativity and verve. Squares of nori are slightly tempurabattered and fried into crispy “chips,” and then topped with a jumble of pico de gallo and small dice of raw tuna. They’re light, refreshing, bold, and tantalizing. I always want to order more. The salads may look a little dull and small, but they’re actually powerful and addictive. Our tangle of hijiki (black seaweed) was meaty, earthy, almost mushroomy — with just the tiniest bit of bite as well as a sprinkle of sesame seeds for a nutty, crunchy contrast. Thin disks of cool cucumber are marinated in a salty-sweet dressing, while scraps of soft, chewy nori add some complementary brininess here and there. The tuna tataki appetizer is a heap of ruby-red fish and tart, aromatic yuzu. Its gorgeousness, though, was muffled beneath a wad of shredded daikon radish. Our assorted tempura was fine — well cooked but still slightly toothy vegetables plus a sheet or two of nori, all fried to a delicate but audible crispness. Our six pieces of sashimi were gloriously colorful but oddly bland and unremarkable, and the gyoza (pot stickers) were pleasantly tender and savory but ultimately forgettable. The rest of the menu consists of nigiri, sashimi, and maki (rolls) as well as some noodle- and rice-based bowls. The one bowl we tried — eel — felt like my new favorite comfort food: a bed of impressively sticky rice topped with a few shreds of lettuce; fatty, meaty grilled fish; and that salty-sweet sauce created (and named) for it. Most of the predictable maki selections are here — spicy tuna and other unadorned fish; vegetable combos; and dragon, rainbow, caterpillar, and the like. Others are intriguing and creative, like the T.S. roll, with its snapper and crisp pickles. There’s an alternative for carbophobes and Whole Life Challenge disciples — the crunchy sashimi roll, a variety of fish rolled in nori, crusted in sesame seeds, and very quickly

fried to give it a superficial snap. Rich, soft, and full-flavored is the dragon roll — “crab,” buttery avocado, and cucumber curled up in rice and topped with sweet, fatty eel. I appreciated the thin strips of tempura carrot, green pepper, and onion, which acted as decorative and textural accents. You may prefer the simpler single-ingredient route of nigiri. My tamago, omelet-style egg seasoned with mirin and soy sauce, was unpleasantly cloying, almost like an eggy pancake. Its supporting platform of rice, bound by a thin belt of dark-green nori, crumbled the minute it left the plate. The tempura shrimp of another nigiri was ideally cooked, but an odd, out-of-place deposit of mayonnaise on top of the rice had turned its crust gummy. Hot tea is available to wash all of this down, though ours was served, peculiarly, in Western-style coffee mugs. Kirin lager is on tap, and a selection of Japanese microbrews is available in bottles and cans. Of the fairly wide but not intimidating selection of sakes, we tried the Seven Spearsmen — fruity at the outset, but with a sophisticated superdry finish. I wasn’t sure if I should attribute our server’s brevity and minimal enthusiasm to shyness or an ambivalence about his job. He was generally helpful and delivered food in a timely fashion, but throughout the meal, in particular near the end, he disappeared behind the bar or into the kitchen for large chunks of time. It’s details like this that make me think the passion has fizzled just a touch at Sushi Land East. The food is still fine, but it feels workmanlike. Somehow, I get the feeling that here, simply being “good enough” is good enough. ◀

Lunch for two at Sushi Land East: Green tea ..................................................................$ 2.00 Vegetable tempura appetizer ....................................$ 6.00 Pot stickers ...............................................................$ 4.00 Six-piece nigiri combo..............................................$ 15.00 Dragon roll ...............................................................$ 12.00 TOTAL......................................................................$ 39.00 (before tax and tip) Dinner for two, another visit: Glass, Kirin lager......................................................$ 5.00 Carafe, Seven Spearsmen sake..................................$ 11.75 Japanese nachos .......................................................$ 6.00 Hijiki salad ...............................................................$ 3.50 Cucumber salad........................................................$ 3.00 Sashimi appetizer .....................................................$ 13.00 Monkfish liver nigiri ................................................$ 2.50 Tamago nigiri ...........................................................$ 1.50 Tuna tataki appetizer special ....................................$ 9.00 Crunchy sashimi roll................................................$ 12.00 Grilled eel bowl ........................................................$ 16.00 TOTAL......................................................................$ 83.25 (before tax and tip)

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ARTS AND ENTERTAINMENT CALENDAR

November 21-27, 2014

CALENDAR COMPILED BY PAMELA BEACH

FRIDAY 11/21

SSFUA&D piano recital

O'Shaughnessy Performance Space, Benildus Hall, Santa Fe University of Art & Design, 1600 St. Michael's Dr. Soloist Isabel Leyba, 7 p.m., no charge.

Gallery & Museum Openings Center for Contemporary Arts

1050 Old Pecos Trail, 505-982-1338 Scene Through the Lens: Photographing Favorite Buildings, group show, reception 5-7 p.m., through Dec. 7.

TTheater/Dance D Den of Thieves

821 Canyon Rd., 505-983-7269 Huichol yarn paintings by Modesto Rivera Lemus and traditional Huichol beadwork; book signing and reception 5-8 p.m., through Nov. 28.

Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael's Dr. TThe university theater department presents Stephen Adly Guirgis' 1996 crime caper, 7 p.m., $15 in advance, 505-988-1234, ticketssantafe.org, Fridays-Sundays Nov. 21-23 and Dec. 5-7.

Gallery 901

LLegends From the Land of Enchantment

Ed Larson Studio

901 Canyon Rd., 505-780-8390 The Art in Wax, group show of small encaustic works, reception 5-7 p.m., through Dec. 30.

GF Contemporary

TTeatro Paraguas Studio, 3205 Calle Marie TTeatro Paraguas Children's Theatre presents tthe tale by Rebecca Morgan, 7 p.m., $10, students 17 and under $5, 505-471-3140.

Green River Pottery

Santa Fe Preparatory School, 1101 Camino de Cruz Blanca Student presentation of the 1953 play by William Inge, 7:30 p.m., $8 at the door, discounts available, through Sunday.

PPicnic

707 Canyon Rd., 505-983-3707 Deconstructing Coyote, group show including works by Bert Benally, Cannupa Hanska Luger, and Will Wilson, reception 5-7 p.m., through Dec. 19.

PPlaywrights Forum weekend

1710 Lena St., 505-614-6952 Wheel-thrown and slab-built tea sets, bowls, and other gifts, open house 4-7 p.m., through Sunday.

Santa Fe Playhouse, 142 E. DeVargas St. Staged readings of Best Kept Secrets, a drama in two acts by Peggy Aultman, 6 p.m.; The Oddboy, a comedy in two acts by Mark Dunn, 8 p.m.; $10 at the door; discounts available; pass $20; 505-988-4262, tthrough Sunday. (See story, Page 38)

Marigold Arts

424 Canyon Rd., 505-982-4142 Hand-Woven for the Holidays, work by Connie Enzmann-Forneris, Barbara Marigold, and Sandy Voss, reception 5-7 p.m., through Jan. 2.

Photo-eye Gallery

541 S. Guadalupe St., 505-988-5159 Still Earth/Storms, photographs by Mitch Dobrowner, reception 5-7 p.m., through Jan. 10.

Pop Gallery

TTom RRoss Gallery G ll shows h glasswork l kb by N Navid id Gh Ghedami, d i 409 C Canyon Rd Rd.

Than Povi Fine Art Gallery

6 Banana Lane, 505-455-9988 Work by painter Carla Romero, reception 4-6 p.m., through January.

Wheelhouse Art

125 Lincoln Ave., Suite 111, 505-820-0788 Seuss Featurette, group show of original drawings by Theodor Seuss Geisel and works by contemporary artists, through December, a portion of proceeds benefits Santa Fe Children's Museum.

418 Montezuma Ave., 505-919-0553 Sacred Body, group show, featuring work by painter and sculptor Michael Bergt; also, paintings by Steven Kenny and sculpture by Robert Ash, through Wednesday, proceeds benefit a young-adult scholarship program for healing-movement arts.

Tansey Contemporary

Classical Music

652 Canyon Rd., 505-995-8513 Small Scale, Big Ideas, group show, including work by Teri Greeves and Irina Zaytceva, through Jan. 6.

