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3 Questions

with Lindsay Rose

3 QuestionsWednesday, July 29, 2015 by Julie Ann Grimm

Lindsay Rose, 33, is a licensed professional counselor who’s also working on a documentary about teenage drug addiction. As a way to raise money for that effort and because it’s a good project in its own right, she’s working with teens and local builders and artists to construct “free little libraries” that will be auctioned off later. Meet some of the project participants at Shake Foundation on Aug. 4 from 11 am-5 pm.

What’s attractive to you about the little free libraries?
The little free library slogan is ‘leave a book, take a book’...It promotes community because it builds trust among neighbors. Our free little libraries are going to have mission statements on them that say ‘How to Build Community’ and a few ideas. It’s a way for morals and values of the community to be seen locally among neighbors. Turn off the TV. Leave your house. Know your neighbors. Look up when you are walking. Greet people. Plant flowers. Use your library. Play together. Buy from local merchants. Those are just a few. I can keep going.

Why did you choose this project as a fundraiser for your work with youth and addiction?
It gets the kids who are displaced or who are in the system or who are drinking and drugging involved in a project that teaches them life skills as well as promoting and inspiring them to do their art...It is a healthy way for them to get involved in themselves. And the contractors who are helping them build the libraries and the local artists are all people who live in the community and who believe in youth outreach and helping the over 2,800 displaced youth in our community. It is teaching them that they are important and that we believe in them.

What is it that made you personally want to get involved with this work?
I come from a family of addicts, and I have been through my own addiction, and I have always done my best work with teenagers...I am very passionate about what I have been through and what my family has been through and how successful we have been in facing our own shit.


Sons of a Gun

Get ready to get metal, Santa Fe

PicksWednesday, July 29, 2015 by Nicholas Anderson

It’s been awhile since Denver-based metal band IAMTHESHOTGUN has played a show in Santa Fe. In fact, it’s been so long that the only remaining member is guitarist Bryan Pelle (the show was in 2009). “Albuquerque’s been getting all of our love,” Pelle says abashedly. But with a re-emerging metal scene and a new crop of young talent, Santa Fe may be getting some of that love back.

And despite his absence, Pelle remembers the area fondly. “I’m really pumped because of how awesome [the show] was last time I played here,” says Pelle. “I hope nothing has changed.” Contrary to this hope, a few things have changed—but for the better. None of the three bands playing alongside IAMTHESHOTGUN existed last time Pelle came through Santa Fe. And these younger bands have been a huge reason why the scene has picked up momentum in the past few years.

“We feel lucky to be a part of such a rapidly growing scene of bands and fans alike,” says Sleeptaker bassist Noah Trainor, who also reminds me that this show is the first all-ages metal show Santa Fe has hosted in a while. This kind of all-ages involvement may be a reason why the scene continues to grow. “The age of our fan base is all over the place,” says Pelle, “so it’s important to me to play all-ages shows.” It’s also more than a respect for one’s fan base that makes all-ages shows so important: These shows get younger fans into venues and allow them to experience the sense of community that a strong scene, like Santa Fe’s rising metal one, meets. Warehouse 21 has long understood this. That being said, the show will be metal as fuck.


IAMTHESHOTGUN
w/Sleeptaker, Choking On Air
and Awakening the Dragon

6:30 pm Friday, July 31. $5.
Warehouse 21
614 Paseo de Peralta,
989-4423


Infinite Finto

Mozart’s troubled school for lovers

OperaWednesday, July 29, 2015 by John Stege

Forget Mozart—for now. Instead, be diverted with thoughts of Jerome Kern. Of Oscar Hammerstein II. Of their 1927 hit, Show Boat. Of Francesca Zambello’s recent revival at the San Francisco Opera, where Nathan Gunn (hero of Santa Fe Opera’s Cold Mountain) playing Gaylord Ravenal and Heidi Stober (heroine of our just-opened La Finta Giardiniera) as Magnolia Hawks serenade each other to the swoony tune of “Make Believe.”

Slow wind-up there. Now for a fast pitch. Try Englishing the title of Mozart’s charming 1775 opera. No can do, except for one word. Finta. That would be “phony” or “pretended” or—wait for it—“make-believe.” Last summer’s production of La Finta at Glyndebourne, reportedly all about finto, drove the notion straight into the ground: phony sets, phony costumes, phony gestures. And was rewarded for that relentless, concept-driven approach with reviews that were, um, anything but phony.

