The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
October 31, 2014
HAPPENING THIS WEEKEND
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THIS WEEKEND: Pie Town Considered
Sunday, November 2, 2–3:30 p.m. Enjoy a screening of “Pie Lady of Pie Town,” the award-winning short documentary by Santa Fe filmmaker Jane Rosemont, who will attend. Also, an illustrated lecture by photographer Joan Myers about Pie Town Woman: the Hard Life and Good Times of a New Mexico Homestead, a book of her contemporary images and commentary with historic photographs by Russell Lee. Followed by meeting the filmmaker and a book signing. The Pie Lady, Kathy Knapp, will help us celebrate with pie. Free.
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COMING UP: Opening Reception
Friday, November 7, 5-8 p.m. Hunting+Gathering: New Additions to the Museum’s Collection. Recently acquired works by Ansel Adams, Gustave Baumann, Woody Gwyn, Betty Hahn and more.
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Beetlejuice Lensic Presents • A Big Screen Classics Halloween
Southwest Fest!
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Tim Burton’s Oscar-winning supernatural comedy Mi c h ae l Keato n • Wi n on a Ryd e R • a lec Ba ldWi n • Ge e n a dav is
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Chile – Honey braised Beef, Housemade Chorizo, Avocado, Scallions & Chopped Romaine Lettuce Hearts
2nd Course
Green Salad w/ Fresh Orange, Avocado, Jicama & Cumin Vinaigrette
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October 31 7 pm, $5 Rated PG
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Dessert
Pastel de Tres Leches (Traditional Almond Cake w/ 3 Milks)
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505 984 1788 / 231 washington avenue 87501 2
PASATIEMPO I October 31 - November 6, 2014
Tickets: 505-988-1234 www.TicketsSantaFe.org the lensic is a nonprofit, member-supported organization
service charges apply at all points of purchase
Winter Market at El Museo E v ery w e e k end
November 1, 2014 to March 29, 2015 Saturday 8 - 3 pm, Sunday 9 - 4 pm
Art, Textiles, Jewelry, Books, Antiques, Furniture and much, much more from around the corner and around the world.
El Museo Cultural de Santa Fe 555Camino de la Familia, Santa Fe, NM 87501 (In the Railyard across the tracks from the Farmer’s Market)
Info call: Steve at 505-250-8969 or Lesley at 760-727-8511
Artwork By: Shane Casias B st of Be
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November and December Events at op.cit. books Sanbusco . 500 Montezuma . 505-428-0321 . www.opcit.com Saturday November 1 @ 4 PM Sherri Burr with ‘Short & Happy Guide to Financial Well Being’ Sunday November 2 @ 2 PM Gregory Zeigler ‘The Straw that Broke’ Sunday November 2 @ 3:30 PM Lydia Millet at the Jean Cocteau launching her new book ‘Mermaids in Paradise’ Thursday November 6 @ 6 PM, Nickel Stories (note date change!) Saturday November 8 @ 5 PM Nasario Garcia ‘The Talking Lizard: New Mexico’s Magic and Mystery’ Sunday November 9 @ 2 PM Elizabeth Ann Galligan ‘Secrets of the Plumed Saint’ Sunday, November 16th @ 2 PM WeBe Muses ‘Bosque Rythms’ book launch with Judy Mosher, Lee Dunne, Cheryl Marita, Paula Miller and Elizabeth OBrien Friday November 21 @ 5 PM Jann Arrington Walcott with ‘Deathmark’ introduced by Michael McGarrity & Anne Hillerman Saturday November 22 @ 5 PM Santa Fe Clubhouse & Wellness Center ‘Singing Under Water’ Friday November 28 @ 5:30 PM Bonny Finberg ‘Kali’s Day’ Saturday November 29 @ 11 AM Mary Jackson ‘Witnesses’ & ‘The NeverEnding Poem’ Saturday December 6 @ 3 PM Reading from New Mexico School for the Arts/ IAIA’s Word! Creative Writing Class Saturday December 5 @ 4:30 PM Peter Murphy ‘Social Security for Decision Makers’ Sunday December 7 time tbd Gayle Lauradunn ‘Reaching for Air’ Thursday December 11 @ 6 PM Nickel Stories Friday, December 12 @ 5:30 PM Malcolm Ebright
and coming in 2015: Saturday January 20 @ 3 PM Hollis Walker ‘The Booby Blog: A Cancer Chronicle’ Cea Sunrise Person ‘North of Normal: A Memoir of My Wilderness Childhood, My Unusual Family, and How I Survived Both (January) MUSK Poetry featuring Marmika Paskiewicz, Ursula Moeller, Susan Nalder and Kathamann (February) check www.opcit.com for updates
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PASATIEMPO I October 31 - November 6, 2014
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THE SANTA FE NEW MEXICAN
October 31 - November 6, 2014
www.pasatiempomagazine.com
ON THE COVER 28 New Mexico: Portal to the otherworldly Does the specter of Julia Staab roam La Posada? Is the staircase at Loretto Chapel really that miraculous? Does La Llorona exist except in the minds of those who need her? Benjamin Radford, deputy editor of the science magazine Skeptical Inquirer, harnesses his forensic skills to get the lowdown on several of the state’s favorite myt yths, t legends, and ghost stories. All is revealed in his latest book, Mysterious New Mexico. On the cover is Angel Wynn’s 2014 digital canvas print Julia Staab, La Posada Hotel. Wynn’s work is currently on view at the American Indian Photography & Encaustic Studio, 1036 Canyon Road.
MOVING IMAGES
BOOKS 16 20 34
Terrell’s Tune-Up Vanishing Hitchhikers’ Guide Pasa Reviews Opera Southwest’s Amleto Random Acts Quilters
48
Pasa Week
AND 12 15 46
ART 30
The Blue Room Listen Up Philip Horns Chile Pages
CALENDAR
MUSIC AND PERFORMANCE 22 24 27
38 39 40 42
In Other Words Horrorstör and Vampira Coff ffee f break B.P.R.D.: Hell on Earth Monster mash-up Creature From the Black Lagoon
Curiouser and curiouser Beyond Reason
Mixed Media Star Codes Restaurant Review: Counter Culture Café
Correction: A review of Restaurant Martín in Pasatiempo’s Oct. 24 issue incorrectly stated that it has a full bar. The restaurant serves beer and wine only.
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
ADVERTISING: 505-995-3852 santafenewmexican.com Ad deadline 5 p.m. Monday
PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com ■
Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com
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Assistant Editor — Madeleine Nicklin 505-986-3096, mnicklin@sfnewmexican.com
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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
© 2014 The Santa Fe New Mexican
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Robin Martin Owner
www.pasatiempomagazine.com
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Ginny Sohn Publisher
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ADVERTISING DIRECTOR 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
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RESIDE
HOME
Serving Students Preschool - Sixth Grade
ADMISSIONS Thursday, November 6 begins at 8:30am to 10:30am
All-school performances
Small group collaboration
Integrated arts presentations (9:1 student-teacher ratio)
Weekly buddy program
RSVP 505.983.1621
admission@riograndeschool.org Busy November 6? Schedule a private visit
TUITION ASSISTANCE AVAILABLE
Do you want your child to be challenged, inspired, and nurtured? Experience the Rio Grande way!
The best or nothing. New • Pre-owned • Service • Parts 2586 Camino Entrada | 505.913.2900 www.mercedesofsantafe.com
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new exhibition now open
Georgia O Keeffe: Ghost Ranch Views OctObeR 3O, 2O14 – MaRch 22, 2O15 Experience how the spectacular setting of Ghost Ranch became an inspiration for Georgia O’Keeffe’s paintings of landscapes and bones, many of which are among the most iconic contributions to American Modernism.
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PASATIEMPO I October 31 - November 6, 2014
celebrations matter Santa Fe Place. ShoP For what matterS.
Lensic Presents
BODYTRAFFIIC
Contemporary dance from the acclaimed Los Angeles-based arbeito company founded by former Santa Fean Lillian Ba and Tina Finkelman Berkett.
November 7 & 8, 7:30 pm $15–$35 discounts for Lensic members
“BODYTRAFFIC has emerged as a force on the concert dance scene . . . it’s become a talk-about for its fierce performances in original repertoire by today’s top contemporary choreographers” —Dance Magazine, June 2014
Tickets: 505-988-1234 www.TicketsSantaFe.org SERVICE CH ARG ES A P P LY AT A LL P OI N TS OF P UR CHA S E
the lensic is a nonprofit, member-supported organization
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The City of Santa Fe Arts Commission Community Gallery Presents:
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October 31 – January 31 Opening Reception Friday, October 31st, 5 - 7pm
Visit us in the southeast corner of the Santa Fe Community Convention Center 201 W. Marcy (at the intersection of Marcy and Sheridan Streets)
Gallery Hours: 10 am to 5 pm, Monday through Friday, 9:30 am to 4 pm Saturday For more information call the Community Gallery 955.6705 10
PASATIEMPO I October 31 - November 6, 2014
Pumpkin Patch
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santa fe’s railyard arts district the destination for contemporary art
daVid richard Gallery nancy dwyer, What eugene newmann, Selections: Then and Now
leWallen Galleries diane Burko, Investigations of the Environment dirk de Bruycker, Logos
WilliaM sieGal Gallery cornelia thomsen, david ivan clark Willy richardson, Color Fall
333 MontezuMa arts thornton dial & lonnie Holley, The Deeper The Southern Roots
jaMes kelly conteMporary Matt Magee, Emerald Tablet
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james kelly
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violet crown
market station
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zane bennett conteMporary art ¡Saludos, Barcelona! 50 Years of Polígrafa Prints Eros and Thanatos: new work by Michael Petry
site santa fe SITElines.2014: Unsettled Landscapes
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charlotte jackson
william siegal david richard Photo-eye
santa fe train depot zane bennett
evoke
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railyard plaZa
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warehouse 21
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photo-eye Julie Blackmon, Homegrown
charlotte jackson fine art tony delap, Selected Works from Fifty Years of Making Art
5-7pM
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eVoke conteMporary francis di fronzo, The Earth’s Sharp Edge, part 4
toniGht, october 31.2014
maNhattaN
last friday art Walk
333 montezuma arts
the railyard arts district (rad) is comprised of ten prominent railyard area galleries and site santa fe, a leading contemporary arts venue. rad seeks to add to the excitement of the railyard area through events like this monthly art Walk and free fridays at site, made possible by the Brown foundation, inc., of Houston. We invite you to come and experience all we have to offer. www.santaferailyardartsdistrict.com PASATIEMPOMAGAZINE.COM
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2014 MODEL RAILROAD OPEN HOUSES
Seven Santa Fe area model railroads will be open for public viewing on Saturdays in November (11/1, 8, & 15) For maps and more information go to:www.santafemodelrailroadclub.org
MIXED MEDIA One beat, countless repercussions
What kind of music results when 25 musicians from 17 countries spend a month in creative residence together? Find out at OneBeat, an initiative of the Bureau of Educational and Cultural Affairs of the U.S. Department of State, now in its third year. What sounds like a dream for international relations experts — and a nightmare for stringent band directors — comes to the Albuquerque Rail Yards, helping the city solidify its reputation as a crossroads for international culture. This is not Globalquerque (the city’s esteemed international music festival, which wrapped up on Sept. 20), Suzanne Sbarge emphasized. Executive director of 516 Arts, the Albuquerque nonprofit that’s fundamental to bringing the show to town, Sbarge explained that OneBeat is distinctive because all the participants have been creating as a group. In terms of geographic and musical backgrounds, the musicians embody diversity. They include a Turkish singer-songwriter, a Colombian percussionist, a Kyrgyzstani composer, a Moroccan bassist, and a Cuban flutist. Complementing the performance aspect of the event is an art show curated by Albuquerque’s Billy Joe Miller. Titled You Are the Doorway, the show features interactive and video art by a wide range of artists from Albuquerque and beyond. The concept of thresholds guided curation of the art; it was also a central point of consideration for the musical collaborations during the residency. At OneBeat, a number of on-site food trucks help visitors cross their own personal thresholds from hungry to full. OneBeat happens on one night: Saturday, Nov. 1. Preshow events and the opening of You Are the Doorway begin at 5 p.m. Musical performances run from 6 to 9 p.m. Albuquerque Rail Yards is at 777 First St. S.W. Suggested admission fee is $5. More details can be found at www.516arts.org. — Loren Bienvenu Peni Candra Rini, singer/composer
New Fall Menu Come join us for award-winning chef Cristian Pontiggia’s take on classic and contemporary Italian cuisine. Let us cook you a marvelous and memorable 4 course Thanksgiving feast, menu available on our website. Buon Appetito!
Sandunes, synthesizer/keyboard player
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986-5858 • 58 S. Federal Place • Santa Fe, NM 87501 • www.osteriadassisi.com
Bongeziwe Mabandla, singer/songwriter
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PASATIEMPO I October 31- November 6, 2014
Askat Jetigen Uulu, composer
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Rocky Horror: Still odd after all these years
If you’ve never seen The Rocky Horror Picture Show in a theater, be prepared to be pelted with rice, shot with water guns, and possibly cajoled into publicly confessing your “virgin” status while dancing the Time Warp and watching one of the oddest movies ever made. Ostensibly about a tanned and gorgeous Frankenstein’s-monster type of creation made by Dr. Frank-NFurter, a “sweet transvestite from Transexual, Transylvania,” Rocky Horror is a chaotic musical with sex on the brain, and audience participation is part of the deal. Even if you have no idea what’s coming next, you have to play along, because shouting and singing along — as well as throwing toast at one another — is almost more important than the movie itself, which you don’t have to understand to appreciate for all its campy fun. Rocky Horror, in which a young couple named Brad and Janet encounter a houseful of outlandish oddballs after their car breaks down, came out in 1975 and quickly became a cult hit. Late-night showings in big cities and small towns featured moviegoers playing the parts in front of the screen. Almost 40 years later, you still find teens and twenty-somethings lip-syncing in their underwear to the dulcet singing voices of Susan Sarandon, Tim Curry, and Barry Bostwick, among others. The cast of Rocky Horror New Mexico comes up from Albuquerque for two nights at the Jean Cocteau Cinema — Friday and Saturday, Oct. 31 and Nov. 1 — with the show beginning at 11 p.m. both nights at 418 Montezuma Ave. Check out the guide for virgins at www. rockyhorror.com, the official Rocky Horror website, which also includes a primer on enjoying Rocky Horror without annoying everyone around you. Tickets are $6 to $7, though a $1 fee applies if they’re purchased online at www.jeancocteaucinema.com; discounts are available. Call 505-466-5528 for details. — Jennifer Levin
Santa Fe 141 Paseo de Peralta, Suite C Mon Wed -- Fri Fri 505-983-2909
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TRANSFIGURED NIGHT SATURDAY, NOVEMBER 8 at 4PM SUNDAY, NOVEMBER 9 at 3PM St. Francis Auditorium
New Mexico Museum of Art, Santa Fe Plaza
SANTA FE PRO MUSICA ORCHESTRA Thomas O’Connor, conductor Deborah Domanski, mezzo-soprano
SCHOENBERG Transfigured Night, Op. 4 (Verklärte Nacht) MAHLER (arr. Klaus Simon, 2007) Symphony No. 4 in G Major Meet the Music one hour before each concert. Learn more about the music you love!
$20, $35, $45, $65 Santa Fe Pro Musica Box Office: 505.988.4640 (ext.1000), 800.960.6680 Tickets Santa Fe at the Lensic: 505.988.1234 www.santafepromusica.com The 2014-2015 Season is partially funded by New Mexico Arts (a Division of the Department of Cultural Affairs) and the National Endowment for the Arts.
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PASATIEMPO I October 31 - November 6, 2014
Lodging Sponsor:
STAR CODES Heather Roan Robbins Happy Halloween! This Scorpio holiday asks us to face our fears, eat
candy skulls, and dance with life and death before the long dark of winter. It also asks us to look at upcoming elections and vote, not with our fears, but with Scorpio’s curiosity and love of intellectual exploration. This Halloween, a communal Aquarius moon brings us out of our individual mullings and encourages collective social experiences. Over the weekend, a sensitive Pisces moon brings us deeper into our hearts and prompts us to take some quiet time to recover from Halloween frivolities and honor memories of the beloved dead. The past will be with us and old feelings will arise — the trick will be to work with the watery moon to let those feelings flow through and then on. We may be unusually touchy and painfully aware of our vulnerabilities. The week begins under a more reactionary Scorpio sun/Aries moon, a time that can make us quite inflammable and willful. People can bend the facts in attempts to make circumstances match their preconceptions. Watch for last-minute election drama. But we can use this sparky energy for good and to motivate our own work. It is interesting that we always vote while the sun is in suspicious Scorpio. A positive use of Scorpio energy is as inspiration to be less gullible and more interested in deeper levels of truth and competence, though voters can become susceptible to last-minute negative campaigning. Let’s engage that intense Scorpio perception instead. On Thursday, a stubborn full moon in Taurus means we may square off or our politics may become entrenched, but it’s a good time to build roots, plant bulbs, and work on what grounds us.
NO GIMMICKS E JUST GREAT CAR
Upaya Invites You to Come & Explore Your Mind Opportunities for Beginner & Experienced Meditators Daily MeDitation: 6:30 am, 12:20, 5:30 & 8:00 pm nov. 4 - 9 nov. 23 & Dec. 14 Jan 7 - 28
Sesshin: An Intensive Meditation Retreat Ease & Joy of Mornings: Half-Day Retreats Winter Practice Period
Re ResiDent e PRogRa RaM: a Live in Dharma Practice
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Friday, Oct. 31: A pleasant though stubborn Aquarius moon brings out our festive nature this Halloween. The day is busy but scattered — active and voluble around dinnertime as the moon trines Mercury, and positively ebullient tonight as the moon opposes Jupiter. Honor the past and feel the camaraderie of the present. Saturday, Nov. 1: Morning is grumpy as the Halloween sugar shock wears off and the moon squares Saturn; let sleeping bears lie. Feelings soften as the sensitive Pisces moon brings an ethereal, memory-filled day. Keep agendas light and wander true to the soul. Hard facts are not the point; kindness furthers progress.
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Sunday, Nov. 2: Recent sensitivity can leave our hearts a little raw and in need of healing. Our feelings are easily manipulated, but we get ticked off if we notice that happening. Urgent decisions need to be made soon, but take a balanced mind/heart approach. Monday, Nov. 3: Morning is a little slow off the mark. Prioritize fixing hurt feelings or misunderstandings. Organize. Midday sparks fly as the Aries moon squares Mars; whether it ignites irascible friction or a productive bonfire is up to us. Debate intensifies.
SATURDAY, NOVEMBER 8
Tuesday, Nov. 4: Urgency and a fear of loss and upheaval can disturb us this morning as the moon challenges Pluto and Uranus just when voting starts. But the moon trines Jupiter, opening up possibilities late tonight.
6pm SF Farmers Market Pavilion $10-$25
Wednesday, Nov. 5: News and opinions fly fast and furious this morning as the moon opposes Mercury. Let the dust settle before responding. Wisdom from experience helps us over a hump midday; we settle into more grounded, solid positions tonight as the waxing moon enters Taurus.
Y a benefit for the Y
NEW MEXICO ENVIRONMENTAL
LAW CENTER
Thursday, Nov. 6: Cheerful but stubborn entrenchment may polarize politics but will help each of us remember our true goals, get into our groove, and move forward. Let go of comparison. Jealousy and territoriality can hook us on this full moon in Taurus, so don’t go there. ◀
Y tickets info trailersY
nmelc.org/filmfest
www.roanrobbins.com
food & drink silent auction award-winning films
NMELC is a non-profit law center working to protect New Mexico’s environment & communities. nmelc.org | info@nmelc.org | 505.989.9022
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IN OTHER WORDS book reviews
SUBTEXTS
Horrorstör by Grady Hendrix, Quirk Books, 244 pages In what I hope is just a creepy October coincidence, Horrorstör, a novel designed to look like an Ikea catalog, came into my hands the same day I witnessed multiple social-media conversations about how great it would be to set a horror movie in an Ikea, the big-box store for Scandinavian-style home furnishings. Having never been to one — the nearest store to Santa Fe is outside of Denver — I didn’t fully grasp how closely Grady Hendrix’s affecting horror story, set in a fictional Ikea knockoff store called Orsk, mirrors the real Ikea catalog, right down to the insipid product copy. I did a little research on what it’s like to be in an Ikea store, and the parallels to Orsk are, frankly, terrifying. This description, offered by a real live Ikea shopper in New Jersey, could be lifted from the pages of Horrorstör: “It’s a bizarre, otherworldly land that is blindingly white, and there’s really only one path to take through it: first through the showrooms upstairs, and then through the warehouse-type place downstairs, where you actually pick your stuff up in its cardboard boxes. The showrooms are full of extremely modern-looking furniture arranged in impossibly space-saving ways that make you think you can get a lot more out of your apartment, but the truth is you’re probably not as clever as your Swedish furniture overlords.” At the Cleveland, Ohio, Orsk store, employee Amy is unmotivated and broke. She hates her job and disdains her manager, Basil, for his corporate enthusiasm. There has been some vandalism lately on the showroom floor, and Amy is forced to spend the night in the store with Basil and another employee to catch the culprits after-hours so the regional inspectors coming the next day won’t find anything negative to report. That night turns into an old-fashioned gory ghost story that pulls in themes of repetitive work and its effect on the soul. Are the faceless human figures that seem to want to destroy Amy and her colleagues the ghosts of former prisoners? (Of course, Orsk was built on the site of an old penitentiary run by a madman.) Are they zombies? It doesn’t really matter. Just pick whatever scares you the most so your subconscious will know what to seize on for your nightmares. Since reading Horrorstör, I’ve been dreaming about fetid water bubbling up and running down the walls and about regular hallways that suddenly narrow and lead to moldy dungeons. Illustrations by Michael Rogalski add significantly to the reading experience. Each chapter begins with a drawing of an Orsk product that’s accompanied by a chirpy description. Deeper in the book, the products are torture devices based on real machinery used in
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PASATIEMPO I October 31- November 6, 2014
Chillers and meta-thrillers Two very different books by New Mexico authors have recently hit bookstore shelves: New Mexico Book of the Undead: Goblin and Ghoul Folklore by Ray John de Aragón and Burned, the second Vanessa Pierson novel by Valerie Plame and Sarah Lovett. New Mexico Book of the Undead is a slim, scholarly exploration of several famous scary tales, including La Llorona, the wailing woman; La Guajona, the vampire witch; and María Sangre Fría, also known as Bloody Mary. Aragón weaves historical information in with stories that were passed down to him by older family members, as well as stories he went on to track down as part of his research on Spanish traditions of New Mexico. The book includes many prints and illustrations from the author’s collection, as well as old photos, many of which are of cemeteries and of stern, unsmiling New Mexicans in formal dress, some of them holding coffins to lend the book some extra spookiness. In Burned, Pierson is a CIA operative who jets around the world trying to foil the plans of her enemies, who are also the enemies of democracy. When she gets word that her new enemies operate within the United States government, she must join forces with a criminal she’s been shadowing for years. It’s a tale of terrorism and obsession, in which everyone is suspect. Plame’s career as a CIA operative ended in 2003, when she was outed by the Bush administration. Now she uses her firsthand experience to co-write taut, crisp, international government-intrigue thrillers reminiscent of The Day of the Jackal. The authors read from and sign copies of Burned and participate in a question-andanswer session with the audience on Wednesday, Nov. 5, at 6 p.m., at Collected Works Bookstore (202 Galisteo St., 505-988-4226). — J.L.