PASATIEMPO I November 21-27, 2014

TGIF recital

First Presbyterian Church of Santa Fe, 208 Grant Ave. Pianists Edwin Light and Madeline Williamson play dance-inspired duets of music by Brahms, Schubert, and Gershwin, 5:30-6 p.m., donations welcome, 505-982-8544, Ext. 16.

In Concert Bob Schneider

Skylight Folk/rock singer/songwriter, 7:30 p.m., $22 in advance at holdmyticket.com.

Barbara Bentree

Museum Hill Café, 710 Camino Lejo The jazz series continues with the vocalist; with John Rangel on piano, Andy Zadrozny on bass, and John Trentacosta on drums, 7 p.m., $25, santafemusiccollective.org, 505-983-6820.

La Santa Cecilia

La Fonda Los Angeles-based Latin-rock band, 8 p.m., $20 in advance at holdmyticket.com, proceeds benefit Duel Language Education of New Mexico Endowment Fund and Janet Montoya Schoeppner Memorial Scholarship Fund.

Events Turkey Bowling on Ice

Genoveva Chavez Community Center Ice Arena, 3221 W. Rodeo Rd. Held in support of The Food Depot, 5:30-7 p.m., $6.50 includes skate rental, turkey raffle tickets $3.

Nightlife

(See Page 55 for adresses)

Café Café

Trio Los Primos, 6 p.m., no cover.

¡Chispa! at El Mesón

Three Faces of Jazz, featuring guest saxophonist Arlen Asher, 7:30-10:30 p.m., no cover.

Cowgirl BBQ

Singer/songwriter Terri Diers, 5 p.m.; Jay Boy Adams and Zenobia, with Mister Sister, R & B, 8:30 p.m., no cover.

Second Street Brewery at the Railyard

Americana band Santa Fe Revue, 7-10 p.m., no cover.

Theater/Dance

D.A.N.C.E.

The Brothers Grimm Spectaculathon

Skylight

Armory for the Arts, 1050 Old Pecos Trail Comic adaptation presented by Santa Fe Performing Arts' City Different Players (ages 7-12), 2 p.m., $8, 505-984-1370, final weekend.

Swiss Bistro

Teatro Paraguas Studio, 3205 Calle Marie Staged readings by Jenny Hoffman, Yolanda Knight, and Matthew McVey-Lee of a play in development, 3 p.m., no charge, 505-424-1601.

Shadeh

Clear Channel Radio Rock ‘n’ Roll Night, 9 p.m.-4 a.m., no cover. Dance band Chango, 9 p.m., call for cover; Meow Wolf: The Lab, with Jon Ray, Vanessa Wilde, and DJ Dirt Girl, upstairs at Skylab, 10 p.m., call for cover.

Cassandra

Capital High School, 4851 Paseo del Sol, 505-467-1124 CHS students perform a variety of dance styles; joined by Danceworks, Saltanah Dancers, and Baile Español, 7 p.m., no charge.

Death Trap

Great Hall, Peterson Student Center, St. John's College, 1160 Camino de Cruz Blanca Student theater group Chrysostomos presents Ira Levin's 1978 comedy, 7:30 p.m., no charge, Sunday encore.

Irish multi-instrumentalist Gerry Carthy, on the patio, 7-10 p.m.

Tiny’s

Upper Crust Pizza

Songwriter Michael Clay Mills, 6-9 p.m., no cover.

CONTEMPORARY CLAY FAIR 10 a.m. to 5 p.m. Saturday and Sunday, the Santa Fe Woman's Club, 1616 Old Pecos Trail, hosts the annual market of functional and decorative works by more than 30 local artistisans. Visit contemporaryclayfair.com for a list of artists and a map. Above: necklace by Mary Sharpe Davis.

The Den

Ladies' Night, with DJ Luna spinning dance beats, 9 p.m.-close, call for cover.

Duel Brewing

Americana band Wild Rabbit, 7 p.m.-close, no cover.

El Farol

Soul band The Gruve, 9 p.m.-close, call for cover.

El Paseo Bar & Grill

Weekly rotating DJs, 9:30 p.m.-close, no cover.

Hotel Santa Fe

Guitarist/flutist Ronald Roybal, 7-9 p.m., no cover.

The Lodge at Santa Fe

Pachanga Club Fridays, Latin-dance night with DJ Aztech Sol, 9:30 p.m., call for cover.

Vanessie

Pianists Doug Montgomery, 6 p.m., and Kathy Morrow, 8 p.m.; call for cover.

SATURDAY 11/22 Gallery & Museum Openings Café Pasqual's Gallery

103 E. Water St., second floor, 505-983-9340 Fashion and Function, works by jeweler Marian Miller and ceramicist Matt Repsher, reception 1-5 p.m.

Green River Pottery

1710 Lena St., 505-614-6952 Wheel-thrown and slab-built tea sets, bowls, and other gifts, open house 9 a.m.-5 p.m., through Sunday.

Pressed Rat and Warthog

931-G Shoofly St., 505-310-3888 Mixed media by Pressed Rat, open house 11 a.m.-4 p.m., 50 percent of proceeds benefits Doctors Without Borders.

Opera in HD The Metropolitan Opera: Live in HD

The Lensic Rossini’s Il Barbiere di Siviglia, 11 a.m. and 6 p.m., $22-$28, 505-988-1234, ticketssantafe.org.

Classical Music Coro de Cámara

La Fiesta Lounge at La Fonda Country band Sierra, 8-11 p.m., no cover.

Church of the Holy Faith, 311 E. Palace Ave. The chorus celebrates 25 years with music of Bach, Handel, and Scarlatti, 7 p.m., donations welcome.

La Posada de Santa Fe Resort and Spa

San Miguel Chapel Music Series

Mine Shaft Tavern

San Miguel Chapel, 401 Old Santa Fe Trail VEM Quartet, graduate string quartet-in-residence at UCLA, violinist Stephanie Nagler, and Santa Fe University of Art & Design Percussion Ensemble, music of Mendelssohn, Komitas, and Lou Harrison, 8 p.m., $15; student discounts available.

Palace Restaurant and Saloon

In Concert

Nacha Mendez Quartet, 6:30-9:30 p.m., no cover.

Bluegrass duo Paw & Erik, on the deck, 5 p.m.; Karaoke Kamikaze, 8 p.m.-close, no cover. Shiners Club Jazz Band, 4:30-7:30 p.m., no cover; Las Vegas-style lounge-act duo Vanilla Pop, 10 p.m.-close, call for cover.

Pranzo Italian Grill

Geist Cabaret; with pianist David Geist, 6-9 p.m., call for cover.

Second Street Brewery

Bill Hearne Trio, honky-tonking country music, 6-9 p.m., no cover.

Evarusnik Orchestra

Iconik Coffee Roasters, 1600 Lena St., 505-428-0996 Local indie world/rock group, Brian Haas opens, 7:30 p.m., $10 in advance, brownpapertickets.com, ages 11 and under no charge.

High Mayhem Fall Series Night 4

High Mayhem Studio, 2811 Siler Lane, Acoustic performances by Fufaka, Rumble Trio, Cloacas, and others, 7:30 p.m., $10 suggested donation, 505-438-2047, highmayhem.org.