Well, of course, opera is all about make-believe. Nothing onstage is real. Artifice rules, even when it pretends it doesn’t. The greatness of composers, singers, actors, conductors and designers lies in their ability to trick us into thinking that their endeavor is, of all things, real—when we really ought to know better. Things get even more complicated when in La Finta, most of its seven characters can’t themselves distinguish between their real and their make-believe identities.

"This is the real Mozartean thing."

To wit: Don Anchise, the elderly Podestà (or mayor), thinks himself an ardent lover of the titular garden-gal, the Marchesa Violante, who’s make-believing as Sandrina, when in reality he’s a fatuous fop. His vain, abusive niece, Arminda, thinks herself a catch worthy of a count but can’t see beyond her own cold-blooded egotism. That count, Belfiore, equally egotistical as well as a shallow nonentity, harbors a secret, violent past as an attempted murderer of his ex-fiancée, Violante.

Nardo, a make-believe assistant gardener, is actually Roberto, the faithful servant of Violante/Sandrina. The only two characters lacking in finto are 1) Serpetta, the viper-tongued servant to the Podestà and Nardo’s snappish beloved, and 2) Cavaliere Ramiro, the clear-seeing, feckless lover of Arminda.

What fools these mortals be, to steal a line from A Midsummer Night’s Dream, a play whose action curiously resembles the present love-struck follies. The fact that La Finta had been rarely performed until recently may be due in part to the unpleasantness of four of its seven characters. That, combined with a preposterous plot—though no more inane than many, many others of the period—presents serious obstacles to a successful production, even while taking the teenage Mozart’s ever-more-mature music into account.

But fret not, dear reader. Miracles can happen. And did indeed happen last Saturday night with the opening of SFO’s delectable, delightful, delovely presentation of La Finta. Forget about make-believe. This is the real Mozartean thing. Sure, you’ll hear plenty so-called prefigurations of operas-yet-to-come. But just relish this production’s freshness, its pacing, its curious fusion of opera seria and opera buffa with an emerging genre of “sentimental” opera, especially present in the suffering of its heroine and the pathos-filled, climactic mad scenes that resolve the action.

A ghostly hand hovers over the SFO’s show as prepared and beautifully, bountifully led by chief conductor Harry Bicket. La Finta exists in two orchestrations. In that 1775 Munich premiere, Mozart presided over a pared-down band: strings, oboes, horns and (used once) trumpet and tympani. Its 1796 Prague revival added newly composed parts for flutes, clarinets, bassoons and double trumpets by an unknown re-orchestrator, clearly a keen observer of Mozart’s larger, later opera orchestra.

Erik Smith, annotating a 1991 recording, called this “a remarkably fussy and heavy orchestration.” Bicket and most listeners disagree. Herr Nameless’ score abounds with oh-so-apt accompaniments, played with late-Mozart elegance by SFO’s terrific orchestra. And the cast renews SFO’s tradition of marvelously matched ensemble work. Here the whole far exceeds the sum of its parts, although these parts be wondrously taken.

Item: Heidi Stober’s patiently suffering Violante, a study in sadness. Her heart-stricken lament, “Geme la tortorella,” tears at our sensibilities.

Item: An Arminda, the bella bella Susanna Phillips, who electrifies in her high-flying, furious “Vorrei punirti indegno.”

Item: As steadfast Ramiro, pure-voiced mezzo Cecelia Hall—noblesse personified in “Dolce d’amor compagna,” one of Mozart’s glorious, quasi-Handelian arias.

Item: The bewitching “Caro pupille,” Belfiore’s aria, graciously sung by light-voiced tenor charmer, Joel Prieto.

The bickering buffo servants, Laura Tatulescu (Serpetta) and Joshua Hopkins (Nardo), add fine voices to their seemingly sitcom portrayals. SFO veteran William Burden cheerfully swallows up the scenery as the Podestà.

A pleasant economy prevails in the production, starting with Bicket’s discreetly trimmed score, with just over two and a half hours of music. Tim Albery’s direction offers a loving, sympathetic take on the often-bewildering action, moves swiftly and is easy on the eye. That’s helped no end by Hildegard Bechtler’s handsome scenery, which gets cannily upset into wilderness mode late in the second act. Jon Morrell embellishes the scene with floriferous period costuming, and Thomas C Hase provides a lovely light.

As Count Belfiore and Violante awaken from their madness-trance and move toward the happy end, the heroine exclaims, “Che incanto è questo?” (i.e., “What magic is this?”). For an answer, just listen up to that benevolent brujo, Mozart, and his SFO confederates. Enchantment’s happening up at the Crosby Theatre. Carpe buffa!