19th-century prisons, but the copy is no less chirpy. “A slow and steady step and an attentive erect posture are firmly encouraged when you wear this crippling iron cap,” Hendrix writes of “the Jodlöpp,” which features spikes and a bell. Though the story is simple, Hendrix is an engaging writer and the premise is strong enough to make this tale more than a gag. Real ideas about work, humanity, and self-worth are explored through the characters of Amy and Basil, but I don’t think I ever want to go to an Ikea now. — Jennifer Levin
Vampira: Dark Goddess of Horror by W. Scott Poole, Soft Skull Press, 235 pages The story of the legendary — yet short-lived — Vampira Show is a tough one to tell. Only a scant two minutes of the series survive on YouTube, although an episode of the show was reconstructed and released in October 2007. Author W. Scott Poole attempts to tell Vampira’s story, culling what scraps he can from interviews she did with cult horror magazines, pop-culture anecdotes, and national periodicals, including Life. The result is a fascinating journey through 1950s America. The woman behind the campy, late-night horror hostess Vampira was Maila Nurmi, a native of Finland who moved to the United States with her family when she was two years old. She landed in Hollywood and started work as a print model in the late ’40s. She had a minor role in the 1947 film If Winter Comes. Two years later she married her first husband, Dean Riesner (the screenwriter behind Dirty Harry). In 1953 she wore a costume modeled after the Morticia Addams character of the Charles Addams cartoons to a ball hosted by choreographer Lester Horton. She won the costume prize and caught the attention of Hollywood producer Hunt Stromberg Jr., who proposed she adapt the character for TV. Vampira landed her own show as a “horror hostess” — flaunting her hourglass figure and cracking cheesy one-liners during brief commercial breaks in the B-movie horror fare. The Vampira Show drew viewers to watch low-budget movies the way the Super Bowl attracts people who aren’t football fans to watch commercials that often are more entertaining than the game. Like the movies Vampira hawked, the book is uneven in its pacing. Poole fills in the gaps in Nurmi’s biography with a broad discussion of its cultural context — writing about the Beat poets, post-World War II patriotism, and the nuclear family’s dark secrets — suggesting what social forces drove Vampira into existence. Anyone who picks up the book looking for an erotic journey through the origins of camp horror will be sorely disappointed. At a time when TV’s Lucy could be considered a woman who followed her own mind yet still lived under the thumb of her husband, Ricky Ricardo, Vampira offered Americans an independent woman who was sexy and refined, yet downright twisted. She possessed a sexual confidence unseen on television to this point, comparing her loud shrieks to pleasurable orgasms and talking to rubber spiders like they were sexual partners — suggesting that females can not only headline their own TV shows but be sexually aroused by beings other than their husbands. It wasn’t until years after the show’s cancellation, when Nurmi was working as a linoleum installer, that her small-time cult status gained broader notoriety. Today, many confuse Vampira with Elvira, a copycat initially hired to relaunch Vampira in the 1980s. Though Nurmi lost a lawsuit against Elvira’s Cassandra Petersen, she retained her original creation’s rights until her death in 2008. For all its shortcomings, this pioneering book is a tribute to the change that Vampira incited and the awakening that so many unknowingly received from her presence. — Peter Grendle
Anonymous 4
tuesday, december 9, 2014 | 7:30 pm tickets: $17–65 location: cathedral basilica of st. francis
Don’t miss this world-famous a cappella group in their final Santa Fe performance. TicketssantaFe.org | 505 988 1234 PerformancesantaFe.org | 505 984 8759
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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FRIDAY, OCTOBER 31 zombie rave halloween party NOVEMBER 22 • 8PM
BuFFAlO ThunDER PRESEnTS
WITH
KINGZ1 Experience the traditional pottery of North Carolina and north Georgia. This exhibition features more than 40 artists who continue to shape forms from the region’s agrarian past using earthy local clays, salt and ash glazes, and the surprising effects of wood firing.
On Museum Hill in Santa Fe · www.internationalfolkart.org · 505-476-1200
Funding for this exhibition provided by the International Folk Art Foundation, the Cotsen Family Foundation Fund, and the Museum of New Mexico Foundation Exhibitions Development Fund. above: Wood-fired, salt-glazed jugs by Chad Brown (left, 2011) and his greatgreat-grandfather W. H. Crisco (right, 1880s), Seagrove, NC. Museum of International Folk Art, IFAF Collection. Photo by Addison Doty.
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PASATIEMPO I October 31 - November 6, 2014
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November 1 & 2
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www.SantaFeMotorSports.com Santa Fe Motor Sports 2594 Camino Entrada 505-438-1888 Shown with optional accessories. ATV model shown is recommended for use only by riders 16 years and older. Yamaha recommends that all ATV riders take an approved training course. For safety and training information, see your dealer or call the ATV Safety Institute at 1-800-887-2887. ATVs can be hazardous to operate. For your safety: Always avoid paved surfaces. Never ride on public roads. Always wear a helmet, eye protection and protective clothing; never carry passengers; never engage in stunt riding; riding and alcohol/drugs don’t mix; avoid excessive speed; and be particularly careful on difficult terrain. Specifications subject to change without notice. *Based on ADP competitive comparison study of CVT belt components reported in warranty and non-warranty repair order records for 2007-2010 model year CVT belt-driven 4x4 ATVs 400cc and above. ©2012 Yamaha Motor Corporation, U.S.A. All rights reserved. • yamaha-motor.com
Meet the artists and see examples of their work at the Collected Works Show, Friday, October 31st from 5 - 7 at the Community Center. Show continues through the weekend.
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19
“When times get tough, we look for reasons to separate ourselves from f one another. Hell, we do that now, don’t we? ‘Wrong side of the tracks’ comes c to mind — except here, the tracks become the trench. And the bad influences, the blight, those are the monsters.” — writer John Arcudi
Bill Kohlhaase I For The New Mexican
I N
T
he latest issue from Dark Horse Comics, B.P. R.D.: Hell on Earth #124, is set in Santa Fe but not a Santa Fe you might recognize. Sure, there are adobe buildings with vigas, streets draped in power lines, and stores crowding narrow sidewalks. But there’s also a debris-choked trench dividing the city east and west. The emergency bridge — the only one — spanning the trench has a single, well-armed guard. The city’s eastern side is occupied by a huge, phallic-shaped monster who is slowly munching its way through the streets. No need to panic if you live in the right part of town, but for certain unlucky types, there goes the neighborhood. 20
PASATIEMPO I October 31- November 6, 2014
T H E
A P O C A L Y P S E
This is the backdrop that comic-book creator Mike Mignola has his Bureau for Paranormal Research and Defense team find when it arrives in a city truly different. The B.P.R.D sets up in front of Steel Kilts, the coffee shop where Aaron works. Aaron commutes there each day on foot from his eastern-sector apartment. At the door of the apartment next to his is a corpse sprouting roots and fungi. Every day, when Aaron crosses the metal bridge, he’s asked for identification by the same guard. During a quiet moment at the coffee shop, while gazing out over rooftops to see the abhorrent larvae, fungi, or whatever it is that’s consumed entire blocks on his side of town, he thinks,
“I’ll tell you, the weirdest thing about all this is how it isn’t really weird at all.” Ob-la-di, ob-la-da. The story, titled “Grind,” presents a horrific and entertaining exaggeration of the modern condition. Tragedy strikes, from small personal stuff to natural disasters that claim countless lives and billions of dollars. Whatever bankruptcy, divorce, or earthquake damage you’re going through, you still have to show up at work — even if there’s some monstrous growth killing off the value of local real estate. At its center, the story’s narrative takes a turn to follow Bureau member Elizabeth Sherman, a “pyrokinetic,” or flame starter, brought in to witness the use of
experimentall weapons on the h overstuffed ff d invader. d But most of it follows Aaron and what it’s like to be a barista with a nightmare commute. “It was Mike’s idea to have a one-off story that focused more on the everyday lives of people in this deteriorating world we’ve established — and continue to destroy!” explained writer John Arcudi. “And I’m pretty sure he was the one thaat suggested the coffee shop — but that’s it. I wrote thee script from page one — came up with the characterss, the plot, all that.” “The coffee shop was an idea of mine,” Mignola said d by phone from his home in Manhattan Beach, Californiaa. “We’ve had these big epic stories going on, and I suggested we do something around a coffee shop, a day-in-the-life kind of story. That’s about all I had to o do with it. Otherwise, I know next to nothing about it. I don’t think I’ve even seen it.” Mignola, creator of Dark Horse Comics’ Hellboy fran nchise, of which the series B.P. R.D.: Hell on Earth is partt, gets top billing on the comic’s cover despite his lack k of participation. Arcudi’s been getting a writing crediit with Mignola for a decade, since taking over the writingg chores on B.P. R.D.: Hell on Earth #13. Arcudi’s numerouss other comic-book credits include Aquaman, Batmann: Legends of the Dark Knight, and Dark Horse Comicss’ Mayhem series. His hyper-slapstick take on Mayhem’’s central character, The Mask, inspired the 1994 moviee
of o the same name with Jim Carrey. His mid-1990s series about bartender-bounty hunter Barb Wire was the starta ng point for a famously bad film with Pamela Anderson in n the title role. in Mignola, a comic-book writer and artist who left work at Marvel and DC to create his own characters, w ntroduced Hellboy in the ’90s. Hellboy emerges from in he nether world in 1944 when a Nazi war experiment th to raise the devil goes awry. Despite his striking name, Hellboy has a conscience, as well as incredible selfH healing properties. He’s vain enough to be obsessive h about filing off his devilish red horns but otherwise has a an a existential view of his above-ground life, even when hings get violent. There have been two Hellboy movies, th both directed by Guillermo del Toro, and a handful of b spin-off comics. Today, Mignola is mostly hands-off with s he franchise except for the Hellboy in Hell series, which th he h writes and illustrates. In it, our red-skinned hero is returned to his place of conception and suddenly takes r on o shades of brown and gray. Mignola has also turned out o short tales often inspired by folklore and the occult, some with Hellboy, some without. The title story of The s Amazing Screw-On Head and Other Curious Objects brings A Abraham Lincoln together with a mechanical device and A itts interchangeable bodies. Other stories in the collection carry such titles as “The Snake and the Magician” and c “Prisoner of Mars.” Then there’s Dark Horse’s Lobster “ Johnson series — a 1930s noir tale of an enemy of evil who w doesn’t always play nice — 99 percent of which Arcudi writes, said Mignola, who gets top billing. A In “Grind,” the B.P.R.D. (always battling something monstrous) sends a team to Santa Fe without star m member Hellboy. The city panorama that opens the m comic looks northeast from an unrecognizable interc state exchange on a thoroughfare that might be the s relief r route but has no sign of Rail Runner tracks. Arcudi, A who admitted to having been in Santa Fe only tw wice (“and that was a long, long time ago”) said the city c wasn’t chosen because of anyone’s familiarity with it. “As to why Santa Fe, it’s really nothing personal. I just thought that if we showed this really old city was failing, was falling prey to the encroaching madness, then we’d make it clear that nothing, no corner of the
country, is immune to the collapse of the world as the B.P.R.D. denizens know it.” While artist Tyler Crook’s panels may not show landmarks or otherwise recognizable Santa Fe streets, the imagery associated with the east-west divisions of “Grind” has a ring of truth in its social, ethnic, and economic implications. Arcudi said the divide seemed to him “the natural way to go. When times get tough, we look for reasons to separate ourselves from one another. Hell, we do that now, don’t we? ‘Wrong side of the tracks’ comes to mind — except here, the tracks become the trench. And the bad influences, the blight, those are the monsters.” The story, with its twists, asides, and subplots contrasts the superhuman efforts required of day-to-day life with the anger and frustration of being superhuman. Its climax recalls the glory days of such horror comics as EC’s Tales From the Crypt and Avon’s Eerie. The focus on the barista brings a feeling of nonchalant anxiety to the tale, like when Aaron carries out coffees for the B.P.R.D. team and tries to describe the horror right next door to his apartment. “As for Aaron and his life,” Arcudi said, “it was a great opportunity for me to do what I enjoy most: write about ordinary people. Even in the main B.P.R.D. cast I try to make them look as ‘normal’ as possible, make their reactions to things feel authentic. With Aaron — well, look, we’ve messed up the B.P.R.D. world mightily, so how would you, how would I, deal with that? That’s Aaron, pure and simple.” “Grind” is a one-shot, self-contained story whose arc continues the B.P.R.D.’s ongoing struggle to protect the world from supernatural forces. Far be it from us to suggest continued Santa Fe stories, but how about a tale of a real-estate salesman who figures out a way to profit as the monsters foreclose on more and more of the city? Or an artist who turns destruction into beauty and makes a fortune doing portraits of giant, city-eating fungi? Now those are scary prospects. ◀ “B.P. R.D.: Hell on Earth” #124 was published on Oct. 15 by Dark Horse Comics. Reproduced by permission of the publisher.
PASATIEMPOMAGAZINE.COM
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TERRELL’S TUNE-UP Steve Terrell
The Vanishing Hitchhikers’ Guide
“A strange voice drew me to the graveyard. I stood in the dark and watched the shadows wave.” That line, which opens the final verse of Dickey Lee’s 1965 hit “Laurie (Strange Things Happen),” was one of the first songs to ever truly spook me. When I first heard it at eleven, it creeped me out purely because of the tale it told and — what was then — its surprise ending. Laurie’s story was new to me at the time, but even back in 1965 it wasn’t a new story. The plot is a basic variation of what’s known as a “vanishing hitchhiker” tale, a term popularized by folklorist Jan Harold Brunvand in The Vanishing Hitchhiker, his 1981 book of urban legends. The basic tale of regular folks encountering friendly — if sometimes odd or bewildered — characters who turn out to be ghosts has roots that go back centuries and is found in many cultures. Under different names the spirit of Laurie has haunted many songs. In honor of Halloween, let’s take a look at some of them. First, there’s Laurie. In case you weren’t around back in ’65 or if you were in an asylum that didn’t allow radios, the song tells the story of starry-eyed Dickey meeting a girl — an angel of a girl — at a dance. He’s falling in love as he walks her home. But when he asks if he can see her again, Laurie asks for his sweater, saying she’s cold. He obliges. He gets a kiss good night at her door, but as he’s leaving, he remembers his sweater. This is when it starts to get creepy. Laurie’s dad answers the door and informs Dickey that he wasn’t with Laurie. He assumes the young Romeo is pulling a cruel prank. Laurie died on her birthday, a year ago that day. Dickey follows a strange voice to the cemetery, where he finds his sweater, “lying there upon her grave.” As Brunvand and other scholars have said, these vanishing-hitchhiker stories are ancient. There are many similarities between “Laurie” and an old British folk song, “The Suffolk Miracle,” a variation of which appeared as early as 1689 in London, though it’s probably much older. (Instead of a sweater on a grave, the 17th-century song ends with a handkerchief on a corpse’s head.) Back to 1965. Just a couple of months after Lee’s graveyard adventure hit the charts, a bluegrass band called Country Gentlemen released a song about Laurie’s country cousin, Mary — “Bringing Mary Home.” The singer sees a little girl in the middle of a lonely road on a dark and stormy night. He stops and the girl gets into the back of the car and introduces 22
PASATIEMPO I October 31- November 6, 2014
Leaving a token is a frequent motif in “vanishing hitchkiker”stories. For us mortal listeners, the hitchhiker has left a token in the form of these amazing and spooky songs. herself. The narrator drops a big clue: “There was something strange about her. Her face was deathly white.” He drives her home, but when he gets out to open the door for her (remember, this is Country Gentlemen), the little hitchhiker has vanished. Mary’s mom comes out, and unlike Laurie’s dad, she understands. She patiently explains that her daughter died in a car wreck exactly 13 years ago. “Thank you for your trouble, the kindness you have shown, you’re the 13th one that’s been here bringing Mary home.” “Mary” was covered by several bluegrass and country artists. One was Red Sovine, whose specialty was truckdriver tales. In 1967, he recorded a classic that was a twist on the vanishing-hitchhiker mode. In “Big Joe and the Phantom 309,” Sovine’s narrator is a hitchhiker who gets a ride from a big, friendly truck driver. He yaks with Big most of the night until the trucker stops and drops him off in front of a truck stop. Joe tosses the hitchhiker a dime and says, “Have yourself a hot cup on Big Joe.” But once inside the truck stop, the happy-go-lucky narrator says, “Big Joe set me up,” and the place goes silent. The waiter explains that Big Joe died in a wreck about 10 years before, jackknifing the Phantom 309 to save a busload of kids. And he lets the hitchhiker keep the dime as a memento of the weird incident. I’ve known this song for years, ever since I first heard The Last Mile Ramblers play it at New Mexico’s Golden Inn in the mid-1970s. But I didn’t realize until recently that, except for the supernatural aspect, “Big Joe and
the Phantom 309” is based on a true story. A Sept. 14, 2014, article in the New Hampshire Union Leader tells of that state’s town of Troy honoring John William “Pete” Trudelle, the real-life Big Joe, by installing a monument in his memory in the town common. “On Jan. 29, 1963, he was driving a tanker truck carrying 4,600 gallons of gasoline from Boston to Keene,” the article says. “Along his route in Saugus, Massachusetts, he drove the truck into a bridge abutment to avoid hitting a school bus that was parked in the road under the bridge. ... His act saved six children and the bus driver.” Last month, “Big Joe and the Phantom 309” was played at the ceremony for Trudelle. In the ’70s, Big Joe became a more familiar figure in a tune by outlaw country warrior David Allan Coe. In his song “The Ride,” Coe sings of a hitchhiker, thumbing to Nashville with his guitar on his back, who gets picked up by the “half-drunk and hollow-eyed” ghost of Hank Williams, who drives “an antique Cadillac.” The “ghost-white pale” driver has some professional advice for the young buck: “If you’re big star bound, let me warn ya its a long, hard ride.” Skip ahead to the mid-1980s, and Big Joe changes from a truck driver to a Marine. “Camouflage,” from Stan Ridgway’s first solo album, The Big Heat, is a war story. The narrator is a young Marine who gets separated from the rest of his company. He’s alone and the enemy is nearby, and a big Marine named Camouflage appears to help. Next thing you know, he’s swatting bullets with his bare hands and “pullin’ a big palm tree right up out of the ground and swattin’ those Charlies with it from here to kingdom come.” The narrator gets back to camp and tells everyone about his helper, but a medic tells him that Camouflage died the night before. He even shows him the body. “But before he went, he said, ‘Semper fi,’ and said his only wish was to save a young Marine caught in a barrage. So here, take his dog tag, son. I know he’d want you to have it now.” Leaving a token — Camouflage’s dog tag, Big Joe’s dime — is a frequent motif in vanishing-hitchhiker stories. For us mortal listeners, the hitchhiker has left a token in the form of these amazing and spooky songs. My (free!) online Halloween treats: I’ve been doing annual Spooktaculars on my monthly Big Enchilada podcasts since 2008. Find them all at www.bigenchiladapodcast.com/search/label/Halloween. And for users of Spotify, check out my Halloween Spook Rock playlist: http:/open.spotify.com/user/robotclaw/ playlist/3fxoMfzueQkIoWzZgtWDPn. ◀
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Lensic Presents
The Senegal St. Joseph Gospel Choir November 11, 7 pm $15–$35
A company of singers and traditional drummers, direct from Dakar! These inspiring voices bridge the Catholic and Islamic cultures of West Africa through songs, spirituals, and masses sung in four languages: Ouolof, Diola, Serere, and Portuguese Creole.
discountts for Lensiic memb bers
Captivating Tales from the Opera Swamp!
featuring the hall ensemble
Tickets: 5055-9 988-12334 www.Tick ketsSantaFe.org service charges apply at all points of purchase
ticketsSantaFe.org | 505 988 1234 performanceSantaFe.org | 505 984 8759
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.