Check with venues for updates and sp ecial events Agoyo Lounge at

the Inn on the Alamed Museum Hill Café a 303 E. Alameda St. 710 Camino Lejo, Mi , 505-984-2121 lner Plaza, 505-984-8900 Anasazi Restauran t & Bar 113 Washington Av Music Room at Ga e., 505-988-3030 rrett’s Desert Inn 311 Old Santa Fe Tra Bishop’s Lodge Ra il, 505-982-1851 nch Resort & Spa 1297 Bishops Lodg e Rd., 505-983-6377 Odd Fellows Hall 1125 Cerrillos Rd., Blue Rooster 505-473-0955 101 W. Marcy St., 50 Omira Bar & Grill 5-206-2318 1005 St. Francis Dr Burro Alley Café ., 505-780-5483 207 W. San Francisc Palace Restaurant o St., 505-982-0601 & Saloon 142 W. Palace Ave., Café Café 505-428-0690 500 Sandoval St., 50 Pranzo Italian Grill 5-466-1391 540 Montezuma Av ¡Chispa! at El Mesó e., 505-984-2645 n 213 Washington Av Santa Fe Bar & Grill e., 505-983-6756 187 Paseo de Peral Cowgirl BBQ ta, DeVargas Cente r, 505-982-3033 319 S. Guadalupe St. , 505-982-2565 Santa Fe Commun The Den ity Convention Center 132 W. Water St., 50 5-983-1615 201 W. Marcy St., 50 Duel Brewing 5-955-6705 Santa Fe Sol Stage 1228 Parkway Dr., & Grill 505-474-5301 37 Fire Place, solof Eldorado Hotel & santafe.com Spa Second Street Brew 309 W. San Francisc ery o St., 505-988-4455 1814 Second St., 505-982 El Farol -3030 Second Street Brew 808 Canyon Rd., 50 ery at the Railyard 5-983-9912 16 07 Paseo de Peralta, El Paseo Bar & Grill 505-989-3278 Shadeh at Buffalo 208 Galisteo St., 50 Thunder 5-992-2848 Resort & Casino Evangelo’s Pojoaque Pueblo, U.S 200 W. San Francisc . 84/285, o St., 505-982-9014 505-455-5555 Hilton Santa Fe Skylight 100 Sandoval St., 50 5-988-2811 139 W. San Francisc o St., 505-982-0775 Hotel Santa Fe Sweetwater Harve 1501 Paseo de Peral st Kitchen ta, 505-982-1200 1512-B Pacheco St. , 505-795-7383 Junction Swiss Bistro 530 S. Guadalupe St. , 505-988-7222 401 S. Guadalupe St. , 505-988-5500 La Boca Taberna La Boca 72 W. Marcy St., 50 5-982-3433 125 Lincoln Ave., 50 5-988-7102 La Casa Sena Cant ina Te rraCotta Wine Bistro 125 E. Palace Ave., 505-988-9232 304 Johnson St., 50 5-989-1166 La Fiesta Lounge at La Fonda Tiny’s 100 E. San Francisc o St., 505-982-5511 1005 St. Franc is Drive, Suite 117, La Posada de Sant a Fe Resort and Sp 505-983-9817 a 330 E. Palace Ave., 505-986-0000 The Underground at Evangelo’s Lensic Performing 200 W. San Francisc Arts Center o St. 211 W. San Francisc o St., 505-988-1234 Upper Crust Piz za The Lodge at Sant 329 Old Santa Fe Tra a Fe il, 505-982-0000 750 N. St. Francis Dr ., 505-992-5800 Vanessie Low ‘n’ Slow Lowride 434 W. San Francisc r Bar o St., 505-982-9966 at Hotel Chimayó de Santa Fe Ve terans of Foreign Wa 125 Washington Av rs e., 505-988-4900 370 Montezuma Av e., 505-984-2691 The Matador Warehouse 21 116 W. San Francisc o St. 1614 Paseo de Peral ta, 505-989-4423 Mine Shaft Tavern Zia Dinner 2846 NM 14, Madr id, 505-473-0743 326 S. Guadalupe St. , 505-988-7008

C L U B S, R O O M S, V E N UES

Singer/songwriter John Carey, 5:30-8 p.m.; classic-rock band The Jakes, 8:30 p.m.-close; no cover.

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Contra dance

Odd Fellows Hall, 1125 Cerrillos Rd. Folk dance with easy walking steps; live music by Virginia Creepers; beginners lesson 7 p.m., dance 7:30 p.m., $9, students $5, 505-820-3535.

Cranksgiving: bike ride and food drive

Cowgirl BBQ A benefit for The Food Depot; free race registration 11 a.m., categories include fastest man, fastest woman, most food collected, and most stores visited; after-party with prizes, 1:30-3:30 p.m., call 505-982-2565 for details.

Santa Fe Saxophone Quartet

La Fiesta Lounge at La Fonda

Country band Sierra, 8-11 p.m., no cover.

La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, featuring vocalist Whitney Carroll Malone and bassist Jon Gagan, 6-9 p.m., no cover.

Low ‘n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe

Santa Fe Preparatory School, 1101 Camino de Cruz Blanca Student presentation of the 1953 play by William Inge, 7:30 p.m., $8 at the door, discounts available, concludes Sunday.

Playwrights Forum weekend

Santa Fe Playhouse, 142 E. DeVargas St. Staged readings of Sworn to Water, a one-act biographical work by Dale Dunn, 6 p.m.; Best Kept Secrets, a drama in two acts by Peggy Aultman,

PASATIEMPO I November 21-27, 2014

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 Mary Kime discusses Rossini's Il Barbiere di Siviglia, 9:30 a.m., in conjunction with the Metropolitan Opera's Live in HD season, $5 at the door.

Events Contemporary Clay Fair

Santa Fe Woman's Club, 1616 Old Pecos Trail Annual holiday market of works by more than 30 artists; 10 a.m.-5 p.m. today and Sunday.

DJ Qbert

Duel Brewing

Sean Healan Band, Americana rock, 9 p.m., call for cover.

Opera Breakfast Lecture Series

In Concert

Mystic Lizard, 2 p.m.; Moby Dick, 8:30 p.m.; no cover.

El Farol

Picnic

The Lensic Handel’s Messiah, 4 p.m., $22-$72, call for availability, 505-988-1234, ticketssantafe.org. (See story, Page 32)

Cowgirl BBQ

DJ Spaghetti, 9:30 p.m.-close, no cover.

Books/Talks

Green River Pottery

Skylight Extraterrestrium, the Guided Space Tour, with Jeremy Ellis, DJ Jimib, and Waefonkey, 8 p.m., $25 in advance at holdmyticket.com, 21+.

El Paseo Bar & Grill

Skylight Stand-up comics Graviel de la Plaga, Scotty Goff, and Felix Cordova, 8-10 p.m., $10 in advance at holdmyticket.com and at the door.

Gallery & Museum Openings

Santa Fe Symphony Orchestra and Chorus

Encore performance by Americana band Wild Rabbit, 7 p.m.-close, no cover.

Lulz Comedy Night

SUNDAY 11/23

Blue Rooster

Kirk Kadish Jazz Quartet, 7:30 p.m.-close, no cover.

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Based on the 1959 animated film by Walt Disney; presented by Pandemonium Productions, 2 p.m., $10, discounts available, pandemoniumprod.org, 505-982-3327, final weekend.

Pianist Kathy Morrow, 6:30 p.m.; call for cover.

Classical Music

¡Chispa! at El Mesón

Sleeping Beauty

Vanessie

Nightlife

Latin Night with DJ Aztech Sol, 9:30 p.m.-2 a.m., call for cover. Free salsa/bachata lessons 8-9 p.m.

Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael's Dr. SFUA&D's theater department presents Stephen Adly Guirgis' 1996 crime caper, 7 p.m., $15 in advance, 505-988-1234, ticketssantafe.org, Fridays-Sundays Nov. 21-23 and Dec. 5-7.

DJ Dynamite Sol, 9 p.m.-close, call for cover.

1710 Lena St., 505-614-6952 Wheel-thrown and slab-built tea sets, bowls, and other gifts, open house 9 a.m.-5 p.m.

Burro Alley Café

8 p.m., $10 at the door; discounts available; pass $20; 505-988-4262, concludes Sunday. (See story, Page 38)

The Underground at Evangelo's

Santa Fe Center for Spiritual Living, 505 Camino de los Marquez Meditative event, 7 p.m., $15 at the door.

Trash Disco, with DJ Oona, 8 p.m.-close, call for cover.

Den of Thieves

Showcase karaoke with Nanci and Cyndy, 8:30 p.m.-close, no cover.

Sees the Day Sound Healing

(See Page 55 for addresses)

Red Dot Gallery shows drawings by P.L. Tobin, 826 Canyon Rd.

Tiny’s

Irish multi-instrumentalist Gerry Carthy, 7:30 p.m.-close, no cover.

Mine Shaft Tavern

Blues duo Jim & Tim, on the patio, 3 p.m.; gonzo-roots band Imperial Rooster, 8 p.m.-close, call for cover.

Palace Restaurant and Saloon

Railyard Reunion Band, 4:30-7:30 p.m., heavy-metal trio Vanilla Rawk, 10 p.m.-close, call for cover.