th e lensic is a non profit, member-supported organ ization
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PAS S A REVIEWS Amleto, Opera Southwest Journal Theatre, National Hispanic Cultural Center, Oct. 26
C
omposer Franco Faccio unveiled his opera Amleto (Hamlet) in 1865 to lukewarm listeners in Genoa, and in 1871 he revised it for another go in Milan, where it did not survive beyond its opening night. The rest was silence … until last Sunday afternoon, when this long-forgotten work received an enthusiastic staging, its first in 143 years, through the graces of Opera Southwest in Albuquerque. This venture was a testament to the devotion of Anthony Barrese, the company’s artistic director, who learned of the piece’s existence in 2002 and spent the next dozen years working from manuscripts in Italian archives to prepare a modern performance edition based on the 1871 version. Such a project would not seem unusual behind the ivy-covered walls of academe, where the resultant reconstruction would fester among other unnoticed dissertations. Pursuing it in the real world, with the goal of making the piece live and breathe in front of a paying audience, seems quixotic in comparison, but it is precisely the sort of venture to which musicology should aspire. It was an ambitious undertaking, a fully staged presentation in Italian (with English translations projected) involving a cast of 16, a 34-member chorus, four dancers, a half-dozen supernumeraries, and a full pit orchestra, with Barrese marshaling all from the podium. A single two-story set of handsome metalwork served ably in each of the four acts, with a light overlay of projections and stage decorations (here a bed, there an arras) lending specificity to the dire events that unroll in the castle of Elsinore. The libretto was drawn from Shakespeare’s play by Faccio’s schoolmate Arrigo Boito, who is most remembered for the Bard-based librettos he would later produce for Verdi’s Otello and Falstaff and for his own opera Mefistofele (for which he wrote both the music and libretto). Hamlet is one of the longest and richest of Shakespeare’s plays, and turning it into a serviceable libretto required acres of selective pruning. Rosencrantz and Guildenstern are dead to Faccio and Boito. Elusive Fortinbras similarly disappears, and Polonius is a shadow of his former self. Boito shuffled Shakespeare’s episodes like a deck of cards to make a cogent narrative. He retained most of the scenes without which Hamlet would not be Hamlet; imagine how disappointed viewers would be if they were not regaled with expanses like “Essere o non essere” or “Ohimè, povero Yorick.” He essentially turned Shakespeare’s sprawling masterpiece into a well-made play that aligned with 19th-century taste. Sacrificed in the bargain is psychological depth. Hamlet seems neither indecisive nor crazy, but rather the clear-headed organizer of a scheme that unfolds according to a logical plan. In a program note, stage 24
PASATIEMPO I October 31- November 6, 2014
Abla Lynn Hamza and Alex Richardson
director David Bartholomew explains that he and set designer Carey Wong moved the action from ancient Denmark to the early 20th century, “the peak of the age of Freudian analysis,” in order “to explore the inner complexity of the opera’s personages.” That did not come across in the performance, perhaps to the production’s benefit. One did not sense that the characters’ complexities run very deep in Faccio and Boito’s telling. Although the mid-19th century is acclaimed as a summit of Italian opera, it is represented on the stage almost exclusively through the works of Verdi. Apart from Boito’s Mefistofele (1868), the only coeval opera to hold a place on the boards is Ponchielli’s deliciously gruesome La Gioconda (1876). Opera flourished throughout Italy at the time, but where can we turn today to experience less-than-Verdi operas by such contemporaries as Pedrotti, Petrella, Usiglio, and Marchetti? By producing Faccio’s Amleto, Opera Southwest has revivified a score that provides payback of its own while reminding opera-lovers precisely what Verdi is “a cut above.” The high point of Amleto is indisputably the funeral procession (Act 4, Scene 1), which unrolls with scenebuilding momentum. The corpse of Ofelia (Ophelia) is borne in by the king and courtiers to an extended, mournful orchestral strain, interesting in its twists of melody and harmony. This cedes to an angry confrontation between Amleto (her boyfriend) and Laerte (Laertes, her brother), after which the processional music returns, with the chorus now adding its voice, the whole yielding a well-formed chapter with dramatic impetus. Elsewhere, the most effective scenes were duet confrontations — the conversation between Amleto and Lo spettro (the Ghost of his father) in Act 1 and between Amleto and Ofelia in Act 2 — and the Act 2 finale, in which the performance of the play unveils murderous Claudio (King Claudius) while the onlookers soar to a stentorian climax. Apart from these, scenes often displayed piecemeal construction — competent but unmemorable bits being strung together. Amleto’s soliloquies suffer from a start-and-stop character; they consist of good sentences but don’t really build into compelling musical paragraphs. Faccio doesn’t always
appropriate operatic clichés convincingly. The opening party scene, for example, seems to merely parrot La traviata, which (unlike Amleto) was an opera in which throwing parties was central to the plot. Tenor Alex Richardson scored a success in the title role. His ample voice was secure and firmly projected, a touch nasal in the opening acts but growing more round toward the end. He secured the audience’s sympathetic attention by keeping his acting direct and to the point, an asset some of the other principals might have emulated to their profit. He seems well placed to climb the operatic ladder. Two other tenors also acquitted themselves with distinction. As Laerte, Javier González proved an appealing singer of what I take to be the tenore di grazia sort (although the role does not make demands in the upper reaches of that range) — a light voice rather than a large one, appealing in its brightness and capable of precise articulation. Lighter still was Jonathan Charles Tay, in the modest roles of Il Re Gonzaga (the “Player King”) and a Herald; his voice is small but sweet, his pitch is spot on, and the early-music community should not delay scooping him up. Bass Jeffrey Beruan, as Lo spettro, recounted his regicide with an appealing tone, soft-grained and inherently gentle. (Faccio must have liked Rigoletto, since its ominous orchestral shivers underscore the Ghost’s appearances.) The other principals — sopranos Abla Lynn Hamza as Ofelia and Caroline Worra as Geltrude (Gertrude), baritone Shannon De Vine as Claudio — seemed to have found their appropriate regional-opera level in this outing. Obvious strengths notwithstanding, their performances might have benefited from greater subtlety in the areas of dramatic portrayal (Hamza), that and tone color (Worra), and intonation (De Vine). The real hero of this Amleto was Barrese, who made the most of his resources while pulling off a creditable and enlightening production. — James M. Keller “Amleto” continues at Albuquerque’s National Hispanic Cultural Center on Friday, Oct. 31, at 7:30 p.m. and Sunday, Nov. 2, at 2 p.m.; for tickets, call 505-243-0591 or visit www.operasouthwest.org.
Lance Ozier/Opera Southwest
The opera’s the thing
november events
Acequia Madre Elementary School
Tattoos, Christmas & Beer
2 0th Annual Art Auct io n Saturday • November 1, 2014 • 5 pm Santa Fe convention Center Live & Silent Auction • Cash Bar • Cowgirl BBQ • DJ John Edwards
This popular fundraiser is now a well-anticipated tradition which includes several of Santa Fe’s best-known artists
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Week in Costa Rica w/ $500 voucher for airfare Vacation in New Orleans Child’s portraiture by Linda Kyser Smith Round of golf at Las Campanas Fine art, spa services, jewelry, student art projects, opera tickets, gift baskets, and much more
Thank you to our sponsors: Artisan’s, Barker Realty, Big Jo True Value Hardware, Cowgirl BBQ, DJ John Edwards, Dynamic Events of Denver, Frontier Frames, Hutton Broadcasting, Brian Knox, Life Span Therapy Services, Paper Tiger, Shake Foundation Event proceeds support theatrical performances, artists-in-residence, classroom art projects, learning enrichment, special events, staff professional development and student-recognition programs. It also buys equipment and uniforms for the yearbook club, band, and sports teams. Acequia Madre Elementary School has been honored by Business Week magazine for instructional innovation. The fine arts focus at Acequia Madre complements the city’s renowned art scene. Tickets can be purchased at the door for $15 or you can make a donation to the auction and get in for free! For more information call the school office at (505) 467-4000. FREE childcare provided by Kate Sallah (505) 469-3515 or via e-mail sallahkate@gmail.com Reservations required for childcare
Tattoo Nation Sunday, November 2, 2 pm See portions of the 2013 documentary Tattoo Nation with Director Eric Schwartz in the auditorium. Part of the exhibit Painting the Divine: Images of Mary in the New World. Free with admission; Sundays free to NM residents. Gustave Baumann and Friends: Artist Cards from Holidays Past Friday, November 7 Be the first to see handmade selections by notable artists spanning 1916 to 1970. Meet curators Tom Leech and Jean Moss, who will sign copies of their Museum of New Mexico Press book. Free admission 5–8 pm. Santa Fe Book Arts Group flea market Saturday, November 8, 10 am–2 pm Purchase art and craft supplies, handmade books and papers, ephemera, gifts and more in the Meem Community Room and History Museum classroom. Free admission through the Washington Avenue doors. Holiday Card Workshops Saturday and Sunday, November 15 and 16 On Saturday, from 1–3 pm, bring your favorite coloring tools, and we’ll provide papers, envelopes, glue sticks and stamping supplies, courtesy Lee Kellogg of Guadalupe’s Fun Rubber Stamps. On Sunday, from 1:30–3:30 pm, we’ll teach you how to make beautiful handmade cards with Styrofoam ink-block printing. Free with admission; Sundays free to NM residents. “New Mexico Beer — Now and Then” Wednesday, Nov. 19, noon John C. Stott, author of New Mexico Beer: A History of Brewing in the Land of Enchantment, delivers a Brainpower & Brownbags Lecture in the Meem Community Room. Free.
Free Child Care for Attendees • Tickets: $15 • More Info: 467-4000 PASATIEMPOMAGAZINE.COM
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PASATIEMPO I October 31 - November 6, 2014
Gabriel Roybal DDS
Trusted in Santa Fe for over 27 years 505-989-8749 gabrielroybal.com • 444 st. michaels dr. • santa fe, n.m.
RANDOM ACTS Thread of life: Quilters
Quilting is an activity traditionally performed by women in a group. It’s difficult, painstaking labor to create beautiful, functional objects that keep their families warm at night. Together, quilters piece and stitch their fabric, which is put to use in a quilt only after it has served a lifetime as something else — coveralls, an apron, dungarees. Every inch of a quilt has a story to tell. Quilters, a musical written by Molly Newman and Barbara Damashek, is about a frontier woman and her six daughters making a quilt and the memories embedded in the fibers of each block. The Santa Fe Playhouse (142 E. De Vargas St.) presents Quilters, directed by Catherine Donavon, from Friday, Oct. 31, through Sunday, Nov. 16. Thursday, Friday, and Saturday shows are at 7:30 p.m.; Sunday matinees are at 2 p.m. Oct. 31’s gala begins at 6:30 p.m. Tickets are $20 with discounts available. Call 800-838-3006 for tickets or visit www.santafeplayhouse.org. — Jennifer Levin
THIS WEEK
The wood that could: Salzburg Marionette Theatre
The Salzburg Marionette Theatre, which traces its roots to 1913, bills itself as “a large theatre with small ‘actors.’ ” The company’s repertoire includes obvious children’s classics like Peter and the Wolf as well as telescoped versions of operas (much Mozart, but also a condensed take on Wagner’s The Ring of the Nibelung) and, for the truly intrepid, a marionette rendition of The Sound of Music. Based at Salzburg’s Mirabell Hotel, the group began touring in 1927 and has crisscrossed the globe ever since. For its current American tour, it is joined by pianist Orion Weiss, who provides a live accompaniment to the dramatics via such works as Debussy’s La Boîte à Joujoux (The Toy Box) and Schumann’s Papillons (Butterflies) and Blumenstück (Flower Piece). Los Alamos Concert Association presents this program at 7 p.m. on Saturday, Nov. 1, at the Duane Smith Auditorium, Los Alamos High School (1300 Diamond Drive). Tickets ($30) are available from Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org). The presenter describes the event as suitable for young audiences, though children under six will not be admitted. — James M. Keller
The height of mayhem
Alan Weissman
All good things must come to an end, including High Mayhem’s long-running, often radical, and always provocative annual fall music series. For its final hurrah (before focusing on other artistic programming), the boundary-pushing arts collective hosts four consecutive Saturdays of music, beginning on Nov. 1 and running through Nov. 22. Just as it would be nearly impossible to list all the artists who have passed through the doors of High Mayhem, it is hard to narrow down highlights from this year’s impressive list of performers. Each concert features four or mo ore local and touring musical acts, with at least one High Mayhem staple, inclu including iNK oN pAPER (Nov. 1), We Drew Lightning (Nov. 8), The Proxemics (Nov. 15), and Cloacas (Nov. 22). Doors open at 7 p.m., with a 7:30 p.m. show each night; the suggested donation is $10. High Mayhem Emerging Arts Studio is at 2811 Siler Lane. More details, including a streaming link for all shows, are available at www.highmayhem. org. — Loren Bienvenu
Rare medium
When it’s not showing movies, the Jean Cocteau Cinema (418 Montezuma Ave.) doubles as a hotbed of telepathy, prestidigitation, necromancy, conjuration, thaumaturgy, clairsentience, and other sorts of hocus-pocus. This season of spookery features a return visit from magician Misty Lee, the first woman to gain a staff appointment as séance medium in the Houdini room of the legendary Magic Castle in Los Angeles. Her Santa Fe performance, which is based on the show she performs in Los Angeles, threads together elements from Edgar Allan Poe’s short story “The Murders in the Rue Morgue.” Expect audience participation, levitation, and an orangutan, and feel free to wear a costume. Performances take place on Friday, Oct. 31, at 6:20 p.m., and Sat., Nov. 1, at 2 p.m. and 8:30 p.m. Tickets ($20 with discounts available) can be purchased at www.jeancocteaucinema com or by calling 505-466-5528. — J.M.K.
PASATIEMPOMAGAZINE.COM
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P O R T A L
T O
T H E
O T H E R W O R L D L Y
Robert Nott I The New Me exican
SKEPTIC BENJAMIN RADFORD ON THINGS THAT GO BUMP IN THE NIGHT
dusk on an autumn evening, and New Mexico author Benjamin Radford, deputy editor of the science magazine Skeptical Inquirer, is standing on a bridge overlooking the Santa Fe River waiting for La Llorona to show up. She doesn’t appear, probably because she doesn’t exist, except in the minds and cultures of those who need her to exist — keeping and children safe away from rivers and acequias, forr or instance, warning husbands not to pursue womeen of loose repute outside the downtown bars. And yett, at the same time, La Llorona exists everywhere, Rad dford said. “People embrace La Llorona as their own. That’s what makes it so adaptable as folklore. She’s not across the world; she’s down the street. That’s what makes legends last so long and why they’re so ubiquitous.” Radford, who grew up in Corrales, said he’s not out to debunk all our favorite tales of ghouls and goblins, ghosts and gremlins. “I’m open-minded. I never said I don’t believe ghosts exist. But I can say I’ve looked at the research that’s been done, and I’ve done personal investigations. In each particular case there either is or isn’t good, compelling evidence, and so far I haven’t seen it.” The avowed skeptic lays out forceful reasons not to believe in some favorite New Mexico myths, legends, and ghost stories in his new book, Mysterious New Mexico: Miracles, Magic, and Monsters in the Land of Enchantment. Using both forensic techniques and journalistic inquiry, Radford makes a pretty good case that La Posada de Santa Fe is not haunted by the ghost of Julia Staab, that a little spirit boy named Bobby does not haunt Albuquerque’s KiMo Theatre, that the Miraculous Staircase in Loretto Chapel isn’t that miraculous, and that La Llorona is nothing more than a rural legend. “I have actually solved many of the mysteries,” Radford writes in his introduction. And, as you read his detailed chapters on 13 different cases, you realize he has. The author spends a lot of time on each subject, interviewing eyewitnesses, reading through decades-old newspaper clippings to confirm story origins, and — when possible — spending as much time as possible at the site of the so-called mystery, haunting, or UFO crash. As a kid, this stuff fascinated him. “I was a voracious reader. When I was twelve or thirteen, I used to go down to the local used bookstore with $5 and buy books about things like ghost stories that took place in London dungeons, astrology, UFOs, stuff like that. But I realized
that therre was no investigation, no original research. They weere more like Just So Stories. And I thought, Well, how do you know it’s true? I was disillusioned, and I said, ‘I want to know. I want names, eyewitnesses.’ ” Raadford studied psychology at the University of New Meexico and came to learn of “the ways we fool ourselves, lik ke memory.” Often people believe they are telling the truth when they relate a story of seeing strange figures in the night or unexplained objects soaring through the night sky, he said. He doesn’t judge these people, but their accounts — which frequently are secondhand retellings — aren’t enough to prove the existence of a ghost or an honest-to-goodness ffllying saucer. “Most of the time evidence comes down to personal experience,” he said. “This is where psychology comes in. If there was clear evidence, we’d all believe in ghosts.” He expressed dismay at popular television ghosthunting shows and wonders why the investigators always choose to go into so-called haunted locales at night and then turn all the lights out, as if phantoms only come out after dark. Of the paranormal television reality show Ghost Hunters, Radford said, “They’re in their 11th season of not finding ghosts. They’re role models, but there’s no science. They’re playacting, and we’re able to participate.” He is amused that the investigators in such shows always act terrified when they hear unexplained noises and then end up screaming or asking, “What’s that?” over those noises so viewers at home can’t even hear what all the fuss is about. However, Radford understands the need to believe. “Ghosts speak to people in a way no other paranormal phenomenon does. The desire to believe in an afterlife or your dead relatives or guardian angels is powerful.” As for Bigfoot, the Loch Ness Monster, and alien visitors from UFOs, Radford noted that people often express satisfaction at the idea that they were “chosen” to see these otherworldly entities. New Mexico, he said, is the perfect place for such people, what with its “New Age community and mystical Catholic figures who manifest themselves in unusual ways like miracles at Chimayó. And then there’s Roswell and the UFO people. People have their pet beliefs and people like to believe.” And yet, maybe Radford wants to believe too. “In Iceland, there’s a huge population that believes in elves. Who wouldn’t want to live in a world where people believe in elves?” ◀ “New Mexico: Miracles, Magic, and Monsters in the Land of Enchantment,” by Benjamin Radford, is published by the University of New Mexico Press. PASATIEMPOMAGAZINE.COM
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Curiouser and
curiouser Michael Abatemarco I The New Mexican
Beyond Reason, a two-person show on view at Ellsworth Gallery, is an odd assortment of Lisa Rainbird’s drawings and sculptural works by William Dubby Fuqua. Rainbird’s compositions deal subtly with themes of selfishness, indulgence, affliction, infirmity, and child abuse but also with wonder and magic. Much of her work is set in the distant past in the imagined life of an Edwardian family named LaCombe. Fuqua’s assemblage sculpture, made with antique wooden cabinets, curios, toys, and found objects, also contain nods to the past, particularly cabinets of curiosity. Like Rainbird’s drawings, they are informed by a narrative sense. “They all have a story and that’s because I’m a writer,” Fuqua told Pasatiempo. “I want people to look at a thing and make up their own story, but I also would like them to know the real story.” To that end, Fuqua, author of a didactic series of novels, The Kalpastone Adventures, wrote out narratives to go with each of his
assemblage pieces. For his Poor Little Brucie, born with only four chakras, he writes, “It appears that some humans were born with only a few of their intended seven chakras; which would curtail their holistic approach to life, causing general dysfunction.” The sculpture contains an antique cabinet with four shelves, filled with objects such as Kewpie dolls, baseballs, and a wasps’ nest. The objects symbolize events and experiences connected to Brucie’s four chakras, centers of spiritual power in tantric yoga. Fuqua describes them as the muladhara (the sensual root, located in the coccyx), the manipura (the center of dynamism, located in the solar plexus), the anahata (which governs love and emotions, located in the heart), and the ajna (the third-eye chakra). At the top of the cabinet is a doll’s head. The piece is semiautobiographical; Bruce was Fuqua’s first name before he legally changed it to William. “Because he was missing the other chakras, the Kewpie dolls represent all the women that have been in his life,” said Fuqua. “He can’t hold onto them because he’s just into his root chakra. In other words, he’s addicted to sex. His consciousness holds all of that in place and doesn’t let it go. He’s not getting the fullness of the women he’s with.”
Lisa Rainbird & William Dubby Fuqua Fuqua became interested in assemblage in the mid-1960s while living in Topanga Canyon in Los Angeles. During a 20-year career as a tour manager for big-name musicians such as Joni Mitchell and The Rockets, whose rhythm section would go on to form Crazy Horse with Neil Young, Fuqua continued exploring his artistic abilities. “There was an artist named Wallace Berman, who was fairly successful in the art world. He would do photographs and put lace on them and old glasses and stuff. He did an assemblage idea using photographs. I saw his work when I was probably nineteen or twenty. I bought a camera and tried to do photography, and it didn’t work for me at the time, but sticking things together did.” Some of the assemblage works in Beyond Reason, such as his Hornwood (the shield of a Gaia warrior) — a hunk of wood from a cottonwood tree, stuck through with an aged animal horn — have minimal interventions. Made entirely of found objects, Hornwood is in a mostly natural state. “The horn is the only thing I added, and that’s because it’s as old and worn as the wood. I used to call it Africa, because the shape looks a little bit like Africa. One day I saw it as a shield. The story is about how we need to protect this world, or we’re going to be the fertilizer for a world without human existence if we keep going the way 30
PASATIEMPO I October b 31- November b 6, 2014
we’re going. It became the Gaia shield. If I was to go to war with the Koch brothers, that’s the shield I would carry into battle.” While the written narratives that accompany each piece are not included in the exhibit, the titles are often descriptive or hint at specific themes. Take Evolution, a large disc patinated with concentric circles suggesting a target, at the center of which is a human skull, a gun set to its brow. The full title reads Evolution (It all started with a Big Bang, then thirteen billion years later, evolution’s big success story, humanity, discovers it’s addicted to explosions, and chances are it will end with a Big Bang!). Fuqua, in this instance, leaves little room for ambiguity. Several pieces reference literary, mythological, and spiritual traditions by using such items as Buddha figurines, a small cast figurine of Don Quixote in full armor, and other characters represented by Fuqua’s quirky collection of dolls and toys. Among the most humorous is Waiting for Godot, a dried, brainlike horse apple
surrounded by miniature plastic meerkats. “I was buying the meerkats and giving them to people. ‘Here’s something to protect you.’ Every time I’d go by Doodlet’s, I’d buy two more, three more. The piece started to take shape. You know how they’re all looking away? They’re waiting for Godot. We’re all looking off, waiting for this thing to come and save us. It’s this idea of not knowing that you already possess what you’re looking for.” Fuqua’s sculptures are often wry and meaningful takes on long-held traditions. If You Meet the Buddha on the Road, Jump Over Him, for example, showing a greyhound leaping over a seated Buddha figurine, is intended not so much to be funny but to be a reimagined take on an old saying attributed to Linji Yixuan, a Tang Dynasty-era Buddhist monk: “If you meet the Buddha in the road, kill him.” Fuqua said, “Linji [saw] that they were turning the Buddha into a religious deity, and that’s not what the Buddha is about. It’s about a practice that you do to assist you in clearing yourself and living a bigger, happier life — less samsara, as they put it, less suffering. I came to the conclusion that if you meet the Buddha on the road, jump over him, because what he has to teach and offer is behind him, not in front. It’s the lessons left behind for us to grasp.” Fuqua, a friend of Rainbird’s, has no formal gallery representation, and Beyond Reason is his first solo exhibit in a number of years. The same holds for Rainbird, who has not publicly shown her work since the 1970s. “This is my re-entry back into that world,” she told Pasatiempo. “I’m a poet and I’m a nurse. At one point in my life I thought a bifurcation had to be complete; you had to choose one or the other. As time goes on, I see that I can now have a life in which I don’t have to be defined by one thing.” Rainbird began drawing as a child, tagging along with her mother, a physician, on house calls, hospital visits, and trips to the morgue, where she practiced drawing human anatomy. “I’ve always had a strange bent of Charles Addamsy kind of humor. Part of what I do, though it’s not cartoons, would be akin to that kind of sensibility. I’m looking at the world through eyes that understand disease and the fragility of what it means to be human.” Like Charles Addams (1912-1988), a popular cartoonist whose characters became known as the Addams Family, Rainbird paints her Edwardian LaCombes in dark and slightly macabre tones. Her drawings represent a time before cellphones, computers, and other conveniences of the technological age. There’s a quietude to her works, a formal stiffness that lends her tableaux a feeling of old portraits or snapshots from a bygone world, where children dressed in their Sunday best and the parlor was the center of family life. But in her works, the lines between childhood and adulthood are sharply continued on Page 32
Lisa Rainbird: Paige’s Room, 2013, wax pencil on Aquabee Bristol paper; top,
The Plague, 2014, wax pencil on Aquabee Bristol paper
William Dubby Fuqua: left, Poor Little Brucie born with only four chakras, 2013,
assemblage of found objects; opposite page, Waiting for Godot, 2014, found-object sculpture
PASATIEMPOMAGAZINE.COM
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Beyond Reason, continued from Page 31
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and sometimes tragically drawn. “All of them have some type of a psychological bent. It’s commentary about society. I’m an idea artist, a person who takes complex concepts and works with them. I use drawing as a medium to distill that down into a statement that is discernible and understandable.” Her subjects include nods to the imaginative life of children, where monsters are real and play takes on a life of its own, and to a world where adults hide behind masks that obscure their true identities. “Some of them are delightful and playful too,” she said. “Not everything is deadly serious. Some of it’s granted a little levity in order to address the underlying tragedy that might be there, like in my drawing The Plague, where there are parents in plague masks and where the child is unmasked and unprotected. The masks themselves, which are historically accurate, are rather absurd looking. It brings a quality of humor and intrigue into what would otherwise be a hard thing to look at. There is a drawing in the show called My Dragon, which deals with childhood wonder. It’s a little boy depicted in a backyard playing with his dragon. I think that many times we get trapped in one way of viewing the world, and we do get jaded and lose our sense of wonder and our ability to appreciate things with the childlike beauty we once started out with.” Other works on paper in Beyond Reason include Rainbird’s Blindfold, depicting a bilateral amputee, and Mug Shot, a rendering of a young female convict. “So it’s not just childhood, but I am interested in the psychodynamics that we all bring to our experience of being here on Earth.” Rainbird attended art school at Ohio State University in the 1970s, studying under painter E.F. Hebner, who ran an experimental-art school program. “I auditioned to get into art school by paying a crop duster to skywrite the word cloud over the Ohio State University campus. I had somebody bring Hebner to the window so he could look out and see that happening, and that’s how I got in. I always wanted to pursue art, but I never felt that the world paid much attention to artists. I fought to go to art school. I fought my parents to go to art school. They wanted me to do something practical. By a long, circuitous route, I have a master’s degree in psychology and I spent years working in mental health and a number of years in nursing. Art, to me, is a sustaining love.” Rainbird infuses her drawings with a sense of magic realism. La Correction, for instance, portrays a little girl cavorting with an impish figure while in her breath can be read the word fire. It is a surreal scene, made more so by its period setting. Rainbird has her reasons for placing her compositions in the distant past. “There was a sense of time then that was more expansive. It wasn’t a world defined by television, or appointments, or the next big event. It’s in these expanses of time that the opportunities to think and daydream unfold. The opportunity for imagination and the unexpected takes place in those moments.” ◀
details ▼ Beyond Reason: William Dubby Fuqua and Lisa Rainbird ▼ Through Nov. 15 ▼ Ellsworth Gallery, 215 E. Palace Ave., 505-989-7900
Linda Rainbird: Blindfold, 2014, wax pencil on Aquabee Bristol paper
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PASATIEMPO I October 31- November 6, 2014
Independent Living
Assisted Living
Please call now to schedule your personal tour of our outstanding senior community 505.428.7777 |
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| 500 Rodeo Rd, santa fe, nm 87505
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The
monster mash-upp
A new book dishes on all the Creature films Robert Nott I The New Mexican
W
hen Univversal Studio’s Creature From the Black Lagoon was first released to theaters in 3-D more thaan 60 years ago, reviewers commented that thee picture was more frightening than anythingg Bela Lugosi had done and scarier than films featuring Frankenstein’ss monster and Dracula. On ne patron wrote on a preview card, “The spookiest picture I have ever seen and screamed throughout.” An nother wrote, “I’m a bundle of nerves, I’ll never go swiimming in a lagoon.” A third wrote, “As a result of th his picture we have ulcers” — though whether that meeans the film scared or annoyed them is another matterr. The picture,, shot for about $613,000 and featuring a cast of B-list actors headed by Richard Carlson and Rich hard Denning, spawned two sequels, several imitatorss, a 1982 Halloween live show, and a short-lived theeme-park musical. Universal Studios Classic Monster Collection has released Creature (1954)
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PASATIEMPO I October 31- November 6, 2014
and its sequels, Revenge of the Creature (1955) and The Creature Walks Among Us (1956), on DVD. The original story follows a small group of scientists who take a river expedition into the Amazon to investigate reports of a “Gill Man” inhabiting the region. Sure enough, under the murky waters lives the Creature, a solitary figure who becomes smitten with the lovely Kay Lawrence (J (Julie Adams, known at the time as Julia Adams), particularly after she takes a memorable swim in the lagoon clad in a form-fitting one-piece white bathing suit. Naturally, the humans mess things up good when they decide to capture the Creature and return him to civilization, regretting their foolish actions after he escapes and decides to pick them off one by one. This year, in commemoration of the film’s 60th anniversary, horror and sci-fi film fan and author Tom Weaver offers up The Creature Chronicles: Exploring the Black Lagoon Trilogy, a lavish, colorful, 400-plus-page
tome that tells you everything you could want to know about the Creature movies. This is book 25 for Weaver, who has spent about 30 years interviewing and publishing hundreds of actors, directors, screenwriters, and other technicians who have worked on horror and science-fiction movies. In a phone interview from his home in Sleepy Hollow, New York, Weaver said he first saw The Creature From the Black Lagoon on late-night television sometime in the 1960s. “Back in those simpler times of 99 percent employment and just about everybody having a job to go to in the morning, when you were a kid who stayed up (or set the alarm) to watch a middle-of-the-night movie on Channel 2, you felt like you must be one of maybe a dozen people in all of New York who were awake and watching. It made it kind of magical to see movies — especially movies like Creature — under those dead-quiet, middle-of-the-night, the rest-of-theworld-is-asleep circumstances.” Weaver estimates he interviewed somewhere between 50 and 75 people associated with the filming of all three Creature movies, including Creature From the Black Lagoon star Julie Adams and her swimming-stunt double, Ginger Stanley. He even found extras who were chased by the Creature in the first sequel, Revenge of the Creature. Making use of the Universal Studios archives at the University of Southern California in Los Angeles, Weaver found day-by-day production notes indicating that the initial film encountered a slew of problems during its 30-day shoot in both Hollywood and Wakulla Springs State Park, Florida. “That’s what happens when you leave the lot and go to a place like Florida, where weather is an issue, and you go underwater, where clarity is an issue,” Weaver said. “Some days the water was clear and some days not so much. Universal did not know they could run into a lot of problems, but they did.” Working with the then-new 3-D movie cameras also posed challenges. Still, the first film finished not far off-schedule: on Oct. 31, 1953 — Halloween! The book details problems making the first Creature suit (which presented a gentler, sweeter “Pollywog” character); the egotistical battle over ownership of that design; the often-combative or unpleasant personalities involved with the trilogy (including director Jack Arnold, who probably should have been taken to court for sexual harassment); the various disagreements about how to title the picture; and the challenges involved for Ricou Browning, the stuntman who played the Creature underwater (aka the Gill Man) in all three movies. Ben Chapman played the Creature on land in the first film, and, as Weaver reports, a lot of people have since claimed to have been in that Creature suit over the years. Speaking by phone from his home in Florida, Browning, a former fitness instructor for the United States Air Force and underwater performer at the tourist site Wakulla Springs State Park, recalled some of the problems he encountered during the shoots, especially during lengthy underwater sequences when he had to hold his breath. And no, he didn’t have an oxygen tank within his suit, as he recalls. “It was just hard work. I would breathe from air hoses, swim in
Stuntman Ricou Browning (underwater Gill Man) swimming toward a cameraman; left, Ben Chapman (Gill Man on land) and Julie Adams as Kay; opposite page, Adams; images courtesy McFarland & Company, Inc.
and perform whatever scene it was — for as long as I could hold my breath — and then go to the safety people who had other air hoses and get some air. We had a signal — if I went totally limp, that meant I needed air. It worked out fine, and we didn’t have any accidents at all.” But the costume — made of sponge rubber and latex — was bulky and wouldn’t sink, so studio technicians fitted a lead chest plate and lead ankle pieces to keep Browning underwater. Though the water temperature was around 70 degrees, “That suit continued on Page 36
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SITE Santa Fe Presents a Panel Discussion Adriana Bustos, Unsettled Landscapes exhibiting artist Bette Fleishman, New Mexico Women’s Justice Project Emily Kaltenbach, State Director of the Drug Policy Alliance with moderator Julia Goldberg, Journalist/KVSF Radio Host In her work Anthropology of the Mule, artist Adriana Bustos interviews people involved in the drug-trafficking dynamic, including incarcerated women, investigators, and local historians. In this panel discussion, Bustos talks about her work and how it relates to New Mexicans with the Drug Policy Alliance and the New Mexico Women’s Justice Project. The New Mexico Women’s Justice Project (NMWJP) seeks to eliminate a broad range of systemic barriers to social, economic and political justice faced by women, girls and their families in New Mexico. The Drug Policy Alliance (DPA) is the nation›s leading organization promoting drug policies that are grounded in science, compassion, health and human rights.
1606 Paseo de Peralta, Santa Fe, NM 87501 www.sitesantafe.org
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PASATIEMPO I October 31- November 6, 2014
didn’t keep me warm,” he said. And the Creature’s headpiece didn’t allow for clear vision. “The eyes were about a half-inch; it was like looking through a keyhole,” he said. One of the film’s iconic moments is Kay’s swim, performed in large part by Ginger Stanley (who at one point pulls a rather silly Esther Williams-like underwater ballet flip), while the Creature swims just beneath her in the lagoon. Some of that choreography was plain luck, Browning said. “I was upside down, holding my breath; I didn’t pay much attention to what the scene was about in the sense that I was following her,” Browning recalled. The first sequel, Revenge of the Creature, saw a new group of scientists returning to the Amazon to bring the Creature back to Marineland in Florida as part of a tourist attraction. The film pretty much borrows from King Kong, with the Creature falling for his new leading lady, played by Santa Fe native Lori Nelson. The quality of the script dropped some, and when you see John Agar and John Bromfield replacing the likes of Carlson and Denning, you know you’re moving from B to C+ quality. But Clint Eastwood does make his film debut, in a bit part as a lab technician. While shooting the sequel in Marineland, Browning and other cast members found themselves surrounded by a variety of sea creatures, including sharks that had been well fed before filming began. One day, while underwater in the Marineland tank, Browning felt something nibble on his Creature foot. It was a large loggerhead sea turtle, and it bit off part of his heel. “They had to chase him down, get it back, take it out of the water, dry it, and glue it back on,” he said. The sharks left him alone. While the first two pictures, both directed by Arnold, made money and kept true to the Creature’s personality, the third one, The Creature Walks Among Us, pretty much destroyed the premise by making the Creature a landlubber. It turned off a lot fans, leading to a boxoffice disappointment that ended the Creature’s three-picture reign at Universal. Weaver, comparing the Creature with other wellknown Universal movie monsters, including Dracula, Frankenstein’s monster, and the Wolf Man, said, “He’s the last of the great movie monsters, and in some ways the coolest. There’s the Beauty-and-theBeast angle, and how sympathetic a monster he is. He just wants to be left alone, but they keep coming after him.” The picture clearly affected Weaver. To this day, he said, “It’s scary to be in the water when you think something is down there with you. All these dozens of monsters I’ve seen rise out of the water — including dinosaurs — make me feel sort of helpless out there. I don’t enjoy being out in a boat or swimming in a river because those thoughts pop into my head.” ◀ “The Creature Chronicles: Exploring the Black Lagoon Trilogy,” by Tom Weaver, with David Schecter and Steve Kronenberg, was published this year by McFarland & Company, Inc.
center Tuesday, Nov 4, 6 pm
The Creature Chronicles, continued from Page 35
UPCOMING EVENTS Patrick Nagatani with Lucy Lippard Tuesday, Nov 18, 6 pm Exhibiting artist Patrick Nagatani reflects on his work in Unsettled Landscapes with Lucy Lippard, writer, critic and contributor to the exhibition catalogue.
Tickets: $10/$5, please call 505.989.1199 or visit sitesantafe.org This announcement is made possible in part by the City of Santa Fe Arts Commission and the 1% Lodgers Tax.
Julie Adams at the Festival of the West, 2013, Scottsdale
NOVEMBER CALENDAR OF EVENTS AT SFCC
THE CINEMATHEQUE
Vote on Bond B & C
Early voting runs Oct. 18-Nov. 1. Election Day is Nov. 4. Learn more. Scan the QR code or visit www.sfcc.edu/GO_Bonds_2014.
9 a.m. to noon, Fitness Education Center 505-428-1751 Register at the Fitness Education Center; $20 fee.
Veterans & Family Resource Day
13
Critic’s pick
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– Joshua Rothkopf
505-428-1323 505-428-1266
“GRIPPING... SUSTAINS THE TENSION OF A WELL-EXECUTED THRILLER.” –STEPHEN HOLDEN, THE NEW YORK TIMES
AARP Back to Work 50+ Info Session 10 a.m. to noon, Jemez Rooms
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“INTENSE AND FASCINATING...
855-850-2525
–KENNETH TURAN, LOS ANGELES TIMES
5 to 7 p.m., Visual Arts Gallery
15
SAT
REAL-LIFE TALE OF SACRIFICE, TRUST AND LOYALTY.” –NICK SCHAGER, THE VILLAGE VOICE
America Recycles Resource Fair
A FILM BY
Santa Fe Literary Review 2014 Edition Reading and Reception FRI
“A HARROWING AND CONSISTENTLY SURPRISING
This Weekend Only!!!
TAKES UNFORESEEN TURNS EVEN THE BEST OF NOVELISTS WOULD HAVE TROUBLE IMAGINING.”
NADAV SCHIRMAN
10 a.m., Main Hallway 505-428-1266 Local organizations, hands-on demonstrations, exhibits and workshops.
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TRIUMPH.
Brilliantly conceived by indie auteur Perry and audaciously played by Schwartzman.’’
Free Amrita Meditation Workshop 6 p.m., Fitness Education Center
FRI
“A
HOWL’S MOVING CASTLE
505-428-1816
Opening Reception: Holiday Arts 2014 4:30 p.m., Red Dot Gallery 505-820-7338
“AN AMAZING WINDOW INTO ISRAELI INTELLIGENCE PRACTICES.”
–DAVID LEWIS, SAN FRANCISCO CHRONICLE
Written and Directed by
★★★★★ ★★★★★
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damned good
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THE GUARDIAN
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ROLLING STONE
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TUES
SFCC Governing Board Meeting
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ASSOCIATED PRESS
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ETHAN
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“an audacious, wonderfully twisted fantasy unlike anything you’ve ever seen.” Written and Directed by
Richard Linklater
FINAL SHOWS!
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Registration begins for Spring 2015 www.sfcc.edu 505-428-1270
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TIME OUT NEW YORK
Ultimate Boot Camp Fundraiser
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Free Pertussis (Whooping cough) and Flu Vaccine 9 a.m. to 3 p.m., Jemez Rooms
6
A sharp, dyspeptic, sometimes gaspingly funny exploration of art and life.’’
– Betsy Sharkey, Los Angeles Times
10 a.m. to 2 p.m., Jemez Rooms 505-428-1305 Discover resources in northern New Mexico.
TUES
Jason Elisabeth Jonathan Krysten GHIBLI CELEBRATION SCHWARTZMAN MOSS PRYCE RITTER Film Series Oct 25 - Dec 9 “EXHILARATING.
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5 p.m., Board Room 505-428-1148 Board packet materials and information at www.sfcc.edu/about_SFCC/governing_board.
PLUS... Call for artists — Holiday Arts & Crafts Fair. Sell your artwork on Dec. 13. Application and details at www.sfcc.edu/artisans or call 505-428-1675. Through Jan. 21 — Francisco Benitez Doña Inés Lost Her Slipper at the Visual Arts Gallery. SFCC will be closed for Thanksgiving Break Nov. 27 through 30. Individuals who need special accommodations should call the phone number listed for each event.
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EMPOWER STUDENTS, STRENGTHEN COMMUNITY. EMPODERAR A LOS ESTUDIANTES, FORTALECER A LA COMUNIDAD.
Fri Oct 31 12:30p - Green Prince* 1:30p - Listen Up Philip 2:30p - Horns* 4:00p - Sagrada 5:00p - Boyhood* 6:00p - Sagrada 8:00p - Horns 8:30p - Listen Up Philip*
Sat-Sun Nov 1-2 11:00a - Howl’s Moving Castle 12:30p - Green Prince* 1:30p - Listen Up Philip 2:30p - Horns* 4:00p - Sagrada 5:00p - Boyhood* 6:00p - Sagrada 8:00p - Horns 8:30p - Listen Up Philip*
Mon Nov 3
3:30p - Sagrada 5:00p - Boyhood* 5:30p - Howl’s Moving Castle 8:00p - Horns 8:30p - Listen Up Philip*
Weds-Thurs Nov 5-6 4:00p - Sagrada 5:00p - Boyhood* 6:00p - Sagrada 8:00p - Horns 8:30p - Listen Up Philip*
Tues Nov 4 Cinema Closed
*indicates show is in The Studio
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MOVING IMAGES
film reviews
Bonjour trystesse The Blue Room, drama, rated R, in French with subtitles, The Screen, 3 chiles Georges Simenon, the Belgian crime novelist and creator of Inspector Maigret, was a prolific writer, turning out about a couple of hundred novels and numerous short stories. This adaptation of his novel The Blue Room (on which the author’s son served as associate producer) feels like a slender French paperback, its hour-and-15-minute running time drawing us forward through a shuffled narrative and fractured chronology so swiftly that by the time we figure out what’s going on, it’s over. Mathieu Amalric (The Diving Bell and the Butterfly, Venus in Fur) has a hand in every corner of this tidy little film. He directed and co-wrote the script with Stéphanie Cléau, with whom he also co-stars. The movie opens in a hotel room, its walls the color promised in the title, where two lovers writhe in carnal embrace on a rumpled bed. An ominously crimson drop of blood falls on the white sheet; the woman has bitten the man’s lip in a spasm of passion. These colors, red and blue, will continue to play significant parts throughout the film. Esther (Cléau), a married pharmacist, hangs out a red towel from her balcony to signal to Julien (Amalric), a married tractor salesman, when the coast is clear for them to meet in the blue hotel room where they pursue their affair. A red towel that Julien sees on the beach when on holiday with his wife, Delphine (Léa Drucker), and their child triggers some bizarre behavior. And in the endgame of the story, blue is the color that dominates the walls of the courtroom where fates are decided and justice, perhaps, is served. The lovers’ scenes are lushly, boldly sensual, as naked bodies entwine, and Amalric does not shy away from showing body parts not often seen on-camera. It’s the craziness, the addictive drug of sexual passion
Stéphanie Cléau and Mathieu Amalric
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PASATIEMPO I October 31- November 6, 2014
Chamber piece: Léa Drucker and Mathieu Amalric
that he’s setting up, a force that can make people act in ways that would be out of the question if they were in their right minds. “If I were suddenly free, could you free yourself too?” Esther asks as they loll in postcoital embrace. Could he imagine them spending their lives together? He agrees that he could. But even here, he seems more a man caught in an undertow than a man driving his own destiny. The structure of the movie bounces us back and forth between scenes of interrogation in the office of an investigating magistrate (a very good Laurent Poitrenaux) and chronologically random scenes drawn from Julien’s settled home life and the intoxicating beginnings of his affair with Esther. But for the longest time, we don’t know why he’s been hauled in by the law. We assume somebody’s been murdered, but who? How? Why? The specifics are teased out.
Julien sits numbly in the chair in the magistrate’s office and listens as passages of dialogue from his tryst with Esther in the blue room are read back to him, passages so complete and thorough that they would seem to have been transcribed from a tape recording of the encounter. But presumably they are the harvesting of his and Esther’s recollections in testimony taken down by a hardworking stenographer. The effect of it all is a gradual dawning on Julien of what he has gotten himself into, and Amalric plays much of the movie with the stunned expression of a man who has been kicked by a mule. He’s effective, but in many ways the more interesting performance is the one delivered by Cléau, a writer and theater director who is Amalric’s real-life companion. Outside the scenes of sexual passion, she maintains a sweet serenity that never markedly changes, but as the story’s circumstances unfold, the effect of her demeanor on us, and on Julien, alters powerfully. The Blue Room is less of a whodunit than a whathappened. As with any good murder mystery, there are clues scattered throughout — and by the time we reach the last part of this short, swift psychological thriller, we have a pretty good idea of what has transpired. It’s not a blockbuster final twist that sends us out of the theater muttering, but the cumulative sense of fate and circumstance that draws a man into a nightmare from which he gradually understands he will not wake up. The movie is beautifully served by Christophe Beaucarne’s lovely, sometimes claustrophobic camerawork. It’s a cautionary tale, and one that, in the tradition of movies like Fatal Attraction, should serve as a deterrent to spouses flirting with the idea of succumbing to the temptations of extramarital flesh. — Jonathan Richards
MOVING IMAGES
film reviews
In Pursuit of Cultural Freedom
A lecture series on political, economic, environmental, and human rights issues featuring social justice activists, writers, journalists, and scholars discussing critical topics of our day.
It’s not easy being mean: Joséphine de la Baume and Jason Schwartzman
Poser exposer Listen Up Philip, comedy, not rated, Center for Contemporary Arts, 4 chiles Awaiting publication of his second novel, Obidant, Philip Lewis Friedman (Jason Schwartzman) stands at a crossroads of his own doing. Success doesn’t make him happy, so he is miserable. Philip is the star of his own story, always — so much so that he has a habit of calling up old girlfriends so he can stage cruel redemption scenes for himself, which the women never fall for. His current girlfriend, Ashley (Elisabeth Moss), a successful photographer, is no longer falling for his shtick, either. Philip is suffering, acutely and perpetually. He abruptly refuses to do any readings or media interviews to promote Obidant. At the same time, he meets a luminary novelist, Ike Zimmerman (Jonathan Pryce), who tells him he’ll never write another word in the noisy city and invites him to spend some time at his country house (which is, inexplicably, adjacent to a busy highway). Philip is insufferable, but he’s young. Ike has had decades to alienate everyone he loves. In the movie’s delightful voice-over segments by Eric Bogosian, we learn Ike has befriended Philip because he needs the adoration. Listen Up Philip is a send-up of literary novels and writer culture, especially the ascendancy of a certain kind of male writer. Norman Mailer, Frank Conroy, and Tom Wolfe gave way to Jonathan Franzen, Dave Eggars, and … Philip Lewis Friedman. As their narrative voices — and their media interviews and New Yorker essays — always let us know, they are smarter than everyone else and pained by our ignorance and constant attempts to humiliate their genius. To mimic and skewer the “craft” stylings of literary fiction, writer and director Alex Ross Perry overuses the same cinematic tricks often overused by earnest indie filmmakers — needless, cloying close-ups and quick cuts to random body parts and objects that don’t actually further a story. The movie’s structure, pacing, and narrative point of view are those of literary novels, which are (despite academic claims to the contrary) often as conventional and predictable as “genre” romance or mystery novels. And such works often exploit human emotion in self-justifying ways. In this case, 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. All the women in the movie function as one-dimensional windows to Philip’s soul; they are merely abstract assumptions about what women think and do when they aren’t with men. The subversion here is that this brilliant movie refuses to give Philip what he desires. — Jennifer Levin
ANN JONES with ANDREW
BACEVICH
WEDNESDAY 12 NOVEMBER AT 7PM LENSIC PERFORMING ARTS CENTER This book…is not about war itself, nor even about soldiers as they are trained to see themselves and we, in turn, are taught to see and support them. It is about the damage done to soldiers, their families, their communities, and the rest of us, who for another half-century at least will pay for their care, their artificial limbs, their medications, their benefits, their funerals, and the havoc they dutifully wrought under orders around the world.