Santa Fe Center for Spiritual Living, 505 Camino de los Marquez Dan Borton, Matt Briggs, and Ray Griffin, 3-5 p.m., $10, students $5.

Theater/Dance The Brothers Grimm Spectaculathon Armory for the Arts, 1050 Old Pecos Trail Comic adaptation presented by Santa Fe Performing Arts' City Different Players (ages 7-12), 2 p.m., $8, 505-984-1370, closing night.

Death Trap

Great Hall, Peterson Student Center, St. John's College, 1160 Camino de Cruz Blanca Student theater group Chrysostomos presents Ira Levin's 1978 comedy, 3 p.m., no charge, closing night.

Den of Thieves

Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael's Dr. SFUA&D's theater department presents Stephen Adly Guirgis' 1996 crime caper, 2 p.m., $15 in advance, 505-988-1234, ticketssantafe.org, encore Dec. 5-7.

Julesworks Follies

Pianist David Geist with vocalist Julie Trujillo, 6-9 p.m., call for cover.

Jean Cocteau Cinema Monthly variety show of local talent, 3 p.m., $7; VIP tickets $10; discounts available, jeancocteaucinema.com.

Second Street Brewery

Picnic

Pranzo Italian Grill

Jazz group Alpha Cats, 6-9 p.m., no cover.

Second Street Brewery at the Railyard

Gypsy-jazz ensemble Swing Soleil, 7-10 p.m., no cover.

Shadeh

Hip-hop night, 9 p.m.-4 a.m., no cover.

Sweetwater Harvest Kitchen

Saturdays with John Serkin on Hawaiian slack-key guitar, 6 p.m., no cover.

Santa Fe Preparatory School, 1101 Camino de Cruz Blanca Student presentation of the 1953 play by William Inge, 2 p.m., $8 at the door, discounts available, closing night.

Playwrights Forum weekend

Santa Fe Playhouse, 142 E. DeVargas St. Staged readings of The Hat, a drama in two acts by Dianna A. Lewis, 2 p.m.; The Oddboy, a two-act comedy by Mark Dunn, 4 p.m., $10 at the door, discounts available, 505-988-4262. (See story, Page 38)

11/24

Music trio Native Spirits

MONDAY 11/24 In Concert

Open-mic night with Randy Mulkey, 7 p.m.-close, no cover.

Alexz Johnson

Vanessie

Skylight Canadian singer/songwriter, 7:30 p.m., Jared & The Mill opens, $10 in advance at holdmyticket.com.

Native Spirits

Sleeping Beauty

Books/Talks Holiday Book Fair

Santa Fe Public Library, Community Room, Main Branch, 145 Washington Ave. Featuring a presentation by author Rudolfo Anaya and illustrator Nicolas Otero (collaborators on the book How Chile Came to New Mexico), 1-4 p.m.; includes a silent auction of signed issues of the book to benefit Friends of the Santa Fe Library. (See Subtexts, Page 16)

Journey Santa Fe Presents: Senator Peter Wirth

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 A discussion titled After the Elections: What Happens Next and What to Expect in the 2015 Legislative Session, 11 a.m.

Events Contemporary Clay Fair

Santa Fe Woman's Club, 1616 Old Pecos Trail Annual holiday market of works by more than 30 artists; 10 a.m.-5 p.m.

The Mystical Arts of Tibet

Seret & Sons Gallery, 121 Sandoval St. Monks of Drepung Loseling Monastery demonstrate construction of a sand mandala 2 p.m.; meditation and chanting follow (daily meditation runs 4:30-5 p.m. through Dec. 7), no charge, email info@clearlightbooks.com for more information.

Jean Cocteau Cinema Contemporary-music trio; Sky Redhawk, Ken Estrada, and Tommy Vigil, 7 p.m., $10 in advance and jeancocteaucinema.com, $15 at the door.

Books/Talks Southwest Seminars lecture

Hotel Santa Fe, 1501 Paseo de Peralta Feeding the Spirits: The Ethnobotany of Combustible Plants in Northern New Mexico, by Richard I. Ford, 6 p.m., $12 at the door, southwestseminars.org, 505-466-2775.

Events Swing dance

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

Nightlife

La Posada de Santa Fe Resort and Spa

Country singer Wiley Jim, 7 p.m., call for cover.

Mine Shaft Tavern

Nightlife

(See Page 55 for addresses)

¡Chispa! at El Mesón

Flamenco guitarist Joaquin Gallegos, 7-9 p.m., no cover.

Cowgirl BBQ

Acoustic trio Cahoots, , 8 p.m.-close, no cover.

El Farol

Jazz guitarist Pat Malone, 6-9 p.m., no cover.

Tiny’s

Electric-jam night with Nick Wymett, 8-11 p.m., no cover.

Vanessie

Pianist Kathy Morrow, 6:30 p.m., call for cover.

THANKSGIVING DAY 11/27 Events City tours

Jewish Legacy in New Mexico, 10 a.m.-noon; City Different Overview, downtown walking tour, 2 p.m., $25 per person per tour; Dark Side of Santa Fe, ghost tour, 5:30 p.m., $20 per person; kids $10, call 505-988-8022 for reservations.

Midweek rock with the John Kurzweg Band, 8 p.m., no cover.

Nightlife

Junction

El Farol

La Fiesta Lounge at La Fonda

Karaoke Wednesdays with Michelle, 10 p.m., no cover. Furia, 7:30-11 p.m., no cover.

(See Page 55 for addresses) Guitarras con Sabor, Gypsy Kings-style rhythms, 8 p.m., no cover. Furia, 7:30-11 p.m., no cover.

La Fiesta Lounge at La Fonda

Local country artist Bill Hearne, 7:30 p.m.-close, no cover.

Vanessie

Pianists Doug Montgomery, 6 p.m., and Kathy Morrow, 8 p.m.; call for cover.

TUESDAY 11/25 In Concert Faster Pussycat

(See Page 55 for addresses)

¡Chispa! at El Mesón

Argentine Tango Milonga, 7:30 p.m., call for cover.

Cowgirl BBQ

R & B band Josh Hoyer & The Shadowboxers, 8 p.m., no cover.

El Farol

Canyon Road Blues Jam, 8:30 p.m., no cover.

La Fiesta Lounge at La Fonda

Local country artist Bill Hearne, 7:30 p.m., no cover.

Bottom Dollar String Band, on the patio, 4 p.m.; folksinger Diane Patterson, 8 p.m.; call for cover.

Mine Shaft Tavern

Vanessie

The World Beat Party, rotating DJs and bands, 9 p.m.; call for cover.

Pianist Doug Montgomery, 6:30 p.m., call for cover.

307 Johnson St., 505-795-7694 Ancient Spirits, jewelry by the gallerist, reception 2-7 p.m., through Dec. 24.

TerraCotta Wine Bistro

Hillary Smith and company, blues/soul/funk, 8 p.m., no cover.

Nightlife

Tone and Company jam band, 8:30 p.m., call for cover.

David Copher Gallery

Trash Disco, with DJ Oona, 9 p.m.-close, no cover.

El Farol

Cowgirl BBQ

Evangelo’s

Gallery & Museum Openings

Palace Restaurant and Saloon

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

(See Page 55 for addresses)

Nacha Mendez, 7:30 p.m., call for cover.

WEDNESDAY 11/26

Country singer Wiley Jim, 7 p.m., call for cover.

Cowgirl BBQ

Nightlife

El Farol

Pianist Kathy Morrow, 6:30 p.m.; call for cover.

La Posada de Santa Fe Resort and Spa

(See Page 55 for addresses)

Skylight Glam-metal band, Moby Dick and Poncho Delux open, 9 p.m., $15 in advance at holdmyticket.com, 21+.

Soul/R & B artist Zenobia, noon-3 p.m.; multi-instrumentalist Gerry Carthy, 8 p.m.-close; no cover.

Tiny’s

Timbo jam session, 7 p.m., no cover.

Skylight

TerraCotta Wine Bistro

Nacha Mendez, 6-8 p.m., no cover. S.R. Brennen Galleries shows paintings by Cesar Santos, 555 Canyon Rd.

PASATIEMPOMAGAZINE.COM

single-channel production, and multimedia performance (full list of categories available online at currentsnewmedia.org); submission guidelines and forms available online; deadline Monday, Dec. 1.

11/21

Historic Structures of Santa Fe

Call for artists working in watercolor and gouache to submit work based on Santa Fe’s historic buildings for a June exhibit at the Historic Santa Fe Foundation; entry deadline March 1; visit historicsantafe.org for guidelines and a list of structures.

Socorro 2014 Festival of the Cranes

Native Artists Fellowships

The Indian Arts Research Center at the School for Advanced Research offers three artist-inresidence fellowships in diverse creative disciplines, submission deadline Jan. 15, 2015, visit sarweb.org for application and guidelines.

New Media Festival

Hurd La Rinconada Gallery shows watercolors and drawings by Michael Hurd, 105 La Rinconada Lane, San Patricio.

La Posada de Santa Fe Resort and Spa

Pat Malone Jazz Trio, with Kanoa Kaluhiwa on saxophone, Jon Gagan on bass, and Malone on guitar, 6-9 p.m., call for cover.

The Lodge at Santa Fe

Irish multi-instrumentalist Gerry Carthy, 7-9:30 p.m., call for cover.

The Matador

DJ Inky Ink,soul/punk/ska, 8:30 p.m., no cover.

OUT OF TOWN Albuquerque Albuquerque Baroque Players

Placitas Holiday Fine Arts & Crafts Sale

Exit 242 from Interstate 25 Eighty artists participate in the 33rd annual event; food, raffle, and wine tasting offered, 10 a.m.-5 p.m., Saturday, Nov. 22; 10 a.m.-4:30 p.m. Sunday, Nov. 23.

San Patricio Hurd La Rinconada Gallery

105 La Rinconada Ln., 575-653-4331 Drawings and Watercolors, works on paper by Michael Hurd, Wednesday, Nov. 26, through January 17.

Socorro

Fellowship Christian Reformed Church, 4800 Indian School Rd. N.E. Voices and Violins, Concert II: Music of Bach, Handel, and Telemann, with soprano Melanie Russell, 7:30 p.m. Saturday, Nov. 22, $18, discounts available, for reservations call 505-400-9385.

Bosque del Apache National Wildlife Refuge The annual event, including workshops, lectures, and tours, Friday-Sunday, Nov. 21-23; register online at festivalofthecranes.com.

Chatter Sunday

Taos

The Kosmos, 1715 Fifth St. N.W. Pianist Judith Gordon and violinist David Felberg perform with a wind ensemble, works by Francis Poulenc and György Ligeti, 10:30 a.m., Sunday, Nov. 23; followed by poet Reed Bobraff; 5 p.m. performance: Orchestra 2001 plays George Crumb's Voices from the Morning of the Earth, both concerts $15, discounts available, chatterabq.org.

National Hispanic Cultural Center

1701 Fourth St. S.W., 505-246-2261 Tapas, demonstration of Spanish design as applied to cuisine; Vaiven, images by photographers Carla Tramullas, Xavier Nuez, and Raúl Urbina, exhibit 5:30-8 p.m. Friday, Nov. 21; tapas served 5:30-7:30 p.m., no charge.

Corrales Albuquerque Baroque Players

Historic Old San Ysidro Church, 966 Old Church Rd. Voices and Violins, Concert II: Music of Bach, Handel, and Telemann, with soprano Melanie Russell, 3 p.m. Sunday, Nov. 23, $18, discounts available, for reservations call 505-400-9385.

Los Alamos Bradbury Science Museum

PASATIEMPO I November 21-27, 2014

2014 Festival of the Cranes

29th Annual Yuletide in Taos

Annual Taos Turkey Trot 5K road race and fun run/walk Saturday, Nov. 22; Thanksgiving day skiing at Taos Ski Valley; holiday events continue to Christmas Eve, visit taos.org for schedule.

Taos Chamber Music Group

Music of Beethoven, Gorecki, and Ralph Guenther, 3 p.m. at a private residence, Sunday, Nov. 23, $22, discounts available at Mudd N Flood, 134 Bent St., taoschambermusicgroup.org.

PEOPLE WHO NEED PEOPLE Artists Art on the Edge 2015

New Mexico Museum of Art and Friends of Contemporary Art + Photography seek portfolio submissions; Arizona, Colorado, New Mexico, Oklahoma, and Utah artists eligible; submissions accepted until Sunday, Dec. 7; visit callforentry.org.

Contemporary Hispanic Market

Visit contemporaryhispanicmarketinc.com for prospectus; jury held on Feb. 14 at the Santa Fe Community Convention Center from 8 a.m.-noon. Market dates July 25-26.

Currents 2015: International New Media Festival

Accepting work in the areas of video mapping, new-media installation, animation,

Accepting work in the areas of video mapping, new-media installation, animation, single-channel production, and multimedia performance (full list of categories available online at currentsnewmedia.org); submission guidelines and forms available online; deadline Monday, Dec. 1.

Community Communities in Schools New Mexico

Tutors sought for local at-risk and potential dropout students at all grade levels; math and literacy support needed in particular; training provided; contact Cynthia Torcasso, 505-954-1880, ctorcasso@cisnm.org.

Fight Illiteracy

Literacy Volunteers of Santa Fe will train individuals willing to help adults learn to read, write, and speak English; details available online at lvsf.org or call 505-428-1353.

Food for Santa Fe

The nonprofit needs help packing and distributing groceries at 6 and 8 a.m. Wednesdays and Thursdays, 505-471-1187 or 505-603-6600.

Many Mothers

Help new mothers and families, raise funds, plan events, become a board member, and more; requirements and details available online at manymothers.org.

St. Elizabeth Shelter

Help with meal preparation at residential facilities and emergency shelters; other duties also available; contact Rosario, 505-982-6611, Ext. 108, volunteer@steshelter.org.

Santa Fe Botanical Garden

Help out by working in the admissions tent at the Museum Hill garden; free training; 505-471-9103, info@santafebotanicalgarden.org.

Santa Fe Children’s Museum

Join the Teen Volunteer Program and help in the visitor services department and in the museum; must be 15 or older; for more information call 505-989-8359, Ext. 115; applications available online at santafechildrensmuseum.org.

Librettists/Performers Men’s Barbershop Chorus

Always in need of singers; all ages, all levels; rehearsals held 6:30-8 p.m. Mondays at United Methodist Church, 3368 Governor Miles Rd.; call Bill (505-424-9042) or Bo (505-983-4506) about participating in the annual Christmas carols program at Santa Fe retirement communities.

Santa Fe Bandstand 2015

Outside In Productions is accepting submissions through midnight Wednesday, Dec. 31; apply online at santafebandstand.org; for information email info@santafebandstand.org.

Teatro Paraguas auditions

Roles for women ages 30-70, men ages 40-60, and one male age 10-12 for Mariela in the Desert, a play by Karen Zacaris; 10 a.m.-4 p.m. Saturday, Dec. 6, 5-8 p.m. Sunday, Dec. 7, at 3205 Calle Marie, 505-424-1601, teatroparaguas.org.

Wagner Society of Santa Fe: Write Your Own Prize Song contest

Submit an original English version of Walther’s Prize Song as it appears in Act III of Wagner’s Die Meistersinger von Nürnberg; winner’s work to be performed publicly on Saturday, Dec. 6; submit compositions to and request details from Yoko Arthur at wagnersocietyofsantafe@gmail.com.

PASA KIDS

Garden Sprouts

Santa Fe Botanical Garden, 725 Camino Lejo Storytelling and hands-on activities for children ages 3-5 accompanied by an adult, 9-10 a.m. weekly on Fridays as weather allows, $5 suggesteed donation.

Preschooler story times

Santa Fe Public Library, Main Branch, 145 Washington Ave., 505-955-6783, and Vista Grande Public Library, 7 Avenida Vista Grande, Eldorado, 505-466-7323 Stories, rhymes, and crafts, 10:30-11:15 a.m. Friday, Nov. 21, Main Branch; songs and crafts, 11 a.m. Friday, Nov. 21, Eldorado; children must be accompanied by an adult.

Legends From the Land of Enchantment

Teatro Paraguas, 3205 Calle Marie Teatro Paraguas Children's Theatre presents the tale by Rebecca Morgan, 7 p.m., Friday, Nov. 21, $10, students 17 and under $5, 505-471-3140.