— From They Were Soldiers: How the Wounded Return from America’s Wars — The Untold Story © 2013
Ann Jones is a journalist, photographer and the author of numerous works of nonfiction, including Women Who Kill, Kabul in Winter, and War Is Not Over When It’s Over. She has worked intermittently as a humanitarian volunteer in conflict and post-conflict countries in the Middle East, sub-Saharan Africa, and Central and South Asia and has reported from Afghanistan and the Middle East on the impact of war on soldiers and civilians. Jones also writes for The Nation, The Guardian, and TomDispatch.com.
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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MOVING IMAGES
“LUSHLY ROMANTIC. Far from a traditional suspense movie. SUPERB.” – Jordan Mintzer, The Hollywood Reporter “REMARkABLE, VITAL AND VERY CARNAL. Mathieu Amalric is fearless.” – Boyd Van Hoeij, IndieWIRE
film reviews
Headstalks from hell: Daniel Radcliffe
Friday and Saturday at 12:45, 4:30 and 8:10 • Sunday 11:30 am and 3:15 Monday and Wednesday at 12:45, 4:30 and 8:10 • Tuesday and Thursday at 1:30 and 5:00
The devil takes the hindmost Horns, mystery/horror, rated R, Center for Contemporary Arts, 2.5 chiles
SANTA FE’S BIGGEST HIT Friday and Saturday at 2:30 and 6:15 Sunday at 1:15 and 5:00 Monday and Wednesday at 2:30 and 6:15 Tuesday and Wednesday at 3:20
Sneak Preview
Saturday at 10:20 am • Sunday 7:00 Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®
D I G I T A L
SURROUND•EX
Live Simulcast with Shirley MacLaine Tuesday at 7:00 SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com
Bargain Matinees Monday through Friday (First Show ONLY) All Seats $8.00 40
PASATIEMPO I October 31- November 6, 2014
Daniel Radcliffe continues to stretch himself beyond the Harry Potter movies with a slew of engaging new roles — and his work in Horns is no exception. He is the standout among an exceptional and mostly believable cast in this quirky horror film with a mystery at its core. Horns has an interesting premise, opening with Ig Perrish (Radcliffe) already under suspicion for the brutal rape and murder of his girlfriend and first love, Merrin (Juno Temple), evil deeds for which he claims innocence. It doesn’t help his cause when he sprouts ever-growing devil horns on his head. But, along with the horns, Ig comes into possession of an unusual power: the ability to see the truth within the lies of those around him. In time, he takes this gift to its logical conclusion in his hunt to uncover Merrin’s real killer. Horned as he is, Ig becomes the catalyst for making others act on their worst instincts, the appendages effectively bringing out the devil in everyone but himself. These scenes could afford opportunities for surprising twists and turns. Unfortunately, however, many of them are played for laughs — what could have been one hell of a creepfest instead goes off the rails during the absurd comedic moments that often feel forced. Notable among them are the passion of two male police officers who secretly harbor a sexual attraction for each other and the underused Heather Graham camping it up as a waitress who frames Ig for her chance at 15 minutes of fame. Despite its often-misplaced humor, Horns has some genuinely ghoulish (and one or two downright gross-out) parts, particularly when Ig discovers some ugly truths about Merrin’s final moments. The computer-generated snakes that follow Ig everywhere like baby ducklings behind their mother seem over the top and not particularly convincing. Symbolism in the film is far from subtle — the protective powers of Merrin’s cross and its ability to keep the devil at bay are an example. The setting is lush, though, and, snakes aside, the effects mostly work, making the movie at least great to look at. Beyond that, it is gravely lacking in substance and cynical in how it portrays most of the townies. Radcliffe convincingly plays Ig as a desperate man with nothing left to lose. But when he realizes the extent of his horns’ powers, the script takes him dangerously close to superhero territory (after exhausting humor, horror, mystery, and drama), and we already have a Hellboy, thank you very much. — Michael Abatemarco
Zia Halloween! Halloween means Family Fun, Oct 27-31st! Special Ghoulish Kids Menu, Coloring Contest, Prizes, Free Treats for the Kids with every kids meal, Halloween Drink Specials for the Grown-Ups! See ya at the Zia for Halloween Fun!
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MOVING IMAGES chile pages
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horned devil, Radcliffe is compelling to watch, but Horns suffers from an identity crisis. It’s a hybrid of comedy, horror, mystery, and drama — and not all of that works. Rated R. 120 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) See review, Page 40. INTERSTELLAR Director Christopher Nolan returns with his first non-Batman movie since 2010’s Inception. Matthew McConaughey plays a widower on an Earth that is rapidly running out of food; he joins a mission to fly a ship through a wormhole in space in order to find anything that will help humanity. The film’s marketing is being very coy about what he will find there. It opens wide on Nov. 7, but the Jean Cocteau Cinema screens it beginning Tuesday, Nov. 4. Regal Stadium 14 offers sneak previews on Thursday, Nov. 6. Rated PG-13. 169 minutes. (Not reviewed)
A bubble cut for a pixie: Anne Hathaway in Interstellar at the Jean Cocteau Cinema and Regal Stadium 14 in Santa Fe
opening this week BEETLEJUICE This year’s Halloween movie at the Lensic is Tim Burton’s 1988 comedy about the ghosts of a couple of recently deceased people (Alec Baldwin and Geena Davis), who hire an obnoxious spirit (Michael Keaton) to scare the new owners out of their house. Keaton and Burton were at the peak of their powers in this imaginative, funny fable. Winona Ryder, the goth-girl heartthrob of her era, still charms. 7 p.m. Friday, Oct. 31, only. Rated PG. 92 minutes. Lensic Performing Arts Center, Santa Fe. (Robert Ker) BEFORE I GO TO SLEEP Nicole Kidman plays a character who suffers from a strange disorder that causes her to wake up every morning with no memory. Could it have something to do with that accident she suffered? Definitely. What about that suspicious husband (Colin Firth)? Possibly. Rated R. 92 minutes. Regal DeVargas, Santa Fe; DreamCatcher, Española. (Not reviewed) THE BLUE ROOM Belgian crime novelist Georges Simenon was a prolific writer, turning out about a couple of hundred
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PASATIEMPO I October 31- November 6, 2014
novels and numerous short stories. This adaptation of his work feels like a slender French paperback, its 76-minute running time drawing us forward through a shuffled narrative and fractured chronology so swiftly that by the time we figure out what’s going on, it’s over. Mathieu Amalric directed and co-wrote the script with Stéphanie Cléau (his real-life partner), with whom he also co-stars. It’s a steamy tale of sexual passion and murder that is less of a whodunit than a what-happened. We start in a blue hotel room, where two lovers writhe in carnal embrace on a rumpled bed; by the end, we’ve been drawn into a nightmare from which a man gradually understands he will not wake up. Not rated. 76 minutes. In French with subtitles. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 38. HORNS Ig Perrish (Daniel Radcliffe) has a serious problem. His girlfriend and first love, Merrin (Juno Temple), has been brutally murdered, and he’s suspected of being the perpetrator by just about everyone in town. The fact that Ig sprouts devil horns on top of his head doesn’t help his cause — although they prove to be more of a blessing than a curse when he begins to understand their unique abilities. This is a decent horror film, but its forced attempts at humor, unconvincing CGI snakes, and ham-handed symbolism keep it from being a good, perhaps even great, one. On fire as the
LISTEN UP PHILIP This is a sendup of literary novels and writing culture. Awaiting publication of his second novel, Obidant, 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) See review, Page 39. MANUSCRIPTS DON’T BURN Shot in Iran without permission and shrouded in secrecy until recently, this is the daring new drama from Mohammad Rasoulof, who has been banned by the Iranian government from making films or leaving the country. Reportedly inspired by actual events, it focuses on two government agents who are assigned to interrogate, terrorize, torture, and murder dissident writers and intellectuals. Not rated. 125 minutes. In Persian with subtitles. The Screen, Santa Fe. (Not reviewed) THE MET LIVE IN HD: CARMEN Anita Rachvelishvili stars in this Richard Eyre production of Bizet’s opera, which is broadcast live from the Met. The cast also includes Aleksandrs Antonenko and Ildar Abdrazakov. 11 a.m. Saturday, Nov. 1, with a 6 p.m. encore. Lensic Performing Arts Center, Santa Fe. (Not reviewed) NIGHTCRAWLER Jake Gyllenhaal plays a sleazy young man who finds his way into the world of nighttime crime journalism in Los Angeles. After covering accidents, murders, and fires for long enough, he finds himself manipulating the stories to boost his
career. Rated R. 117 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) RHYMES FOR YOUNG GHOULS The experience of Native people in Canada — particularly the injustices they faced in the residential school system — is examined in this drama, set in 1976 at a Mi’kmaq reservation. The story centers on Aila (Kawennahere Devery Jacobs), a teenage girl who loses her parents to prison and suicide and must deal drugs to take care of herself and her uncle. Rated R. 88 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) SAW Where has the time gone? It’s been 10 years since the original Saw film first made audiences queasy, and to commemorate the anniversary, here is a Halloween-ready limited-engagement re-release. Remember when that guy had to crawl through the razor-wire maze until his guts spilled out everywhere? We were all so young then. Rated R. 103 minutes. Regal Stadium 14, 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, they learn 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; DreamCatcher, Española. (Not reviewed) ANNABELLE The creepy doll from 2013’s The Conjuring has its own spinoff movie. Annabelle Wallis and Ward Horton play a young couple who think it’s a good idea to buy their unborn child a scary-looking vintage doll in a wedding dress. Rated R. 98 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) THE BEST OF ME In the latest adaptation of a Nicholas Sparks weepie-romance novel, young Dawson (Luke Bracey) meets Amanda (Liana
Liberato), and they fall into deep, profound love. Alas, Amanda’s daddy doesn’t like the cut of Dawson’s jib or the model of his pickup truck, so the lovers are torn apart. Fast-forward 20 years, and the couple (now played by James Marsden and Michelle Monaghan) reunite. Rated PG-13. 117 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE BOOK OF LIFE The Day of the Dead gets its own mainstream movie, produced by Guillermo del Toro and directed by Jorge Gutierrez. The story centers on a reluctant bullfighter named Manolo (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 highly 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 get in the way of the filmmakers’ best intentions. Rated PG. 95 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) BOYHOOD Richard Linklater’s extraordinary achievement has been to take a six-year-old named Ellar and Coltrane film him for a few days every year for dozen a years. We watch as the boy grows up and makes his way through childhood’s adventures and discoveries, arriving on the brink of young adulthood as the movie ends. It’s not just that 12 real years pass and Linklater holds the whole thing together. It’s the way it happens, the way he tells the story. Rated R. 166 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) THE BOXTROLLS In this feature by some of the creators of ParaNorman and Coraline, Isaac Hempstead-Wright voices plucky a orphan who was raised by trash-collecting trolls. When his adopted family comes under threat from an exterminator (voiced by Ben Kingsley), he has to fight back. The heroes aren’t developed enough for audiences to feel fully invested in the story, but the tone is delightfully macabre, and the world — with its twisting back alleys and toothy scoundrels — reflects the considerable effort that went into building it. Rated PG. 96 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) DEAR WHITE PEOPLE Justin Simien wrote and directed this campus-set comedy about race relations in the Obama era. Geeky outsider Lionel (Tyler James Williams), political activist Sam (Tessa Thompson),
appearance-fixated black-Barbie-wannabe Coco (Teyonah Parris), and athletic go-getter Troy (Brandon P. Bell) are the four characters through whom Simien filters different aspects of the modern black experience. Rated R. 100 minutes. Regal DeVargas, Santa Fe. (Not reviewed) DRACULA UNTOLD Long before he “vanted to suck your blood,” Count Dracula was a man named Vlad the Impaler (Luke Evans) who made a Faustian bargain to gain a bunch of CGI-infused powers to fend off enemies and protect his people. What’s the downside? That’s where the blood-sucking comes in. Rated PG-13. 92 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE EQUALIZER Director Antoine Fuqua reteams with Denzel Washington for a thriller about a retired special-operations agent who dusts off his guns when he meets a young woman (Chloë Grace Moretz) who’s under the control of Russian gangsters. Rated R. 131 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) 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, 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 suddenly thrust into combat. There’s some fine acting from the core group, filled out by Shia LaBeouf, Jon Bernthal, and Michael Peña, who mostly rise above the typical war-movie roles they’re given. Rated R. 134 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) 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. The story — Amy Dunne (Rosamund Pike) mysteriously disappears, leaving her husband, Nick (Ben Affleck), as a possible murder suspect — unfolds forward and in flashback and is told from the viewpoint of two unreliable, unlikeable narrators. It’s strategically assembled and briskly paced and weaves in commentary on our gossip-fueled news cycle. Pike brings an icy perfection to Amy, while Affleck makes Nick simultaneously amiable and untrustworthy. Rated R. 149 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Laurel Gladden) continued on Page 44
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THE GREEN PRINCE In 1997, Mosab Hassan Yousef — a Palestinian man and son of a Hamas leader — began spying on Hamas and sending the intelligence back to Israel, reportedly thwarting several suicide bombings. That’s the kind of plot that would make an unbelievable thriller, but this is a documentary, with Yousef and Israeli officials telling their stories. Rated PG-13. 95 minutes. In English and Hebrew with subtitles. Center for Contemporary Arts, Santa Fe. (Not reviewed) 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. There’s fine work from John Leguizamo, Ian McShane, and Willem Dafoe, with one minor casting misstep in a not-interesting-enough Adrianne Palicki as a hitlady. Reeves is at his best — taciturn, athletic, and cool. Rated R. 101 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) 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 Stadium 14, Santa Fe. (Not reviewed) KILL THE MESSENGER In the 1990s, journalist Gary Webb uncovered the CIA’s role in bringing massive amounts of cocaine from Nicaragua to the U.S. in the 1980s to distribute in poor neighborhoods and help fund the Nicaraguan Contra army. Naturally, certain people did not want him going public with this information. Jeremy Renner plays Webb in this
spicy bland
medium
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Read movie reviews online at www.santafenewmexican.com/pasatiempo
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PASATIEMPO I October 31- November 6, 2014
movie about those years. Rated R. 112 minutes. Regal DeVargas, Santa Fe. (Not reviewed) THE MAZE RUNNER In the latest film adaptation of a popular young-adult-novel series, Thomas (Dylan O’Brien) wakes up in a giant maze with some other boys, none of whom remember their previous lives. One day, a girl (Kaya Scodelario) appears. Thomas can read her thoughts, and there’s one they share: “Let’s get the heck out of here!” Rated PG-13. 113 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) MY OLD LADY Veteran playwright Israel Horovitz makes his feature-length-film directorial debut with this comedy about a man (Kevin Kline) who inherits an apartment in Paris and intends to sell it, but he can’t until the current tenant dies. That tenant is played by the immortal Maggie Smith, so he has a long wait. He’ll just have to pass the time falling in love with a character played by Kristin Scott Thomas. Rated PG-13. 107 minutes. Regal DeVargas, Santa Fe. (Not reviewed) 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. This ain’t no Parker Brothers. Rated PG-13. 89 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) PRIDE Based on real events, this pointed comedy is set in 1984, when British coal miners were on strike. A group of gay and lesbian activists in London, spearheaded by a young man named Mark Ashton (Ben Schnetzer), decides that downtrodden and persecuted peoples need to rally for one another’s causes, and they travel to Wales to support a small mining community that is not at all sure it wants their help. Smart writing and the steady hand of director Matthew Warchus keep the film from becoming cloying, and a cast of unknowns mixes flawlessly with British greats Imelda Staunton, Paddy Considine, Andrew Scott, and Bill Nighy. Rated R. 120 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) SAGRADA: THE MYSTERY OF CREATION The church of La Sagrada Família in Barcelona is actually a construction site. Begun in 1882 by architect Antoni Gaudí, it remains a half-completed exercise in artistic astonishment. Stefan Haupt’s documentary serves as an intriguing biography of the building, its story made personal through interviews with spiritually invested architects and artisans. Not rated. 89 minutes. In French, Spanish, and Catalan with subtitles. Center for Contemporary Arts, Santa Fe. ( James M. Keller)
ST. VINCENT Bill Murray plays Vincent, a surly, dirty, alcoholic old-timer who is tasked with taking care of the child ( Jaeden Lieberher) of the single mother (Melissa McCarthy) who lives next door. Vincent 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 hard-working woman at the end of her rope. Rated PG-13. 102 minutes. Regal DeVargas, Santa Fe; DreamCatcher, Española. (Robert Ker) 20,000 DAYS ON EARTH Iain Forsyth and Jane Pollard’s fictionalized account of 24 hours in the life of Australian rocker and Bad Seeds frontman Nick Cave is an inspiring mix of music and musings on the creative process. Cave’s poetic narration of his 20,000th day on Earth is at turns tender, funny, and moving, particularly when scenes begin to take on a seemingly candid life of their own. Interspersed through the narrative are clips of musical performances that hold audiences spellbound. Not rated. 97 minutes. Jean Cocteau Cinema, Santa Fe. (Michael Abatemarco) 23 BLAST Another week, another sorta-based-ontrue-events movie about high-school football. This one is different from the rest: it focuses on a boy (Mark Hapka) who loses his eyesight but doesn’t lose his faith in Jesus and thus continues to play varsity. Actor Dylan Baker makes his directorial debut and also co-stars. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. (Not reviewed)
other screenings Center for Contemporary Arts, 505-982-1338 The Ghibli Celebration film series presents Howl’s Moving Castle (2004). Jean Cocteau Cinema, 505-466-5528 Ghostbusters (1984), Hold That Ghost (1941), Phantom of the Paradise (1974), The Rocky Horror Picture Show (1975). Regal Stadium 14, 505-988-2775 Big Hero 6 screens in 3-D and 2-D. The Screen, 505-473-6494 Elsa & Fred screens as part of the New York Film Critic Series; a simulcast Q & A with star Shirley MacLaine follows. ◀
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 Boyhood (R) Fri. to Mon. 5 p.m. Wed. and Thurs. 5 p.m. The Green Prince (PG-13) Fri. to Sun. 12:30 p.m. Horns (R) Fri. to Sun. 2:30 p.m., 8 p.m. Mon. 8 p.m. Wed. and Thurs. 8 p.m. Howl’s Moving Castle (PG) Sat. and Sun. 11 a.m. Mon. 5:30 p.m. Listen Up Philip (NR) Fri. to Sun. 1:30 p.m., 8:30 p.m. Mon. 8:30 p.m. Wed. and Thurs. 8:30 p.m. Sagrada:The Mystery of Creation (NR) Fri. to Sun. 4 p.m., 6 p.m. Mon. 3:30 p.m. Wed. and Thurs. 4 p.m., 6 p.m. JEAN COCTEAU CINEMA
418 Montezuma Avenue, 505-466-5528, www.jeancocteaucinema.com 20,000 Days on Earth (NR) Tue. 5:50 p.m. Ghostbusters (PG) Sun. 1 p.m. Hold That Ghost (NR) Sat. and Sun. 11 a.m. Interstellar (PG-13) Tue. 8 p.m., 11:30 p.m. Wed. and Thurs. 11 a.m., 2:30 p.m., 6 p.m., 9:20 p.m. Phantom of the Paradise (NR) Fri. and Sat. 4 p.m. Sun. 8 p.m. Tue. 4 p.m. Rhymes for Young Ghouls (R) Fri. 8:40 p.m. Sat. 6 p.m. Sun. 6:10 p.m. The Rocky Horror Picture Show (R) Fri. and Sat. 11 p.m. REGAL DEVARGAS
562 N. Guadalupe St., 505-988-2775, www.fandango.com 23 Blast (PG-13) Fri. to Thurs. 1:20 p.m. Before I Go to Sleep (R) Fri. and Sat. 1:15 p.m., 4:15 p.m., 7:15 p.m., 9:40 p.m. Sun. to Thurs. 1:15 p.m., 4:15 p.m., 7:15 p.m. Dear White People (R) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:45 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. Kill the Messenger (R) Fri. and Sat. 4:20 p.m., 7:20 p.m., 10 p.m. Sun. to Thurs. 4:20 p.m., 7:20 p.m. My Old Lady (PG-13) Fri. and Sat. 1:35 p.m., 4:35 p.m., 7:35 p.m., 10:05 p.m. Sun. to Thurs. 1:35 p.m., 4:35 p.m., 7:35 p.m. Pride (R) Fri. and Sat. 1:05 p.m., 3:50 p.m., 6:50 p.m., 9:35 p.m. Sun. to Thurs. 1:05 p.m., 3:50 p.m., 6:50 p.m. St.Vincent (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 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 Wed. 12:35 p.m., 3 p.m.,
5:10 p.m., 7:45 p.m., 10 p.m. Annabelle (R) Fri. to Wed. 12:40 p.m., 3:10 p.m., 5:35 p.m., 8 p.m., 10:25 p.m. The Best of Me (PG-13) Fri. to Wed. 1:15 p.m., 4:15 p.m., 7:20 p.m., 10:10 p.m. Big Hero 6 (PG) Thurs. 7:30 p.m., 10:10 p.m. Big Hero 6 3D (PG) Thurs. 7 p.m., 9 p.m. The Book of Life 3D (PG) Fri. to Wed. 12 p.m., 10 p.m. The Book of Life (PG) Fri. to Wed. 2:30 p.m., 5 p.m., 7:30 p.m. The Boxtrolls (PG) Fri. to Wed. 12:10 p.m., 2:35 p.m., 5:05 p.m. Dracula Untold (PG-13) Fri. to Wed. 12:45 p.m., 3:15 p.m., 5:35 p.m., 8:05 p.m., 10:25 p.m. The Equalizer (R) Fri. to Wed. 1 p.m., 4:10 p.m., 7:15 p.m., 10:20 p.m.