29th Annual Yuletide in Taos

Annual Taos Turkey Trot 5K road race and fun run/walk Saturday, Nov. 22; Thanksgiving day skiing at Taos Ski Valley; holiday events continue to Christmas Eve, visit taos.org for schedule.

The Brothers Grimm Spectaculathon Armory for the Arts, 1050 Old Pecos Trail Comic adaptation presented by Santa Fe Performing Arts' City Different Players (ages 7-12), 2 p.m. Saturday and Sunday, Nov. 22-23, $8, 505-984-1370.

Sleeping Beauty

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Based on the 1959 animated film by Walt Disney; presented by Pandemonium Productions, 2 p.m. Saturday and Sunday, Nov. 22-23, $10, discounts available, pandemoniumprod.org, 505-982-3327.

Mindfulness for kids

Bee Hive Books, 328 Montezuma Ave., For ages 4 and up, based on the teaching of Thich Nhat Hanh, including activities and stories, 10:30-11:30 a.m. Sunday, Nov. 23, $12, 505-780-8051. ◀

Museum holiday celebrations

UPCOMING EVENTS MUSIC

San Miquel Chapel Music Series

San Miguel Chapel, 401 Old Santa Fe Trail Baroque music performed by violinist Elizabeth Blumenstock, violist Mary Springfels, and harpsichordist Kathleen McIntosh, 8 p.m. Saturday, Nov. 29, $20, discounts available.

Jonathan Richman

Skylight Singer/songwriter, 7:30 p.m. Sunday, Nov. 30, $17 in advance at holdmyticket.com.

Jamestown Revival

Skylight Southern-rock duo, 7:30 p.m. Wednesday, Dec. 3, $15 in advance at holdmyticket.com.

Santa Fe Music Collective jazz concert

Museum Hill Café, 710 Camino Lejo The series continues with saxophonist Doug Lawrence, with Bert Dalton on piano, Maren Hatch on bass, and John Trentacosta on drums, 7 p.m. Friday, Dec. 12, $25, santafemusiccollective.org, 505-983-6820.

THEATER/DANCE

Hocus Pocus Magic Show

James A. Little Theater, New Mexico School School for the Deaf, 1060 Cerrillos Rd. Magicians from Hollywood's Magic Castle nightclub; also, Traveling Emporium of Magical Wonders Museum, 3 p.m. Sunday, Nov. 30, $19-$44 in advance at brownpapertickets.com, all ages.

26 Miles

Teatro Paraguas Studio, 3205 Calle Marie Camino Real Productions presents a coming-of-age tale by playwright Quiara Alegría Hudes, 7:30 p.m. Fridays and Saturdays, 2 p.m. Sundays, Dec. 5-14, $15-$18, 505-424-1601, teatroparaguas.org.

National Theatre Live in HD

The Lensic DV8 Physical Theatre’s production John (contains adult themes), 7 p.m. Tuesday, Dec. 9; $22, 505-988-1234, ticketssantafe.org.

The Metropolitan Opera: Live in HD

The Lensic Wagner’s Die Meistersinger von Nürnberg, 10 a.m. Saturday, Dec. 13; $22-$28, 505-988-1234, ticketssantafe.org.

and music, 11:30 a.m. Friday, Nov. 28, $40; market 12:30-7 p.m. Friday, 9 a.m.-5 p.m. Saturday, Nov. 28-29, general admission $7, pair of tickets $11, 505-982-2226, Ext. 109, spanishcolonial.org.

Wise Fool New Mexico

The Lensic Eleventh Annual Circus Luminous, local acrobats, aerialists, and clowns, 7 p.m. Friday, 2 and 7 p.m. Saturday, 4 p.m. Sunday, Nov. 28-30, $10-$30, 505-988-1234, ticketssantafe.org.

Santa Fe Winter Indian Market

Santa Fe Community Convention Center, 201 W. Marcy St. The ninth annual market runs Thanksgiving weekend, Saturday and Sunday, Nov. 29-30, general admission $10; weekend pass $15; ages 12 and under no charge, tickets available at the door, swaia.org.

New Mexico Performing Arts Society

Immaculate Heart of Mary Chapel, 50 Mount Carmel Rd. Annual winter solstice concerts, featuring New Mexico Bach Chorale, pianist Nancy Brzezinski, and flutist Linda Marianiello, 5:30 p.m. Sunday, Nov. 30, $15-$25, holdmyticket.com.

Santa Fe Opera Holiday Tour

First Presbyterian Church of Santa Fe, 208 Grant Ave. Free community concerts held in New Mexico, Santa Fe concert, 5:30 p.m. Wednesday, Dec. 3; visit santafeopera.org for full schedule.

Glow

Santa Fe Botanical Garden, 715 Camino Lejo, Museum Hill A winter-lights event held 5-8 p.m. on selected evenings Dec. 4-Jan. 3; preview party Wednesday, Dec. 3, $25 and $35 in advance; live music, bar, and festive coffees offered on Saturdays, Dec. 6-Jan. 3, $5-$8 online and on-site (visit Santa's Corner Thursdays and Fridays Dec. 4-Dec. 19), call for details, 505-471-9103, santafebotanicalgarden.org.

Recycle Santa Fe Art Festival

Santa Fe Community Convention Center, 201 W. Marcy St. The 16th annual market arrives in time for holiday shopping of the green kind, Friday-Sunday, Dec. 5-7, recyclesantafe.org.

Breakfast at Tiffany’s: Aid & Comfort Gala

Lannan Foundation event

Jemez Complex, Santa Fe Community College, 6401 Richards Ave. Chorus and Chamber Singers, with special guests the SFCC Guitar Ensemble, accompanied by pianist Lydia Clark and directed by Priscilla Zimmermann, 2 p.m. Saturday, Dec. 6, no charge.

Hilton Santa Fe Silent auction of memorabilia from the film; check-in for preview reception 6:30 p.m. Saturday, Dec. 6, doors open at 8 p.m., reception and gala $100, gala only $50, advance tickets available online at southwestcare.org. The Lensic Author Gary Shteyngart and poet Mary Karr in discussion as part of the Lannan Literary series, 7 p.m. Wednesday, Dec. 10; $6, discounts available, ticketssantafe.org, 505-988-1234.

HOLIDAY FARE

Winter Spanish Market

Hotel Albuquerque at Old Town The 26th annual market features more than 125 artists, craft demonstrations, champagne brunch,

Sangre de Cristo Chorale

Las Posadas

The Plaza and Palace of the Governors courtyard Annual candlelit procession and a re-creation of Mary and Joseph’s search for shelter, 5:30-7 p.m. Sunday, Dec. 14, no charge, 505-476-5200.

Santa Fe Concert Band holiday concert

The Lensic The all-volunteer ensemble plays holiday favorites, led by Greg Heltman, 7 p.m. Monday, Dec. 15, no charge, santafeconcertband.org.

Fourth Annual Flamenco Holiday Concert

Santa Fe Desert Chorale: Christmas & Cabaret

El Museo Cultural de Santa Fe, 555 Camino de la Familia Featuring guitarist Chuscales, with guest performances by dancers Valeria Montes, Dec. 18; Juan Siddi, Dec. 18-19; and Domino Martinez, Dec. 20; performances begin at 7:30 p.m., $30, brownpapertickets.com.

Anonymous 4

Loretto Chapel, 207 Old Santa Fe Trail With mezzo-sopranos Deborah Domanski and Drea Pressley, music of Telemann and Handel and traditional carols, Dec. 19-24, $20-$65 in advance at santafepromusica.com or ticketssantafe.org, 505-988-1234.

First Presbyterian Church of Santa Fe, 208 Grant Ave. Darkness Brings Light, 3 p.m. Sunday, Dec. 7, $20, students $10, sdcchorale.org.

Inn & Spa at Loretto, 211 Old Santa Fe Trail A benefit performance, dinner, and auction to kick off the winter festival concert series; sung by Jay Hill and Sarah Weiler, 6 p.m. Tuesday, Dec. 9, $90 in advance online at desertchoral.tix.com. Cathedral Basilica of St. Frances of Assisi, 131 Cathedral Place Vocal quartet; medieval carols and motets, 7:30 p.m. Tuesday, Dec. 9, $10-$65, 505-988-1234, ticketssantafe.org.