Fury (R) Fri. to Wed. 12:50 p.m., 4:05 p.m., 7:10 p.m., 10:15 p.m. Gone Girl (R) Fri. to Wed. 12:20 p.m., 3:50 p.m., 7:05 p.m., 10:20 p.m. Interstellar (PG-13) Thurs. 8 p.m., 9 p.m., 10 p.m. John Wick (R) Fri. to Wed. 12 p.m., 2:25 p.m.,
4:55 p.m., 7:25 p.m., 10 p.m. The Judge (R) Fri. to Wed. 12:30 p.m., 3:45 p.m., 7:05 p.m., 10:15 p.m. The Maze Runner (PG-13) Fri. to Wed. 7:25 p.m., 10:10 p.m. Nightcrawler (R) Fri. to Wed. 1 p.m., 4 p.m., 7 p.m., 9:50 p.m. Ouija (PG-13) Fri. to Wed. 12:15 p.m., 2:35 p.m., 5 p.m., 7:35 p.m., 10:05 p.m. Saw (R) Fri. to Wed. 1:30 p.m., 4:15 p.m., 7:15 p.m., 10:10 p.m. 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) Fri. and Sat. 2:30 p.m., 6:15 p.m. Sun. 1:15 p.m., 5 p.m. Mon. 2:30 p.m., 6:15 p.m. Tue. 3:20 p.m. Wed. and Thurs. 2:30 p.m., 6:15 p.m. The Blue Room (NR) Fri. and Sat. 12:45 p.m., 4:30 p.m., 8:10 p.m. Sun. 11:30 a.m., 3:15 p.m. Mon. 12:45 p.m., 4:30 p.m., 8:10 p.m. Tue. 1:30 p.m., 5:15 p.m. Wed. and Thurs. 12:45 p.m., 4:30 p.m., 8:10 p.m. Elsa & Fred (PG-13) Tue. 7 p.m. Manuscripts Don’t Burn (NR) Sat. 10:20 a.m. Sun. 7 p.m. MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com
Alexander and the Terrible, Horrible, No Good,Very Bad Day (PG) Fri. 4:35 p.m., 7:05 p.m. Sat. and Sun.
2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. Before I Go to Sleep (R) Fri. 4:50 p.m., 7:25 p.m., 9:50 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:25 p.m., 9:50 p.m. Sun. 2:25 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. The Best of Me (PG-13) Fri. 4:25 p.m., 6:55 p.m., 9:30 p.m. Sat. 1:55 p.m., 4:25 p.m., 6:55 p.m., 9:30 p.m. Sun. 1:55 p.m., 4:25 p.m., 6:55 p.m. Mon. to Thurs. 4:25 p.m., 6:55 p.m. The Book of Life (PG) Fri. 4:30 p.m., 7 p.m., 9:35 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:35 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Dracula Untold (PG-13) Fri. and Sat. 9:40 p.m. Fury (R) Fri. 4:45 p.m., 7:40 p.m. Sat. and Sun. 1:45 p.m., 4:45 p.m., 7:40 p.m. Mon. to Thurs. 4:20 p.m., 7:15 p.m. Gone Girl (R) Fri. 4:40 p.m., 7:45 p.m. Sat. and Sun. 1:40 p.m., 4:40 p.m., 7:45 p.m. Mon. to Thurs. 4:15 p.m., 7:15 p.m. John Wick (R) Fri. 4:55 p.m., 7:35 p.m., 9:55 p.m. Sat. 2:30 p.m., 4:55 p.m., 7:35 p.m., 9:55 p.m. Sun. 2:30 p.m., 4:55 p.m., 7:35 p.m. Mon. to Thurs. 4:55 p.m., 7:35 p.m. Nightcrawler (R) Fri. 4:40 p.m., 7:10 p.m., 9:45 p.m. Sat. 1:50 p.m., 4:40 p.m., 7:10 p.m., 9:45 p.m. Sun. 1:50 p.m., 4:40 p.m., 7:10 p.m. Mon. to Thurs. 4:40 p.m., 7:10 p.m. Ouija (PG-13) Fri. 5 p.m., 7:30 p.m., 10 p.m. Sat. 2:20 p.m., 5 p.m., 7:30 p.m., 10 p.m. Sun. 2:20 p.m., 5 p.m., 7:30 p.m. Mon. to Thurs. 5 p.m., 7:30 p.m. St.Vincent (PG-13) Fri. 4:45 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m.
john wick 2:30** 4:55 7:35 fury 1:45** 4:20 7:15 gone girl 1:40** 4:15 7:15 best of me 1:55** 4:25 6:55 book of life 2d 2:00** 4:30 7:00 st. vincent 2:15** 4:45 7:20 before i go to sleep 2:25** 4:50 7:25 alexander & the terrible, 2:05** 4:35 7:05 horrible, no good, very bad day dracula untold ouija 2:20** 5:00 7:30 nightcrawler 1:50** 4:40 7:10 **saturday & sunday only *friday & saturday only times for friday, october 31 - thursday, november 6
9:55* 4:45/7:40* 4:40/7:45* 9:30* 9:35* 9:50* 9:50* 9:40* 10:00* 9:45*
BOOK SIGNING & TALK at THE ARK Pia orlean smith & cullen baird smith authors of
“Conversations With Laarkma” and
“Remembering Who We Are” Saturday, Nov. 8th 6:00-8:00pm 133 RomeRo StReet, Santa Fe nm In the RaIlyaRd behInd ReI monday-SatuRday 10-6 & Sunday 11-5 • 505-988-3709 • www.arkbooks.com
“WILDLY
1
ENTERTAINING.
HHHH THE YEAR’S
BEST.
2
3
GYLLENHAAL IS SCARILY
BRILLIANT.” 4
1 3
Mara Reinstein, US WEEKLY 2 THE GUARDIAN Jeff Sneider, THE WRAP 4 Peter Travers, ROLLING STONE
STARTS TODAY PASATIEMPOMAGAZINE.COM
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RESTAURANT REVIEW Alex Heard I For the New Mexican
Give me your hungry masses
Counter Culture Café 930 Baca St., 505-995-1105 Breakfast & lunch Sundays & Mondays 8:00 a.m.-3 p.m.; breakfast, lunch & dinner Tuesdays-Saturdays 8:00 a.m.-9 p.m. Vegetarian options Handicapped accessible Patio dining in season Noise level: moderate Beer & wine Cash & local checks only, no credit cards
]
The Short Order Counter Culture Café is a good place to take your kids or a group of friends if you’re fueling up for an active day. Six big wall-mounted menus offer roughly 50 breakfast, lunch, and dinner dishes, any of which can be ordered at any time. The food here is hearty, portions are big, and much of it is first-rate. Some things fall short, which may just be a fact of life for a restaurant serving this much volume. The kitchen offers daily specials that are usually a good way to go. Recommended: chicken enchiladas, pumpkin soup, and cinnamon rolls.
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
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Parents I know say that Counter Culture Café is a great option for them, and you can see why when you walk through the door: this place can handle a little rowdiness. The restaurant’s airy, light-industrial design has the feel of a big classroom, with bright paintings, sturdy tables, and durable metal chairs. There’s even a toy cabinet, featuring neatly arranged dinosaurs and zoo animals that a kid can grab and carry off in a bucket. On mild-weather days, you can eat outside on a shady patio. Counter Culture’s walls are covered with six big chalk-pen menus that offer roughly 50 different options for breakfast, lunch, and dinner — everything from gravlax and a threeegg omelet to sandwiches, lasagna, and carne asada. There are also plenty of daily specials, hot and cold drinks, and bakery items in a counter cabinet next to where you place orders. Portions are big here, and the overall quality of the food is high. But it’s also inconsistent, which in my experience is common for funky old Berkeley-style restaurants like this, where a large amount food gets cooked and plated every day. During a recent dinner visit, I ordered one of the specials: chicken enchiladas with spinach, cheese, black beans, and green and red chile. It was nothing fancy, but it was one of the best things I’ve eaten in a while. The tortillas were stacked, not rolled, and all the ingredients were good, especially the chicken. Enchilada fillings in Santa Fe are sometimes an unappealing hash, but these contained generous chunks of white meat that had been roasted nicely before being diced and slathered with the red chile. My two companions both ordered a pumpkin soup that they raved about, and for good reason: it was rich and creamy, and you could taste the autumn apple that had been puréed into it. Their other two orders, a fall salad and a plate of spring rolls, fell flat, though. The ingredients in the salad sounded great when we read them off the wall — mixed greens, roasted beets, blue cheese, Chimayó-chile-coated walnuts, and balsamic vinaigrette — but the proportions were off: too much lettuce, not enough beets and cheese. The spring rolls had a similar problem. They consisted of rice-paper wrappers that contained scrambled egg, seitan (rubbery gluten chunks, also known as “vegetarian wheat meat”), and rice vermicelli. The dominant element was the vermicelli, so the rolls were dry and nearly flavorless. A Thai dipping sauce on the side helped juice things up, but chewing through the rolls was still a bit of a chore. On another visit, for breakfast, I ordered a latte and my dining companion had a Vietnamese coffee. The latte was good, but the curious thing was that the Vietnamese coffee looked and tasted exactly the same. The main ingredients in this drink are strong coffee from Vietnam and sweetened condensed milk — so it should be both richer and sweeter than a typical latte. My friend ordered lemon-ricotta pan-
PASATIEMPO I October 31- November 6, 2014
cakes and was underwhelmed — she couldn’t detect any ricotta, and the pancakes soaked up all the maple syrup, which made them too soggy and heavy. I had a breakfast quesadilla and liked it just fine. Between two toasted flour tortillas was a tasty mix of scrambled egg, cheese, and bacon, and it came with a bowl of fresh pico de gallo. But the hash browns on the side were mediocre — dry chunks of potato dusted with too much paprika. I went back solo for a third visit to try the signature item in the bakery cabinet: the cinnamon roll. These rolls are large — mine was 8 inches long and 5 inches wide — and I assumed it was going to be bready. Wrong. It was good, although a bit overbaked. Ask them to heat yours up to make the cinnamon, butter, and icing gooey again. During that last visit, I noticed that the daily lunch and dinner specials get posted early, which made me wonder if the same information is available online. It isn’t. Counter Culture doesn’t have a website, and its Facebook page has been moribund for a long time. It would be helpful if the owner made the list of specials accessible remotely. I know I’d go back the next time those enchiladas turn up. ◀
Dinner for three at Counter Culture Café: Fall salad ......................................................... $ 9.00 Spring rolls ...................................................... $ 8.50 Pumpkin soup ................................................. $ 4.00 Chicken enchiladas ......................................... $ 10.75 Santa Fe Nut Brown Ale .................................. $ 4.00 Santa Fe Pale Ale ............................................. $ 4.00 TOTAL ............................................................. $ 40.25 (before tax and tip) Breakfast for two, another visit: Latte ................................................................. $ 3.50 Vietnamese coffee ............................................ $ 3.50 Breakfast quesadilla ......................................... $ 10.25 Ricotta-lemon pancakes .................................. $ 9.00 TOTAL ............................................................. $ 26.25 (before tax and tip) Breakfast for one, another visit: Cinnamon roll ................................................. $ 4.75 Coffee .............................................................. $ 2.50 TOTAL ............................................................. $ 7.25 (before tax and tip)
Dia de los Muertos Fiesta at Traveler’s Market Sunday, Nov 2, 4-6pm sugar skull
decorating
is on Sat, Nov 1 2-4pm
Call & Reserve
T r av e l e r ’s M a r k e t
4 5 De a l e r s o f T r i ba l & F o l k A r t, A n t iqu e s , B o oks & J e w e l ry
at t h e D e Va r g a s C e n t e r 1 5 3 B Pa s e o d e P e r a l ta , S a n ta F e , N M 87501 505-989-7667 Hours: T u e - S at 1 1 - 6 p m s u n 1 2 p m - 5 p m w w w. t r av e l e r sm a r k e t. n e t
Is your car loan rate higher than 1.75% APR? If it is, you’re paying too much! Save money and lower your monthly payments by refinancing your vehicle today with Sandia Area. We’re here in Santa Fe now and we are actively helping people in the community lower their vehicle loan payments. Let us help YOU TOO! Act today and we’ll give you three ways to save BIG:
1. You’ll save with better rates.1 2. You’ll make no payments for 90 days.2 3. You’ll also receive a $50 gas card3 when your loan closes.
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It’s your loan. MOVE IT and save BIG. Go to sandia.org
Call 292-6343x5 800-228-4031x5 Santa Fe branch is located at 4001 Office Court Dr., Suite 708.
This credit union is federally insured by the National Credit Union Administration and is an Equal Opportunity Lender. Offer good for residents of the Santa Fe area. Annual Percentage Rate (APR) of 1.75% for up to 60 month terms, 2.25% for 61-75 month terms, and 2.50% for 76-84 month terms effective 10/29/14 and is available on approved credit for vehicles refinanced from another financial institution 2010 and newer. Rates subject to change without notice. 61-75 month term for loans greater than $14,000, 76-84 month term for loans greater than $20,000. You must respond by November 30, 2014. Actual APR may vary based on qualification, age of the vehicle and terms of the loan. Vehicle Loan example: monthly payment of $368 on a $20,000 loan for 60 months at 1.75% APR with 90 days deferred. 2Interest accrues during deferral period. 3$50 gas card will be available at closing for loans of $5,000 or more. You are eligible for membership if you care for the earth, people and believe we should invest in them (the Permaculture ethics – see more at sandia. org); or if you (or your immediate family) live, work, worship, volunteer, or go to school in Bernalillo, Cibola, Torrance, or Valencia Counties or in Rio Rancho. Santa Fe branch is a cashless micro branch to open accounts, apply and close loans, and provide member account support services. 1
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C A L E N D A R
L I S T I N G
G U I D E L I N E S
• To list an event in Pasa Week, send an email or press release to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. • Send material no less than two weeks prior to the desired publication date. • For each event, provide the following information: time, day, date, venue, venue address, ticket prices, web address, phone number, brief description of event (15 to 20 words). • All submissions are welcome. However, events are included in Pasa Week as space allows. There is no charge for listings. • To add your event to The New Mexican online calendar, visit santafenewmexican. com and click on the Calendar tab. • Return of photos and other materials cannot be guaranteed. • Pasatiempo reserves the right to publish received information and photographs on The New Mexican website. • For further information contact Pamela Beach, pambeach@sfnewmexican.com, 202 E. Marcy St., Santa Fe, NM 87501, phone: 505-986-3019, fax: 505-820-0803.
ARTS AND ENTERTAINMENT CALENDAR
October 31- November 6, 2014
CALENDAR COMPILED BY PAMELA BEACH
FRIDAY 10/31
Duel Brewing
Gallery & Museum Openings
String band Shagbark Hickory, 7 p.m.-close, no cover.
American Indian Photography and Encaustic Studio
El Farol
Monster’s Ball, costume contest and music by Girls Night Out, 8:30 p.m.-close, call for cover.
1036 Canyon Rd., 505-819-1103 Ghost Dance: Spirits & Angels, work by Angel Wynn, reception and discussion 4-6 p.m.
Hilltop Bar at The Lodge at Santa Fe Pachanga Club Fridays, Latin-dance night with DJ Aztech Sol, 9:30 p.m., call for cover.
Back Pew Gallery
First Presbyterian Church, 208 Grant Ave. Spirits of the Season, group show, reception 6-7:30 p.m., through Dec. 7.
La Fiesta Lounge at La Fonda
Jimmy Stadler Band, rock, 8-11 p.m., no cover.
La Posada de Santa Fe Resort and Spa
Evoke Contemporary
Nacha Mendez Quartet, 6:30-9:30 p.m., no cover.
550 S. Guadalupe St., 505-995-9902 The Earth’s Sharp Edge, Part 4, paintings by Francis Gregory Di Fronzo, reception 5-7 p.m., through Nov. 27.
Mine Shaft Tavern
Bluegrass duo Paw & Erik, on the deck, 5 p.m., no cover; Dracula’s Ball, with Santa Fe Revue, 8 p.m., call for cover.
Phil Space
1410 Second St., 505-983-7945 Incorporate, sculpture and paintings by Erika Wanenmacher, reception 5 p.m., through Nov. 29.
Palace Restaurant and Saloon
Santa Fe Arts Commission Community Gallery
Pranzo Italian Grill
Guitarist/singer Alex Maryol, 4:30-7:30 p.m., no cover; Boomroots Collective, reggae/hip-hop, and DJ Saewhat?, 10 p.m., call for cover. Phantom of the Opera night, with pianist David Geist, 6-9 p.m., call for cover.
Santa Fe Community Convention Center, 201 W. Marcy St., 505-955-6705 End of Days, group show, including works by Pilar Agoyo, Frank Buffalo Hyde, Joel Nakamura, and Bunny Tobias, reception 5-7 p.m., through January.
Second Street Brewery
Halloween party, with Americana band Boris & The Salt Licks, 6-9 p.m., no cover.
Second Street Brewery at the Railyard
Halloween party, with Southern-gothic Ameritronica band Catahoula Curse, 7-10 p.m., no cover.
Classical Music TGIF recital
First Presbyterian Church, 208 Grant Ave. Soprano Cecilia Leitner and pianist Sergio Rodriguez perform works by Fauré, Poulenc, Debussy, and Hahn, 5:30-6 p.m., donations welcome, 505-982-8544, Ext. 16.
Theater/Dance The Children’s Hour
Warehouse 21 New Mexico School for the Arts Theater Department presents Lillian Hellman’s 1934 drama, 7 p.m., $10, discounts available, 505-989-4423, concludes Saturday.
Death and the Maiden
Teatro Paraguas Studio, 3205 Calle Marie Teatro Paraguas presents the 1991 play by Ariel Dorfman, 7:30 p.m., $20, discounts available, 505-424-1601, Fridays-Sundays (except Nov. 2) through Nov. 16.
Misty Lee
John Cocteau Cinema The magician/medium presents a Halloweenthemed show, 6:20 p.m., $20, discounts available, jeancocteaucinema.com, continues Saturday.
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Shadeh Path, Lightning (Galisteo Cemetery), Galisteo, New Mexico, photograph by Ray Belcher, 1983; New Mexico History Museum/Palace of the Governors, negative no. HP.2014.5.1
Quilters: gala opening
Santa Fe Playhouse, 142 E. DeVargas St. Santa Fe Playhouse presents the 1982 musical by Molly Newman and Barbara Damashek, gala 6:30 p.m., curtain 7:30 p.m., $20 in advance at brownpapertickets.com, Thursdays-Sundays through Nov. 16.
Rocky Horror New Mexico
Jean Cocteau Cinema An Albuquerque-based cast performs in conjunction with a screening of the 1975 cult film, 11 p.m. today and Saturday, $6 and $7 in advance, discounts available, jeancocteaucinema.com.
Books/Talks An Informal Visit with Scott Momaday
Great Hall, Peterson Student Center St. John’s College, 1160 Camino Cruz Blanca
PASATIEMPO I October 31-November 6, 2014
Lecture by the Pulitzer Prize-winning author, 3:15 p.m., no charge.
Nightlife
(See Page 49 for addresses)
Blue Rooster
Gotham City Halloween; costume contest, with DJ Oona, 8 p.m.-close, call for cover.
Café Café
Trio Los Primos, 6 p.m., no cover.
¡Chispa! at El Mesón
Three Faces of Jazz, featuring guest saxophonist Dan Borton, 7:30-10:30 p.m., no cover.
Cowgirl BBQ
Brent Berry, Americana/bluegrass, 5 p.m.; rock-cover/dance band Chango, 8:30 p.m.-close, call for cover.
Clear Channel Radio Rock ‘n’ Roll Night, 9 p.m.-4 a.m., no cover.
Skylight
The Alchemy Party, with DJs Dynamite Sol and Poetics, 9 p.m., call for cover.
Swiss Bakery Pastries and Bistro
Irish multi-instrumentalist Gerry Carthy, on the patio, 7-10 p.m.
Vanessie
Acoustic trio American Jem, 7 p.m.-close, plus costume contest with prizes, call for cover.
SATURDAY 11/1 Gallery & Museum Openings La Fontana
Plaza Mercado, 112 W. San Francisco St. Day of the Dead, paintings on tin by Stacey Sullivan de Maldonado and John Maldonado, reception and celebration 2-8 p.m., for more information visit losmuertosart.com.
710 Camino Lejo, Museum Hill, 505-476-1250 Courage and Compassion: Native Women Sculpting Women, group show, through Oct. 15, 2015.
Opera in HD The Metropolitan Opera: Live in HD
The Lensic Bizet’s Carmen, 11 a.m. and 6 p.m., $22-$28, 505-988-1234, ticketssantafe.org.
Classical Music Ron Grinage
St. John’s United Methodist Church, 1200 Old Pecos Trail The pianist performs works by Rachmaninoff, Tchaikovsky, Shostakovich, and Prokofiev, 4 p.m., admission by donation, benefiting the Santa Fe Community Orchestra, sfco.org, 505-466-4879.
In Concert High Mayhem Fall Series
High Mayhem Emerging Arts, 2811 Siler Lane Performances by iNK oN pAPER, Rhonda Taylor, Bad Luck, Mykel Boyd, and Mouth Breather, 7:30 p.m., $10 suggested donation, highmayhem.org.
Rumelia Day of the Dead Concert
San Miguel Chapel, 401 Old Santa Fe Trail Balkan, Middle Eastern, and Sephardic folk music, 8 p.m., suggested admission fee $15-$20 , rumelia.music@gmail.com, 505-795-9145.
Theater/Dance
The Children’s Hour
Warehouse 21 New Mexico School for the Arts Theater Department presents Lillian Hellman’s 1934 drama, 7 p.m., $10, discounts available, 505-989-4423.
Death and the Maiden
Teotro Paraguas, 3205 Calle Marie Teatro Paraguas presents the 1991 play by Ariel Dorfman, 7:30 p.m., $20, discounts available, 505-424-1601, Fridays-Sundays (except Nov. 2) through Nov. 16.
Misty Lee
John Cocteau Cinema The magician/medium presents a Halloweenthemed show, 2 and 8:30 p.m., $20, discounts available, jeancocteaucinema.com.
Quilters
Santa Fe Playhouse, 142 E. DeVargas St. Santa Fe Playhouse presents the 1982 musical by Molly Newman and Barbara Damashek, 7:30 p.m., $20, discounts available, brownpapertickets.com, Thursdays-Sundays through Nov. 16.
Rocky Horror New Mexico
Jean Cocteau Cinema An Albuquerque-based cast performs in conjunction with a screening of the 1975 cult film, 11 p.m., $6 and $7 in advance, discounts available, jeancocteaucinema.com.
Books/Talks Deborah Madison
Eileen Fisher, 142 Lincoln Ave., 505-986-0900 The chef and cookbook author signs copies of The New Vegetarian Cooking for Everyone, plus a tasting of small bites prepared with recipes from her book, 2-4 p.m.
Opera breakfast lecture
Collected Works Bookstore, 202 Galisteo St. Desiree Mays discusses Bizet’s Carmen in advance of the HD showing at the Lensic, 9:30 a.m., $5 suggested donation.
Sherri Burr
Op. Cit. Books, Sanbusco Center, 500 Montezuma Ave., 505-428-0321 The author reads from A Short & Happy Guide to Financial Well-Being, 4 p.m.
Events Luminaria Awards Gala
La Fonda, 100 E. San Francisco St. New Mexico Community Foundation presents awards to seven outstanding New Mexicans, 5:30 p.m., $150, for sponsorship, table, and ticket information contact Terry Mulert, tmulert@nmcf.org, 505-820-6860, Ext. 17, www.nmcf.org.
Tiny’s
Showcase karaoke with Nanci and Cyndy, 8:30 p.m.-close, no cover.
Vanessie
Pianist Doug Montgomery, 6 p.m.; call for cover.
SUNDAY 11/2 Gallery & Museum Openings Downtown Subscription
Java Joe’s
2801 Rodeo Rd., 505-474-5282 Drawings by Mindy Littman Holland, reception 1-3 p.m., through November.
Las Chivas Coffee Roasters
Agora Shopping Center, 7 Avenida Vista Grande, Eldorado Moments of the Unexpected, plein-air pastels by Sally Hayden Von Conta, reception 1-3 p.m., through Nov. 29.
376 Garcia St., 505-983-3085 Anima, photographs by Todd Williams, through November.
Vivos Entre Los Muertos
El Museo Cultural de Santa Fe, 555 Camino de la Familia Day of the Dead and 20th anniversary celebration, 8 a.m.-3 p.m., call 505-992-0591 for details.
Outdoors White Rock Small Canyons Hike
Pajarito Environmental Education Center, 3540 Orange St., Los Alamos Looping hike through several small canyons south of White Rock, 9 a.m.-1 p.m., no charge, advance registration required, pajaritoeec.org, 505-662-0460.
Nightlife
(See addresses at right)
Blue Rooster
Día de los Muertos celebration with DJs Aztech Sol and Oona, 8 p.m.-close, call for cover.
¡Chispa! at El Mesón
Flamenco Conpaz troupe, 7-9:30 p.m., call for cover.
Cowgirl BBQ
Django Mex, Gypsy swing/zydeco, 2 p.m.; Bone Orchard, Americana/noir, 8:30 p.m.-close; no cover.
Evangelo’s
Saturday night with DJ Dynamite Sol, 9 p.m.-close, call for cover.
La Fiesta Lounge at La Fonda
Jimmy Stadler Band, rock, 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
Irish multi-instrumentalist Gerry Carthy, 7:30 p.m.-close, no cover.
Mine Shaft Tavern
Blues duo Jim & Tim, on the deck, 2 p.m., no cover; Dracula’s Ball, with Anthony Leon & The Chain, 8 p.m., call for cover.
Pranzo Italian Grill
Pianist David Geist and vocalist Julie Trujillo, 6-9 p.m., call for cover.
Second Street Brewery
Troy Brown Trio, folk/Americana, 6-9 p.m., no cover.
Second Street Brewery at the Railyard
Blues musician Alex Maryol, 7-10 p.m., no cover.
Shadeh
Hip-hop night, 9 p.m.-4 a.m., no cover.
Skylight
Día de los Muertos, costume party, with music by local musicians, 8 p.m., call for cover.
Sweetwater Harvest Kitchen
Check with venues for updates and sp ecial events Agoyo Lounge
at the Inn on the Al Mine Shaft Tavern ameda 303 E. Alameda St. 28 46 NM 14, Madrid, , 505-984-2121 505-473-0743 Anasazi Restauran Mu seum Hill Café t & Bar 113 Washington Av 710 Camino Lejo, Mi e., 505-988-3030 lner Plaza, 505-984-8900 Bishop’s Lodge Ra nch Resort & Spa 1297 Bishops Lodg e Rd., 505-983-6377 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Tra Blue Rooster il, 505-982-1851 101 W. Marcy St., 50 Odd Fellows Hall 5-206-2318 1125 Cerrillos Rd., Burro Alley Café 505-473-0955 207 W. San Francisc Omira Bar & Grill o St., 505-982-0601 1005 St. Francis Dr Café Café ., 505-780-5483 500 Sandoval St., 50 Palace Restaurant 5-466-1391 & Saloon 142 W. Palace Ave., ¡Chispa! at El Mesó 505-428-0690 n 213 Washington Av Pranzo Italian Grill e., 505-983-6756 540 Montezuma Av Cowgirl BBQ e., 505-984-2645 319 S. Guadalupe St. Santa Fe Bar & Gr ill , 505-982-2565 187 Paseo de Peral Duel Brewing ta, DeVargas Cente r, 505-982-3033 1228 Parkway Dr., 505-474-5301 Santa Fe Commun El Cañon at Hilton ity Convention Santa Fe Center 100 Sandoval St., 50 5-988-2811 20 1 W. Marcy St., 505-9 Eldorado Hotel & 55-6705 Spa Santa Fe Sol Stage 309 W. San Francisc & Grill o St., 505-988-4455 37 Fir e Place, solofsantaf El Farol e.com Second Street Brew 808 Canyon Rd., 50 er y 5-983-9912 18 14 Second St., 505-9 El Paseo Bar & Grill 82-3030 Second Street Brew 208 Galisteo St., 50 er y at the Railyard 5-992-2848 1607 Paseo de Peral Evangelo’s ta, 505-989-3278 Shadeh at Buffalo 200 W. San Francisc Thunder o St., 505-982-9014 Reso rt & Casino High Mayhem Em erging Arts Pojoaque Pueblo, U.S 2811 Siler Lane, 50 . 84/285, 5-438-2047 505-455-5555 Hilltop Bar at The Lodge at Santa Fe Sk ylight 750 N. St. Francis Dr ., 505-992-5800 139 W. San Francisc o St., 505-982-0775 Hotel Santa Fe Sw eetwater Harvest 1501 Paseo de Peral Kitchen ta, 505-982-1200 1512-B Pacheco St. , 505-795-7383 Jean Cocteau Cinem a Swiss Bakery Pastr 418 Montezuma Av ies e., 505-466-5528 401 S. Guadalupe St. and Bistro , 505-988-5500 Junction Taberna La Boca 530 S. Guadalupe St. , 505-988-7222 125 Lincoln Ave., 50 5-988-7102 La Boca Tiny’s 72 W. Marcy St., 50 5-982-3433 1005 St. Francis Dr ive, Suite 117, La Casa Sena Cant 505-983-9817 ina 25 E. Palace Ave., 50 5-988-9232 The Underground at Evangelo’s La Fiesta Lounge 200 W. San Francisc at La Fonda o St. 100 E. San Francisc o St., 505-982-5511 Upper Crust Pizza La Posada de Sant a Fe Resort and Sp 329 Old Santa Fe Trail, 505-982-0000 a 330 E. Palace Ave., 505-986-0000 Vanessie Lensic Performing 434 W. San Francisc Arts Center o St., 505-982-9966 211 W. San Francisc o St., 505-988-1234 Veterans of Fo reign Wars Low ‘n’ Slow Lowr 370 Montezuma Av ider Bar e., 505-984-2691 at Hotel Chimayó de Santa Fe Wa rehouse 21 125 Washington Av e., 505-988-4900 1614 Paseo de Peral ta, 505-989-4423 The Matador Zia Dinner 116 W. San Francisc o St. 326 S. Guadalupe St. , 505-988-7008
C L U B S, R O O M S, V E N UES
Museum of Indian Arts & Culture
Saturdays with John Serkin on Hawaiian slack-key guitar, 6 p.m., no cover.
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Theater/Dance Rajasthani Gypsy Caravan
James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Performers include Suva Devi, Ustad Arba Music Group, and Katrina Ji, 7 p.m., $25; five tickets for $100, tickets available at Pomegranate Studios, 535 Cerrillos Rd, 505-986-6164, pomegranatestudio.org.
Books/Talks Adriana Bustos
Armory for the Arts, 1050 Old Pecos Trail SITE Santa Fe presents the artist in a discussion on the Drug Policy Alliance and the Women’s Justice Project, 6 p.m., $10, discounts available, 505-989-1199.
Art2Art
Garrett’s Desert Inn, 311 Old Santa Fe Trail Musician Nacha Mendez, artists Linda Storm and Pablo Perea, and New Mexico Music Commission chair David Schwartz discuss the creative process, 7:30 p.m., donations welcome, 505-476-0522.
Mark Doty, Jeffrey Levine, and Veronica Golos
Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The three poets read from their works, 6 p.m., no charge.
Peters Projects shows installations by Ligia Bouton, 1011 Paseo de Peralta.
Theater/Dance Quilters
142 E. DeVargas St. Santa Fe Playhouse presents the 1982 musical by Molly Newman and Barbara Damashek, 2 p.m., $20, discounts available, brownpapertickets.com, Thursdays-Sundays through Nov. 16.
Books/Talks Election Night Preview
Collected Works Bookstore, 202 Galisteo St., 505-988-4226 With KSFR Radio host Xubi Wilson and political commentator Joe Monahan, presented by Journey Santa Fe, no charge.
Grateful Deeds: 2014 Gratitude Awards
Collected Works Bookstore, 202 Galisteo St. 505-988-4226 New Mexico Literary Arts presents 2014 Gratitude Awards to poet Miriam Sagan and to Collected Works owners Dorothy Massey and Mary Wolf, followed by a reading by Sagan and an interview with Wolf and Joan Logghe, 3-4:30 p.m., no charge.
Gregory Zeigler
Op. Cit. Books, Sanbusco Center, 500 Montezuma Ave., 505-428-0321 The author reads from and signs copies of his new novel, The Straw That Broke, 2 p.m., no charge.
Lydia Millet
Op. Cit. Books, Sanbusco Center, 500 Montezuma Ave., 505-428-0321 The author discusses her books Pills and Starships and Mermaids in Paradise, 3:30 p.m., free tickets available at John Cocteau Cinema (418 Montezuma Ave.) and Op. Cit.
Pie Town Considered
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., 505-476-5068 Screening of the short film Pie Lady of Pie Town, plus an illustrated lecture by photographer Joan Myers, with images from her book Pie Town Woman; pie will be served, 2-3:30 p.m., no charge.
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Events El Día de los Muertos Celebration of Life
Teatro Paraguas Studio, 3205 Calle Marie Poetry, music, dance performances, drumming and dance procession, bonfire, community altar, and dinner, 4-9 p.m., $7 adults, free for kids under 12, 505-424-1601 or 505-603-7997.
New Mexico Performing Arts Society Silent Auction Bishop’s Lodge Ranch Resort & Spa Live entertainment, lunch, and auction, noon-2:30 p.m., $34, holdmyticket.com, 505-886-1251.
Social Dance Classes
Genoveva Chavez Community Center 3221 W. Rodeo Rd. Beginning West Coast swing class, 2-3:15 p.m.; waltz class for all levels, 3:30-4:45 p.m., $35 per class, preregister at 505-955-4008.
Vivos Entre Los Muertos
El Museo Cultural de Santa Fe, 555 Camino de la Familia Day of the Dead and 20th anniversary celebration, 9 a.m.-4 p.m., call 505-992-0591 for details.
Nightlife
(See Page 49 for addresses)
Cowgirl BBQ
Blues/soul/rock singer/keyboardist Zenobia, noon-3 p.m.; folk singer/songwriter Eryn Bent & Troupe Red, 8 p.m.-close; no cover.
El Farol
Nacha Mendez, 7:30 p.m., call for cover.
Evangelo’s
Tone and Company jam band, 8:30 p.m., call for cover.
La Posada de Santa Fe Resort and Spa
Country singer Wiley Jim, 7 p.m., call for cover.
Skylight
The Alchemy Party, with DJs Dynamite Sol and Poetics, 7:30 p.m., call for cover.
Vanessie
Pianist Doug Montgomery, 6:30 p.m., call for cover.
PASATIEMPO I October 31-November 6, 2014
MONDAY 11/3 In Concert Tinariwen
Skylight Tuareg-Berber musicians, 7:30 p.m., $30 and $47 in advance at holdmyticket.com.
Books/Talks Southwest Seminars lecture
Hotel Santa Fe A Forgotten Tragedy of American Arctic Exploration, lecture by historian and author Hampton Sides, 6 p.m., $12 at the door, southwestseminars.org, 505-466-2775.
Events Drawing Caricatures
Georgia O’Keeffe Museum Education Annex 123 Grant Ave. Workshop led by political cartoonist Jonathan Richards, 6-8 p.m., $8.
Nightlife
(See Page 49 for addresses)
¡Chispa! at El Mesón
Argentine Tango Milonga, 7:30 p.m., call for cover.
Cowgirl BBQ
22 Kings, folk/Americana/rock, 8 p.m., no cover.
El Farol
Canyon Road Blues Jam, 8:30 p.m., call for cover.
Nightlife
La Fiesta Lounge at La Fonda
Cowgirl BBQ
Mine Shaft Tavern
(See Page 49 for addresses)
Jazz guitarist Pat Malone, 7:30-11 p.m., no cover.
Cowgirl karaoke, with Michele Leidig, 9 p.m., no cover.
Timbo jam session, 7 p.m.; no cover.
El Farol
Open-song night with Ben Wright, 7 p.m., no cover.
Mondays with Tiho Dimitrov, 8 p.m., call for cover.
La Fiesta Lounge at La Fonda
Second Street Brewery at the Railyard Skylight
Jazz guitarist Pat Malone, 7:30-11 p.m., no cover.
The World Beat Party, rotating DJs and bands, 9 p.m.; call for cover.
Doug Montgomery, 6-8 p.m.; Kathy Morrison, 8 p.m.-close; call for cover.
Tiny’s
TUESDAY 11/4
Vanessie
Vanessie
In Concert A Tribute to Mara Robinson
Open-mic night, 7-10 p.m., no cover. Kathy Morrison, 6:30 p.m.-close; call for cover.
WEDNESDAY 11/5
Lensic Performing Arts Center In Concert New Mexico School for the Arts students perform choral and instrumental music in honor of longtime Kyle Gass Band NMSA supporter Robinson, 6-7 p.m., $15 adults, $10 Skylight students and seniors, 505-988-1234, ticketssantafe.org. Rock ‘n’ roll, 7:30 p.m., $12 in advance Wovenhand at holdmyticket.com. Skylight Theater/Dance Alternative-country band Pontiak opens, Dance workshops 8 p.m., $10 in advance at skylightsantafe.com and holdmyticket.com, $15 at the door. Pomegranate Studios, 535 Cerrillos Rd. Bollywood dance with Katrina Ji, 6-7:30 p.m.; Kalbelia Gypsy and Ghoomar dances with
La Posada de Santa Fe Resort and Spa
Country singer Wiley Jim, 7 p.m., call for cover.
Skylight
Reggae/World Beat Party, midnight, call for cover.
Tiny’s
Electric jam session, 8:30-11:30 p.m., no cover.
Vanessie
Kathy Morrison, 6:30 p.m.-close, call for cover.
THURSDAY 11/6 In Concert Alejandro Escovedo and Peter Buck
Skylight Veteran rockers, 7:30 p.m., $25, holdmyticket.com.
Theater/Dance Ceramic vessel by Betsy Williams
DIXON STUDIO TOUR
The 33rd annual tour runs 9 a.m.-5 p.m. Saturday and Sunday, Nov. 1 and 2. Dixon is on NM 75, two miles off NM 68 between Española and Taos. A group show of tour participants’ works opens at 5:30 p.m. Friday, Oct. 31, at the Embudo Valley Library (215 NM 75) and runs through the weekend. Call 575-779-1662 or 505-927-9926 or visit dixonarts.org for information.
Gidion’s Knot
Warehouse 21 Johnna Adams’ drama about a student’s suicide, opening performance 7:30 p.m. $15, $10 students, Saturdays, Sundays, and Thursdays through Nov. 16, 505-428-9572.
King Laz
St. John’s Methodist Church, 1200 Old Pecos Trail Susana Guillaume presents three short dramatic monologues on aging, 1-3 p.m., $10, renesan.org, 505-982-9274.
Quilters
Suva Devi, 7:30-9 p.m.; Rajasthani folk music, 7:30-9 p.m., $30 per workshop, 505-986-6164, pomegranatestudio.org.
142 E. DeVargas St. Santa Fe Playhouse presents the 1982 musical by Molly Newman and Barbara Damashek, 7:30 p.m., $20, discounts available, brownpapertickets.com, Thursdays-Sundays through Nov. 16.
Books/Talks
Books/Talks
Brown Bag lecture
Francisco Benítez
Museum of Contemporary Native Arts, 108 Cathedral Place Lara Evans of the Institute of American Indian Arts discusses the upcoming IAIA/MoCNA exhibit War Department, noon-1 p.m., no charge, bring your lunch.
Finding Your Creative Writing Muse
Unitarian Universalist Church, 107 W. Barcelona Rd. With author Nancy King, 6:30-8 p.m., $20 at the door, discounts available, 505-660-6357 or admini@nmbook.org for registration.
Valerie Plame & Sarah Lovett
Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The authors sign copies of Burned, the new book in their Vanessa Pierson thriller series, 6-8 p.m. (See Subtexts, Page 16)
Nightlife
(See Page 49 for addresses)
¡Chispa! at El Mesón
Flamenco guitaris Chuscales, 7-9 p.m., no cover.
Cowgirl BBQ
Blues/country artist Grace Askew, 5 p.m.; blues/folk band Banditos, 8 p.m.; no cover.
Duel Brewing
Multi-instrumentalist John Carey, 7 p.m.-close, no cover.
El Farol
Midweek rock with the John Kurzweg Band, 8 p.m., no cover.
Junction
Karaoke Wednesdays with Michelle, 10 p.m., no cover.
La Fiesta Lounge at La Fonda
Syd Masters & The Swing Riders, 7:30-11 p.m., no cover.
Cowgirl BBQ
Zia Diner
El Farol
OUT OF TOWN
Cahalen Morrison & Country Hammer, 8 p.m., no cover. Guitarras con Sabor, Gypsy Kings-style rhythms, 8 p.m., no cover.
La Boca
Nacha Mendez, 7-9 p.m., no cover.
La Fiesta Lounge at La Fonda
Syd Masters & The Swing Riders, 7:30-11 p.m., no cover.
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.
Lodge Lounge at The Lodge at Santa Fe
Irish multi-instrumentalist Gerry Carthy, 7-9:30 p.m., call for cover.
The Matador
DJ Inky Ink. spinning soul/punk/ska, 8:30 p.m., no cover.
Palace Restaurant and Saloon
Limelight Karoake, 10 p.m., no cover.
Pranzo Italian Grill
Pianist Ron Newman, 6 p.m., call for cover.
Skylight
Latin Night, with DJ Danny, 9 p.m.; call for cover.
Swiss Bakery Pastries and Bistro
Guitar duo Wes & Mito, Gypsy Kings-style rhythms, 7:30 p.m.-close, no cover.
Vanessie
Kathy Morrison, 6:30 p.m., call for cover.
Trio Bijou, string-jazz band, 6:30 p.m., no cover.
Albuquerque Amleto
National Hispanic Cultural Center, 1701 Fourth St. S.W. Opera Southwest continues its 41st season with Franco Faccio’s adaptation of Shakespeare’s Hamlet, 7:30 p.m. Friday, Oct. 31, 2 p.m. Sunday, Nov. 2, $12-$82, 505-724-4771 or online at operasouthwest.org. (See review, Page 24)
OneBeat Albuquerque at the Rail Yards
777 First St. S.W. An initiative of the U.S. Department of State’s Bureau of Educational and Cultural Affairs, bringing together international musicians, plus art show entitled You Are the Doorway, 5-9 p.m., Saturday, Nov. 1, $5 suggested donation, presented by 516 ARTS and Found Sound Nation, visit foundsoundnation.org for information.
23rd Annual Pastel Painting Exhibition
Hispanic Arts Center, Expo New Mexico 300 San Pedro N.E. Juried exhibition of 140 paintings, plus artist demonstration, 10 a.m.-5 p.m. Tuesdays-Sundays through November, reception 1-6 p.m. Saturday, Nov. 1, no charge, pastelsnm.org.
Chatter Sunday
The Kosmos, 1715 Fifth St. N.W. The ensemble performs Beethoven’s String Quartet in A Minor, no. 15, op. 132, 10:30 a.m. Sunday, Nov. 2; the spoken-word segment this week is presented by poet Chee Brossy; an audio
Santa Fe Community College Visual Arts Gallery, 6401 Richards Ave. The artist discusses his exhibit Doña Inés Lost Her Slipper, 1-3 p.m.
O’Keeffe and The Book of Tea
Georgia O’Keeffe Museum Education Annex 123 Grant Ave. Lecture by American tea master Bruce Richardson on The Book of Tea by Kakuzo Okakura, 6 p.m., $5.
Policy Options for Ukraine, Russia, and the West to Resolve the Crisis Peacefully
Santa Fe Woman’s Club, 1616 Old Pecos Trail A talk by former U.S. ambassador to Ukraine John Herbst, sponsored by the Santa Fe Council on International Relations, 5:30 p.m., $20, discounts available, visit sfcir.org or call 505-982-4931 to register.
Sara Sue Hoklotubbe and C.B. McKenzie
Collected Works Bookstore, 202 Galisteo St. 505-988-4226 The authors discuss their books Sinking Suspicions and Bad Country, 5 p.m.
Events
Tony Hillerman Writers Conference Opening Night Celebration
The Screen, Santa Fe University of Art and Design, 1600 St. Michael’s Dr. Watch clips of PBS movies adapted from Hillerman’s mysteries; discussion with producer Jamie Redford, director Chris Eyre, actor Wes Studi, and author Anne Hillerman follows the screening, 7 p.m., $25, wordharvest.com/registration.php.
Nightlife
(See Page 49 for addresses)
¡Chispa! at El Mesón
Jazz pianist John Rangel, 7-9 p.m., no cover.
Nüart Gallery shows paintings by Carol Mothner, 670 Canyon Rd.
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PEOPLE WHO NEED PEOPLE
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 for details.