Christmas at the Palace

Palace of the Governors The museum celebrates its 30th anniversary of providing refreshments, live music, a chance to operate an antique printing press, and other activities, 5:30-8 p.m. Friday, Dec. 12, no charge, donations of nonperishable food welcome.

Young Native Artists Holiday Show

Meem Community Room and New Mexico History Museum classroom, Washington Ave. entrance, 505-476-5200 Annual opportunity for the children and grandchildren of the Palace portal artists to sell their work, 10 a.m.-4 p.m. Saturday and Sunday, Dec. 13-14, no charge.

Annual Kindred Spirits Christmas Celebration

3749-A NM 14, 505-471-5366 Tour the animal rescue facility 4:30 p.m. Saturday, Dec. 13, live tree lighting 5:30 p.m.; refreshments served, kindredspiritsnm.org.

Santa Fe Pro Musica Baroque Ensemble

Aspen Santa Fe Ballet: The Nutcracker

The Lensic A holiday favorite, 2 and 7:30 p.m. Saturday, 1 and 5 p.m. Sunday, Dec. 20-21, $25-$72, 505-988-1234, ticketssantafe.org.

Clan Tynker: The Dream Train

Center for Contemporary Arts, 1050 Old Pecos Trail Local vaudevillian circus troupe, 2 and 7 p.m. Saturdays Dec. 20 and 27, 2 p.m. Sundays, Dec. 21 and 28, and 2 p.m. Wednesday, Dec. 24, $10-$12 in advance at brownpapertickets.com.

New Mexico Museum of Art: Annual holiday open house

107 W. Palace Ave. Starring the Gustave Baumann Marionettes in two short plays for children of all ages; also, a photo op with Baumann’s Santa Claus marionette, an arts & crafts project, and refreshments, 1-4 p.m. Sunday, Dec. 21, no charge.

Performance Santa Fe Orchestra

The Lensic Led by Joseph Illick; featuring young pianist and composer Emily Bear; music of Tchaikovsky, family preview 2 p.m. Wednesday, Dec. 24, $10 per person for families with children; adults without children $25; 5 p.m. concert $27-$100; 505-988-1234, ticketssantafe.org.

Santa Fe Symphony Orchestra

The SFS Orchestra and Chorus perform a free concert and sing-a-long, 7 p.m. Friday, Dec. 5, Cathedral Basilica of St. Francis of Assisi; guest conductor Jason Altieri leads the orchestra in its annual concert of Christmas favorites, 4 p.m. Sunday, Dec. 14, the Lensic, $72, discounts available, ticketssantafe.org, 505-988-1234.

HAPPENINGS

Museum of International Folk Art, 505-476-1200, and Museum of Indian Arts and Culture, 505-476-1269 MIFA: Winter Celebration, numerous activities held in conjunction with the exhibit Wooden Menagerie: Made in New Mexico, 1-4 p.m. Sunday, Dec. 7; by museum admission; MIAC: Winter Traditions, Native American storytelling, dances, and hands-on activities, 1-4 p.m. Sunday, Dec. 7, by museum admission.

SFCC Winter Choral Concert

Santa Fe Women's Ensemble

Caroling party and silent auction, 5:30 p.m. Saturday, Dec. 6, at Manitou Galleries, $50; Songs of Peace 2014 concert series, under the direction of Linda Raney, 7 p.m. Friday, Sunday, and Thursday, Dec. 12, 14, and 18, at Loretto Chapel, $35, discounts available; 3 p.m. Saturday, Dec. 20, at Immaculate Heart of Mary Chapel, $25, discounts Santa Fe Women's Ensemble performs at Loretto Chapel on Friday, Sunday, and Thursday, Dec. 12, 14, and 18. available, 505-988-1234, ticketssantafe.org.

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New Mexico History Museum/ Palace of the Governors

113 Lincoln Ave., 505-476-5200 Maintaining the Standard: The Fred Harvey Company and Its Legacy, Gustave Baumann and Friends: Artist Cards From Holidays Past, holiday cards by Baumann and other artists spanning the years 1918-1970 • Painting the Divine: Images of Mary in the New World, rare Spanish colonial paintings • Poetics of Light: Pinhole Photography; exhibits up through March 29 • Water Over Mountain, Channing Huser’s photographic installation • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe; nmhistorymuseum.org; closed Mondays.

New Mexico Museum of Art

Red Dot Gallery shows digital prints by Donna Brownell, 826 Canyon Rd.

AT THE GALLERIES

Photo-eye Bookstore + Project Space

376-A Garcia St., 505-988-5152 Carpoolers, photographic study by Alejandro Cartagena, through Dec. 6.

Verve Gallery of Photography

219 E. Marcy St., 505-982-5009 Group show including works by Jennifer Schlesinger (see story, Page 40) Beth Moon, and Duane Monczewski, through Jan. 10.

MUSEUMS & ART SPACES Santa Fe Center for Contemporary Arts

1050 Old Pecos Trail, 505-982-1338 Art Collision & Repair Shop, interactive installation curated by Susan Begy and Kathryn M Davis, Muñoz Waxman Main Gallery; Undress, multimedia installation by Paula Wilson, Spector Ripps Project Space; through Feb. 1. Open Thursdays-Sundays; ccasantafe.org.

Georgia O’Keeffe Museum

217 Johnson St., 505-946-1000 Miguel Covarrubias: Drawing a Cosmopolitan Line, mixed media, through Jan. 18 • Georgia O'Keeffe: Ghost Ranch Views, paintings from the 1930s and 1940s, through March 22; okeeffemuseum.org; open daily.

Museum of Contemporary Native Arts

108 Cathedral Place, 505-983-1777 Rattlebone, paintings and prints by Ric Gendron; The Desert Never Left the City, work by painter Mario Martinez; Saligaaw (it is loud-voiced), mixed media by Da-ka-xeen Mehner; Breach: Log 14, video installation by Courtney M. Leonard; Spiral Lands/Chapter 2, 2008, audio/visual installation by Andrea Geyer, exhibits run through December. Closed Tuesdays; iaia.edu/museum.

PASATIEMPO I November 21-27, 2014

Museum of Indian Arts & Culture

710 Camino Lejo, Museum Hill, 505-476-1250 Courage and Compassion: Native Women Sculpting Women, group show, through Oct. 19, 2015 • Footprints: The Inspiration and Influence of Allan Houser, five monumental works by the late Chiricahua Apache sculptor displayed outdoors; accompanied by works of other sculptors, including Houser’s sons Bob Haozous and Philip Mangas Haozous, plus works by Doug Hyde, Estella Loretto, and Robert Shorty; through May • Turquoise, Water, Sky: The Stone and Its Meaning, highlights from the museum’s collection of jewelry, long term • Native American Portraits: Points of Inquiry, vintage and contemporary photographs, through January • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, artifacts from the museum collection; indianartsandculture.org; open daily.

Museum of International Folk Art

706 Camino Lejo, Museum Hill, 505-476-1200 Pottery of the U.S. South: A Living Tradition, stoneware from North Carolina and northern Georgia • Between Two Worlds: Folk Artists Reflect on the Immigrant Experience • Wooden Menagerie: Made in New Mexico, early-20th-century carvings, through Feb. 15 • Brasil and Arte popular, items from the museum’s collection, through Jan. 4 • Multiple Visions: A Common Bond, international collection of toys and folk art. Open daily; internationalfolkart.org.

Museum of Spanish Colonial Art

750 Camino Lejo, Museum Hill, 505-982-2226 Secrets of the Symbols: The Hidden Language of Spanish Colonial Art • 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; spanishcolonial.org; closed Mondays.

107 W. Palace Ave., 505-476-5072 Hunting + Gathering: New Additions to the Museum Collection, recently acquired works by Ansel Adams, Gustave Baumann, and others, through March 29 • Syncretism, photographs by Delilah Montoya; Cameraless, group show of photograms • The Photo Lab, mixed-media photographs from the museum collection; Alcove Shows 1917-1927, works from the museum collection; through Dec. 7 • Focus on Photography, rotating exhibits: Cameraless, photograms by Leigh Anne Langwell, in conjunction with the Focus on Photography exhibit • Beneath Our Feet, photographs by Joan Myers • Grounded, landscapes from the museum collection • Photo Lab, interactive exhibit explaining the processes used to make color and platinumpalladium prints from the collection, through March • New Mexico Art Tells New Mexico History, including works by E. Irving Couse, T.C. Cannon, and Agnes Martin • Spotlight on Gustave Baumann, works from the museum’s collection; exhibits through 2015. Closed Mondays; nmartmuseum.org.

Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Place, 505-988-8900 Harvesting Traditions, work by ceramicist Kathleen Wall, through Jan. 4. Closed Mondays; pvmiwa.org.

Poeh Cultural Center and Museum

78 Cities of Gold Rd., 505-455-3334 Nah Poeh Meng, 1,600-square-foot installation highlighting the works of Pueblo artists and Pueblo history; poehcenter.org; Also, ongoing sculpture exhibits in the Tower Gallery, 505-455-3037; roxanneswentzell.net; closed weekends.

SITE Santa Fe

1606 Paseo de Peralta, 505-989-1199 SITElines 2014: Unsettled Landscapes, biennial exhibit of contemporary works, through December. Open Thursdays-Sundays; sitesantafe.org.

Wheelwright Museum of the American Indian

704 Camino Lejo, Museum Hill, 505-982-4636 Works by Diné photographer Will Wilson, through April 19. Core exhibits include contemporary and historic Native American art. Open daily; wheelwright.org.

Albuquerque

Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-243-7255 Miniatures & More, group show of mixed media, through Dec. 7 • Gods and Heroes: Masterpieces From the École des Beaux-Arts, Paris, through Jan. 4 • Everybody’s Neighbor: Vivian Vance, family memorabilia and the museum’s photo archives of the former Albuquerque resident, through January • Arte en la Charrería: The Artisanship

of Mexican Equestrian Culture, examples of craftsmanship and design distinctive to the charro; cabq.gov/culturalservices/albuquerque-museum; closed Mondays.

Indian Pueblo Cultural Center

2401 12th St. N.W., 866-855-7902 Our Land, Our Culture, Our Story, historical overview of the Pueblo world, and contemporary artwork and craftsmanship of each of the 19 pueblos; indianpueblo.org; weekend Native dances.

Maxwell Museum of Anthropology

UNM campus, 1 University Blvd. N.E., 505-277-4405 Archaeology on Ice, exhibit exploring climate change in the Arctic, including tribal artifacts emerging as the ice melts. The museum’s collection includes individual archaeological, ethnological, archival, photographic, and skeletal items. Closed Sundays and Mondays; maxwellmuseum.unm.edu.

UNM Art Museum

1 University of New Mexico, 505-277-4001 David Maisel/Black Maps: American Landscape and the Apocalyptic Sublime, photographs by Maisel; Beautiful Disintegrating Obstinate Horror Drawing and Other Recent Acquisitions and Selections From the UNM Art Museum’s Permanent Collection; The Gift, woodcut prints by John Tatschl (19061982). Open Tuesday-Saturday; unmartmuseum.org.

Los Alamos Bradbury Science Museum

1350 Central Ave., 505-667-4444 Saul Hertz: A Pioneer in the Use of Radioactive Isotopes, collection of handwritten data charts, personal letters, published papers, newspaper articles, and photographs from the late doctors' estate, through January • Environmental Research and Monitoring, an interactive exhibit on how to preserve archaeological sites, local wildlife, and fragile ecosystems. Core exhibits on the history of Los Alamos and the Manhattan Project as well as over 40 interactive exhibits. Open daily; lanl.gov/museum.

Los Alamos Historical Museum

1050 Bathtub Row, 505-662-4493 Tradition and Change in Córdova, New Mexico: The 1939 Photographs of Berlyn Brixner & the López Family of Wood Carvers. Core exhibits on area geology, homesteaders, and the Manhattan Project. Housed in the Guest Cottage of the Los Alamos Ranch School. Open daily; losalamoshistory.org.

Taos Harwood Museum of Art

238 Ledoux St., 575-758-9826 ¡Orale! Kings and Queens of Cool, a four-part exhibit focusing on Post-Pop and lowbrow art movements, including works by Robert Williams, Gary Baseman, Ron English, and R. Crumb, through Jan. 25. Open daily through November; harwoodmuseum.org.

Millicent Rogers Museum

1504 Millicent Rogers Rd., 575-758-2462 Looking at Taos Pueblo: Albert Martinez, Juan Mirabal, and Albert Lujan, paintings, through January • Fred Harvey and the Making of the American West, objects drawn from the Harvey family, through January. Historical collections of Native American jewelry and paintings; Hispanic textiles, metalwork, and sculpture; and contemporary jewelry. Closed Mondays; millicentrogers.org.

Taos Art Museum at Fechin House

227 Paseo del Pueblo Norte, 575-758-2690 Housed in the studio and home that artist Nicolai Fechin built for his family between 1927 and 1933; taosartmuseum.org; closed Mondays.

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READER SURVEY, continued 18. Do you have any comments or suggestions for Pasatiempo’s editors?

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Albuquerque Journal Local Flavor New Mexico Magazine Pasatiempo Santa Fe New Mexican Santa Fean Now Santa Fe Reporter THE Magazine The Santa Fean exploresantafe.com santafe.com santafe.org

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❑ ❑ ❑ ❑ ❑ ❑ ❑ ❑ ❑ N/A N/A N/A

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PASATIEMPO I November 21 - 27, 2014

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Mitch Dobrowner: Landspout 2014, archival pigment print Photo-eye Gallery, 541 S. Guadalupe St., 505-988-5159 Still Earth/Storms, an exhibit of Mitch Dobrowner’s black-and-white landscape and storm photography, opens with a 5 p.m. reception on Friday, Nov. 21. His landscapes, majestic images of geological formations, convey a permanence that contrasts dramatically with his awe-inspiring storm photographs of nature in flux.

A P E E K AT W H AT’S S H OW I N G A R O U N D TOW N

Lonnie Holley: Root Mama 2014, mixed media 333 Montezuma Arts, 333 Montezuma Ave., 505-988-9564 The Deeper the Southern Roots, a two-person show of pieces by Thornton Dial and Lonnie Holley, continues through December. Dial, who creates energetic, archetypal paintings, is often categorized as an outsider artist working in the Southern vernacular. Holley, who references African sculptural traditions in his art, produces assemblage sculptures made from found objects and organic materials.

Pressed Rat: Paleo Shaman 2014, mixed media Pressed Rat and Warthog, 931-G Shoofly St., 505-310-3888 Eccentric sculptures, made from a combination of organic and manufactured materials, and handcrafted tools — which are used in meditation and magical practices, but which also function as art — are on view at Pressed Rat and Warthog. The gallery is having an open house on Saturday, Nov. 22, from 11 a.m. to 4 p.m. Half of the proceeds from sales benefits the Doctors Without Borders relief efforts in Ebola-affected regions of Africa.

Theo Helmstadter: Lidded Jar 2014, stoneware Green River Pottery, 1710 Lena St., 505-614-6952 The studio and gallery’s sixth annual holiday open house features a selection of wheel-thrown and slab-built tea sets, bowls, and lidded forms. Green River offers giveaway deals and refreshments during the event. The open house is from 4 to 7 p.m. on Friday, Nov. 21, and from 9 a.m. to 5 p.m. on Saturday and Sunday, Nov. 22 and 23.

Lauri Borer: Will It Go Round 2014, encaustic Gallery 901, 901 Canyon Road, 505-780-8390 The Art in Wax is a juried exhibition of small (6 x 6 inches or less) works in wax by national artists, including Lauri Borer, Elizabeth Schowachert, and Diane Kleiss. The show opens on Friday, Nov. 21, with a 5 p.m. reception. A portion of the sales benefits the Encaustic Art Institute and the Española Valley Humane Society.

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Pete Moss’ Garden Tip: Nothing says its Christmas time better than the smell of fresh pine wafting off the Christmas tree, something an artificial tree just can’t quite do. Here are a few tips to help keep your tree fresh for the holidays. First keep the tree away from any heat sources, such as heaters or wood burning stoves. Next try and place your tree in the coolest place that you can. And the most important of all is to make sure that your tree is always standing in of fresh water. Trees, especially in the first few days, can consume large amounts of water every day. Often times as much as a gallon a day. Also make sure your tree has a fresh cut at the base before putting it up.

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PASATIEMPO I November 21 - 27, 2014

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