SFP Workshops, 3205-B Richards Lane Playwright’s Forum (staged readings scheduled for Nov. 20-23); women ages 25-70s and men ages 25-60s; auditions 2-5 p.m. Saturday, 1-3 p.m. Sunday, Nov. 1-2; Community Holiday Show; seeking musicians, carolers, dancers, and storytellers for a Christmas Eve performance; auditions held 3-6 p.m. Saturday, 1-3 p.m. Sunday, Nov. 8-9, santafeplayhouse.org.
Currents 2015: International New Media Festival
Wagner Society of Santa Fe: Write Your Own Prize Song contest
Artists
Art on the Edge 2015
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 Dec. 1.
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.
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.
Community LewAllen Galleries shows photographs by Diane Burko, 1613 Paseo de Peralta.
week is presented by poet Chee Brossy; an audio CD sale precedes and follows the performance (9 a.m.-1 p.m.) $15, discounts available, chatterabq.org.
Agatha Christie’s murder mystery, 7:30 p.m. Friday and Saturday, October 31 and Nov. 1, $14 adults, $12 students and seniors, Fridays and Saturdays through Nov. 22, lalt.org.
Orchid Ensemble
Salzburg Marionette Theatre
Outpost Performance Space, 210 Yale Blvd. S.E. Traditional and contemporary music played on Chinese instruments, 3 p.m. Sunday, Nov. 2, $22 in advance, $27 day of show, holdmyticket.com.
Miguel Zenón Quartet
Outpost Performance Space, 210 Yale Blvd. S.E. Saxophonist Zenón with pianist Luis Perdomo, bassist Hans Glawischnig, and drummer Eric Doob, 7:30 p.m. Thursday, Nov. 6, $15-$20, holdmyticket.com.
Cerrillos Fourth Annual Encaustic/Wax Exhibition
Encaustic Art Institute, 18 County Rd. 55-A (General Goodwin Rd.) Group show, through Sunday, Nov. 2, gallery open noon-5 p.m. weekends only or by appointment, 505-424-6487, eainm.com.
Dixon Dixon Studio Tour
NM 75, two miles off NM 68 between Española and Taos Thirty-third annual tour of artist studios, 9 a.m.-5 p.m. Saturday and Sunday, Nov. 1 and 2, group show of tour participants’ works opens at 5:30 p.m. Friday, Oct. 31, at the Embudo Valley Library (215 NM 75) and runs through the weekend, call 575-779-1662 or 505-927-9926 for information.
Española Día de los Muertos Show
Anthony’s at the Delta, 233 N. Paseo de Oñate Sixth annual group show, 5-9 p.m. Saturday and Sunday, Nov. 1 and 2.
Los Alamos And Then There Were None
Los Alamos Little Theatre, 1670 Nectar St.
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Duane Smith Auditorium, 1300 Diamond Dr. The marionette troupe performs in collaboration with pianist Orion Weiss, presented by the Los Alamos Concert Association, 7 p.m. Saturday, Nov. 1, $30, ticketssantafe.org, 505-988-1234.
Fight Illiteracy
Literacy Volunteers of Santa Fe will train individuals willing to help adults learn to read, write, and speak English; details available online at lvsf.org or call 505-428-1353.
Many Mothers
Help new mothers and families, raise funds, plan events, become a board member, and more; requirements and details available online at manymothers.org.
Santa Fe Botanical Garden
Madrid
Help out by working in the admissions tent at the Museum Hill garden; free training; 505-471-9103, info@santafebotanicalgarden.org.
Joe West’s Theater of Death
Santa Fe Children’s Museum
Engine House Theater, 2846 NM 14, Madrid A series of dark comedies with live music; 8 p.m. Fridays-Sundays through Nov. 9, $20, 505-988-1234, ticketssantafe.org.
Taos The Melodians
KTAOS Solar Center, 9 State Road 150, El Prado Jamaican reggae band, with special guest King Shark, 8 p.m., Saturday, Nov. 1, $10.
Taos Chamber Music Group: Time Change
Arthur Bell Auditorium, Harwood Museum of Art 238 Ledoux St. Music to set your clock back by, including Brahms’ Trio in A Minor, op. 114, 5 p.m. Saturday and Sunday, Nov. 1 and 2, $22 in advance, $25 at the door, discounts available, taoschambermusicgroup.org.
Taos Institute for Glass Arts: 2014 Art Glass Invitational
A monthlong series of exhibitions, lectures, workshops, and demonstrations at local galleries, through Nov. 9; visit tiganm.org for details.
Taos Town Hall
400 Camino de la Placita AH, Taos Wilderness, group show of photographs celebrating the 50th anniversary of the Wilderness Act, through Jan. 9.
PASATIEMPO I October 31-November 6, 2014
Santa Fe Playhouse auditions
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.
Filmmakers TRIBEC4H4CKS: NDN Country
Tribeca Film Institute, Vision Maker Media, and Institute of American Indian Arts invite designers, technologists, filmmakers, and visual artists to collaborate on producing interactive stories about indigenous culture during a free Hackathon held in Santa Fe Friday-Sunday, Nov. 21-23; visit tribecafilminstitute.org for application forms and details.
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 applications through midnight Wednesday, Dec. 31; apply online at santafebandstand.org; for information email info@santafebandstand.org.
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.
UNDER 21
The Children’s Hour
Warehouse 21 New Mexico School for the Arts Theater Department presents Lillian Hellman’s 1934 drama, 7 p.m. Friday and Saturday, Oct. 31 and Nov. 1, $10, discounts available, 505-989-4423.
Gidion’s Knot
Warehouse 21 Johnna Adams’ drama about a student’s suicide, opening performance 7:30 p.m. Thursday, Nov. 6; $15, $10 students, Saturdays, Sundays, and Thursdays through Nov. 16, 505-428-9572.
PASA KIDS
Nature-Themed Halloween
Pajarito Environmental Education Center, 3540 Orange St., Los Alamos Not-too-spooky activities for kids of all ages, 1-3 p.m. Friday, Oct. 31, children must be accompanied by an adult, $5, pajaritoeec.org or 505-662-0460.
Get Spooked
New Mexico State Records Center, 1205 Camino Carlos Rey, Room 2027 Learn about real-life scary stories from New Mexico history; plus costume contests for adults and kids, trick-or-treating, a pumpkin-carving contest, and a reading by Ray John de Aragón from his New Mexico Book of the Undead, 2 p.m. Friday, Oct. 31.
Haunted Library Halloween Party
Vista Grande Public Library, 7 Avenida Vista Grande Eldorado Party with Frito pies, finger food, punch, games, a costume contest, and goody bags, 5-7 p.m. Friday, Oct. 31, no charge, donations welcome.
Weird Science at the Children’s Museum
Santa Fe Children’s Museum, 1050 Old Pecos Trail Alternative Halloween event focusing on spooky science; including crafts, Wise Fool stilt walkers, and experiments with members of the Science Alliance, 4-7 p.m. Friday, Oct. 31, $5.50, discounts for those in costume, 505-989-8359.
Garden Sprouts
Santa Fe Botanical Garden, 715 Camino Lejo, Museum Hill Storytelling and hands-on activities for children ages 3-5 accompanied by an adult, 9-10 a.m. weekly on Fridays, $5 suggested donation.
Friday afternoon art program
Santa Fe Public Library, Main Branch 145 Washington Ave. A free program for families, 2-4 p.m. weekly, 505-955-6783.
Notes on Music: Strauss
UPCOMING EVENTS
Eldorado Hotel Joseph Illick’s illustrated-talk series continues at 4 p.m. on Sunday, Nov. 16, champagne and waltzing follow, $35, students $17.50, 505-988-1234, ticketssantafe.org.
Patrick Nagatani and Lucy Lippard
MUSIC
Kalin and Myles
Skylight Hip-pop duo, 7:30 p.m. Friday, Nov. 7, $18, VIP tickets $60, 505-988-1234, ticketssantafe.org.
Patty Griffin
James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Singer/songwriter, 7:30 p.m. Friday, Nov. 7, $48, 505-988-1234, ticketssantafe.org.
Santa Fe Music Collective jazz concerts
Museum Hill Café, 710 Camino Lejo Friday, Nov. 7, Arlen Asher Quartet; Friday, Nov. 21, vocalist Barbara Bentree; Friday, Dec. 12, saxophonist Doug Lawrence; all concerts begin at 7 p.m., $25, 505-983-6820, santafemusiccollective.org.
Santa Fe Pro Musica
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Transfigured Night, music of Schoenberg and Mahler, featuring mezzo-soprano Deborah Domanski, 4 p.m. Saturday, 3 p.m. Sunday, Nov. 8-9, $10-$65, 505-988-1234, ticketssantafe.org.
Dave Grusin and Lee Ritenour
The Lensic Jazz pianist and guitarist, 7 p.m. Sunday, Nov. 9, $25-$100, 505-988-1234, ticketssantafe.org, proceeds benefit Assistance Dogs of the West.
Senegal St. Joseph Gospel Choir
The Lensic Catholic liturgy, indigenous Muslim songs, and traditional Senegalese rhythms, 7 p.m. Tuesday, Nov. 11, $15-$35, 505-988-1234, ticketssantafe.org.
The Charlie Christian Project
Gig Performance Space, 1808 Second St. Jazz quartet; trumpeter Bobby Shew, guitarist Michael Anthony, percussionist Cal Haines, and bassist Micky Patten, 7:30 p.m. Saturday, Nov. 15, $15 at the door.
Judy Collins
The Lensic Singer/songwriter, 7 p.m. Sunday, Nov. 16, $42-$62, 505-988-1234, ticketssantafe.org.
Serenata of Santa Fe
First Presbyterian Church of Santa Fe, 208 Grant Ave. The Art of Bach, with violinist L.P. How, violist Christof Huebner, and cellist Felix Fan, 3 p.m. Sunday, Nov. 16; $15-$30, ticketssantafe.org, 505-988-1234.
California Guitar Trio
María Benítez Theater, The Lodge at Santa Fe Instrumental acoustic blues, Americana, and rock ensemble, 7:30 p.m. Wednesday, Nov. 19, $25 in advance online at brownpapertickets.com, $29 at the door.
Bob Schneider
Skylight Folk/rock singer/songwriter, 7:30 p.m. Friday, Nov. 21, $22 in advance at holdmyticket.com.
Jonathan Richman
Skylight Singer/songwriter, 7:30 p.m. Sunday, Nov. 30, $17 in advance at holdmyticket.com.
THEATER/DANCE
BodyTraffic
The Lensic Los Angeles-based contemporary dance company, 7:30 p.m. Friday and Saturday, Nov. 7-8, $15-$35, 505-988-1234, ticketssantafe.org.
Sacred Body
The Lensic Presented by New Mexico Dance Coalition, 7:30 p.m. Friday, Nov. 14, performers include Julie Brette Adams, Saltanah Dancers, and Harambe Hip Hop Crew, tickets $25-$60, VIP tickets $75, 505-988-1234, ticketssantafe.org.
National Theatre Live in HD
The Lensic Skylight, a 1995 play by British dramatist David Hare, 7 p.m. Tuesday, Nov. 18; Of Mice and Men, John Steinbeck’s 1937 drama, 7 p.m. Wednesday, Nov. 19; DV8 Physical Theatre’s production John (contains adult themes), 7 p.m. Tuesday, Dec. 9; $22, 505-988-1234, ticketssantafe.org.
Playwrights Forum
Santa Fe Playhouse, 142 E. DeVargas St. Staged readings including The Hat by Dianna A. Lewis and Best Kept Secrets by Peggy Aultman, Thursday-Sunday, Nov. 20-23, $10 at the door,505-988-4262.
The Metropolitan Opera: Live in HD
The Lensic Rossini’s Il Barbiere de Siviglia, 11 a.m. and 6 p.m. Saturday, Nov. 22; Wagner’s Die Meistersinger von Nürnberg, 10 a.m. Saturday, Dec. 13; $22-$28, 505-988-1234, ticketssantafe.org.
HAPPENINGS
Lunafest
New Mexico History Museum, 113 Lincoln Ave. Girls Inc. of Santa Fe presents its third annual film festival showcasing films by, for, and about women; kick-off reception at Pop Gallery 5:30 p.m. Saturday, Nov. 8, screenings follow at 7:30 p.m., reception and festival $35, festival only $25, 505-988-1234, ticketssantafe.org.
Armory for the Arts, 1050 Old Pecos Trail The artist and the author in conversation, 6 p.m. Tuesday, Nov. 18, $10, discounts available, call SITE Santa Fe for tickets, 505-989-1199.
Breakfast at Tiffany’s: Aid & Comfort Gala
Hilton Santa Fe, 100 Sandoval St. 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.
HOLIDAY FARE
Santa Fe Symphony Orchestra and Chorus The Lensic Orchestra and chorus: Handel’s Messiah, 4 p.m. Sunday, Nov. 23, $11-$76; guest conductor Jason Altieri leads the orchestra in its annual concert of Christmas favorites, 4 p.m. Sunday, Dec. 14, $11-$76, ticketssantafe.org, 505-988-1234.
Wise Fool New Mexico
The Lensic 11th Annual Circus Luminous, with 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.
Glow
Santa Fe Botanical Garden, 715 Camino Lejo, Museum Hill A winter-lights event held 5-8 p.m. on selected evenings, 5-9 p.m. Saturdays, Dec. 4-Jan. 3, $5-$8 online and on site, early-bird tickets on sale at reduced rates through Nov. 15, santafebotanicalgarden.org, 505-471-9103.
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 p.m., recyclesantafe.org.
Sangre de Cristo Chorale
First Presbyterian Church of Santa Fe, 208 Grant Ave. Darkness Brings Light, 3 p.m. Sunday, Dec. 7, $20, students $10, sdcchorale.org.
Museums holiday celebrations
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.
Anonymous 4
Cathedral Basilica of St. Francis 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.
Young Native Artists Holiday Show and Sale
Meem Community Room and New Mexico History Museum classroom, 113 Lincoln Ave., 505-476-5200 Annual showcase of works by children and grandchildren of Palace of the Governors portal artists, 10 a.m.-4 p.m. Saturday, Dec. 13, no charge.
Las Posadas
The Plaza and Palace of the Governors courtyard Annual candlelit procession of a re-creation of Mary and Joseph’s search for shelter, 5:30-7 p.m. Sunday, Dec. 14, no charge, 505-476-5200.
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.
Lannan Foundation events
The Lensic The In Pursuit of Cultural Freedom series continues with journalist/author Ann Jones and Andrew Bacevich, 7 p.m. Wednesday, Nov. 12; 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.
Cantu Spiritus Chamber Choir
Immaculate Heart of Mary Chapel, 50 Mount Carmel Rd. Renaissance choral selections, 3 p.m. Sunday, Nov. 16, $20 at the door, students no charge.
Friends of Archaeology holiday party
Hotel Santa Fe Silent auction, archaeology demonstrations, and light buffet, 3-6 p.m. Sunday, Nov. 16, $20 in advance and at the door, 505-982-7799, Ext. 5, nmarchaeology.org, proceeds benefit Museum of New Mexico Office of Archaeological Studies and Museum of New Mexico Foundation.
Bob Schneider plays at Skylight on Nov. 21.
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New Mexico Museum of Art
107 W. Palace Ave., 505-476-5072 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 platinum-palladium 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, through 2015 • Spotlight on Gustave Baumann, works from the museum’s collection, through 2014. Closed Mondays; nmartmuseum.org.
Hulleah Tsinhnahjinnie: Grandma & Me, in the Museum of Indian Arts & Culture exhibit Native American Portraits: Points of Inquiry.
AT THE GALLERIES
Ellsworth Gallery
215 E. Palace Ave., 505-989-7900 Beyond Reason, sculptural assemblages by William Dubby Fuqua and drawings by Lisa Rainbird, through Nov. 15. (See story, Page 30)
LewAllen Galleries
1613 Paseo de Peralta, 505-988-3250 Investigations of the Environment, photographs by Diane Burko; Logos, paintings by Dirk De Bruycker; through Sunday, Nov. 2.
Peters Projects
1011 Paseo de Peralta, 505-954-5800 The Sixth Sense, group show, including paintings by Farrell Brickhouse and installations by Ligia Bouton, through Dec. 21.
MUSEUMS & ART SPACES Santa Fe Center for Contemporary Arts
1050 Old Pecos Trail, 505-982-1338 New Perspectives, installation by sculptor Chuck Ginnever (Muñoz Waxman Gallery); Messages From the Wounded Healers, paintings by Sam Scott (Spector Ripps Project Space); through Sunday, Nov. 2. Open ThursdaysSundays; ccasantafe.org.
Georgia O’Keeffe Museum
217 Johnson St., 505-946-1000 Miguel Covarrubias: Drawing a Cosmopolitan Line, mixed media, through Jan. 18. Core exhibit of paintings; okeeffemuseum.org; open daily.
Museum of Contemporary Native Arts
108 Cathedral Place, 505-983-1777 Level/Land, ceramic and mixed media by Courtney M. Leonard, Lloyd Kiva New Gallery, through Friday, Oct. 31 • 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; exhibits run through December. Closed Tuesdays; iaia.edu/museum.
Museum of Indian Arts & Culture
710 Camino Lejo, Museum Hill, 505-476-1250 Courage and Compassion: Native Women Sculpting Women, group show, through Oct. 15, 2015 • Footprints: The Inspiration and
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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 Jan. 5 • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, artifacts from the museum collection; open daily; indianartsandculture.org.
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, exhibit on immigration • Wooden Menagerie: Made in New Mexico, early20th-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; internationalfolkart.org; open daily.
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.
New Mexico History Museum/ Palace of the Governors
113 Lincoln Ave., 505-476-5200 Painting the Divine: Images of Mary in the New World, rare Spanish colonial paintings, through March 29 • Poetics of Light: Pinhole Photography, 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.
PASATIEMPO I October 31-November 6, 2014
National Hispanic Cultural Center
1701 Fourth St. S.W., 505-604-6896 ¡Papel! Pico, Rico y Chico, group show of works in the traditional art of papel picado (cut paper). Closed Mondays; nationalhispaniccenter.org.
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 (1906-1982). Open Tuesday-Saturday; unmartmuseum.org.
Española Bond House Museum and Misión Museum y Convento
Pablita Velarde Museum of Indian Women in the Arts
706 Bond St., 505-747-8535 The Second Farm Show, group show, through Friday, Oct. 31. Core exhibit of historic and cultural objects exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Call for hours; plazadeespanola.com.
Poeh Cultural Center and Museum
Bradbury Science Museum
213 Cathedral Place, 505-988-8900 Harvesting Traditions, work by ceramicist Kathleen Wall, through Jan. 4. Closed Mondays; pvmiwa.org.
78 Cities of Gold Rd., 505-455-3334 The P’osuwäegeh Ówingeh Story: Scarcity & Abundance, contemporary pottery, sculpture, and jewelry, through Nov. 14 • The Kee …, 2-D and 3-D video installation by Ehren Kee Natay, through Nov. 14 • Nah Poeh Meng, 1,600-squarefoot installation highlighting the works of Pueblo artists and Pueblo history; poehcenter.org; closed Saturdays and Sundays. 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. Closed Mondays; cabq.gov/culturalservices/albuquerque-museum.
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. Weekend Native dance performances; indianpueblo.org.
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.
Los Alamos 1350 Central Ave., 505-667-4444 Environmental Research and Monitoring, an interactive exhibit covering research projects 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.
La Hacienda de los Martinez
708 Hacienda Way, 575-758-1000 A Northern New Mexico-style Spanish colonial “great house”built in 1804 by Severino Martinez; taoshistoricmuseums.org; closed Mondays.
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. Closed Mondays; taosartmuseum.org.
Gustave Baumann: Aspen Thicket 1943, color woodcut New Mexico Museum of Art 107 W. Palace Ave. 505-476-5072 Gustave Baumann (1881-1971) is known for his woodblock prints depicting idyllic New Mexico landscapes and Southwestern folk traditions. Spotlight on Gustave Baumann, an exhibit from the New Mexico Museum of Art’s extensive collection of his work, includes prints, drawings, and studies. The show remains on view through December.
Bill Sortino: La Spiagia 2014, oil on canvas Wheelhouse Art 418 Montezuma Ave. 505-919-9553 Canvas and Clay is an exhibit of works by ceramists Frank Willett and Luisa Baldinger and painters Bill Sortino and Nolan Winkler. Willett crafts graceful, functional forms while Baldinger’s pieces have a rougher, sculptural appearance. Sortino’s oil paintings are abstract expressionistic compositions; Winkler merges the abstract and representational in mixedmedia and acrylic pieces. The show, which opened on Oct. 28, has a 1 p.m. open house scheduled for Sunday, Nov. 2.
Navid Ghedami: Array 2014, mirrored stainless steel with fused glass Tom Ross Gallery, 409 Canyon Road, 505-984-8434 Tom Ross Gallery presents an exhibit of paintings by Elizabeth Hahn and Gail Buono and works in glass and metal by Navid Ghedami. Hahn draws inspiration from dreams and memories, which gives her works a sense of magic realism. Buono’s paintings, from her New Earth series, are geometric abstractions arranged in brightly colored symmetrical compositions. Ghedami’s fluid glass sculptures are set in metal enclosures that reflect the light, altering the appearance of the pieces as the viewer’s perspective changes. The show goes up on Friday, Oct. 31, with a reception to follow on Friday, Nov. 7, at 5 p.m.
A P E E K AT W H AT’S S H OW I N G A R O U N D TOW N
Francis Di Fronzo: At Twilight, detail 2014, oil over gouache h and d watercolor l on panell Evoke Contemporary, 550 S. Guadalupe St., 505-995-9902 The Earth’s Sharp Edge, Part 4 is an exhibit of Francis Di Fronzo’s realist paintings of trains beneath big, open skies and against rolling hills and desert landscapes. Di Fronzo’s moody, atmospheric compositions are rendered in rich tones and carefully detailed. The show opens with a 5 p.m. reception on Friday, Oct. 31.
Angel Wynn: La Llorona With Children 2014, photograph American Indian Photography and Encaustic Studio 1036 Canyon Road, 505-819-1103 Inspired by a ghostlike lens flare she captured during a shoot at an Anasazi ruin, photographer Angel Wynn began a series of haunting photographs, taken at historic New Mexico locations, where she used live models to portray the disembodied beings. Ghost Dance: Spirits & Angels opens with a 4 p.m. reception on Friday, Oct. 31. At the reception, some of Wynn’s models wear the period costumes from the shoots. A second reception, at 2 p.m. on Saturday, Nov. 8, includes a discussion by Wynn on the project and how she created the supernatural effects. The show is otherwise open by appointment.
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PASATIEMPO I October 31 - November 6, 2014
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471-8642