La Finta Giardiniera
8:30 pm Wednesday, July 29;
8 pm Thursday, Aug. 13,
Friday, Aug. 7 & 21. $33-$300
Santa Fe Opera House
301 Opera Drive,
986-5900


Death Came with Compassion

'The Farewell Party' takes a light-ish look at a serious subject

OkWednesday, July 29, 2015 by David Riedel

How does one die with dignity when suffering from a progressive, painful, fatal illness? If you’re Max (Shmuel Wolf), you ask your wife Yana (Aliza Rozen) to kill you. And if you’re Yana, you don’t have the intestinal fortitude (so to speak) to do it yourself, so you start pulling together a sort of death panel in the retirement home where you live.

That means consulting Yehezkel (Ze'ev Revah), a friend and retiree who spends his time tinkering in a home metal shop, and Dr. Daniel (Ilan Dar), a veterinarian who may have access to the kinds of life-ending medication they’ll need to perform the task. Yehezkel builds a simplified assisted-suicide machine based on an Australian inventor’s model (notably different from Kevorkian’s), Dr. Daniel supplies the drugs and his closeted lover Raffi (Rafael Tabor) provides a sort of put-upon moral support for all of them.

Only Yehezkel’s wife Levana (Levana Finkelshtein) really disagrees with the idea of helping Max put himself out of his misery. In fairness, the others don’t come to it easily. But they see suffering in Max and Yana that’s too great, and eventually they decide consequences be damned (assisted suicide is apparently illegal in Jerusalem, where The Farewell Party takes place).

Yehezkel’s machine is successful, Max dies and The Farewell Party wisely blends dark humor with the pathos that assisted suicide commands (in the movies). On the way home from ending Max’s life, Yehezkel drives down the highway like a madman and is pulled over for speeding. The cop, on the verge of giving him a ticket, is swayed by Yana’s sobs, thinking she’s burst into tears over the traffic infraction, then Levana's, then Dr. Daniel's. The overwhelmed cop gives them a warning, but the sobbing continues. “I said I’m letting you off!” he barks.

In movies like this, no one can just kill one person, and before long, someone else in the complex is asking Yehezkel and the team for a mercy killing. They’re appalled, but the old man is insistent, and soon they’re faced with a choice: Are they going to go into the mercy killing business? And it’s not even fair to call it a business—they don’t charge for their services.

As The Farewell Party stretches on, it’s in serious danger of overplaying its hand. There are only so many assisted suicides you can watch, no matter how much humor there is in the script by directors Tal Granit and Sharon Maymon. Plus, there’s a specific moral component that Yehezkel must face beyond what his companions must: Levana is suffering from some kind of dementia, and over the course of the film, it worsens.

Naturally, whether Yehezkel will perform for Levana the service that he’s provided for others becomes the crux of the movie’s final thirty or forty minutes. It’s just too bad that at that point, he becomes a total, complete and in all other ways shitbag of a human being, threatening to call the cops on his friends and letting his wife’s suffering go on and on. The Farewell Party is a lot more fun when it isn’t dealing with Yehezkel’s moral quandary. The guy’s a bag of wet noodles. Granit and Maymon may have been better off sticking with Dr. Daniel and Raffi, two more appealing characters, whatever their faults.

But that’s how the movies about moral hang-ups go, right? The secondary characters are always more interesting than the leads. Such is life. Or death.
 


THE FAREWELL PARTY
Directed by Tal Granit and Sharon Maymon
With Revah, Finkelshtein and Rozen
CCA Cinematheque
NR
92 min.


Art WWOOFing

Born HereWednesday, July 29, 2015 by Miljen Aljinovic

A while back, I blew a year wandering around Europe, and ended up spending a large portion of my time WWOOFing. World Wide Opportunites on Organic Farms is a loose networking platform helping small, family-run organic farms connect with potential volunteers who exchange their unskilled labor for a temporary place to stay and three square meals, along with the opportunity to learn what goes into living sustainably on a small parcel of land.

I did my fair share of couch-surfing and staying in hostels, but while there were plenty of good times to be had, in no other situation did I develop almost familial bonds of friendship with those around me as readily and quickly as I did when WWOOFing. You could spend a week in a hostel without really getting to know anyone, but spend six hours in the sun, digging a trench with some English kid, in an Eastern European village with no running water, and that dude will inevitably be like a brother to you before the trench is finished. I hadn’t experienced anything similar since. Until recently.

The last week or two, I’ve spent a few hours almost every day over at one of the two prefabrication warehouses for Meow Wolf’s House of Eternal Return, a multimedia art installation set to open in the old Silva Lanes building later this year. I initially went over looking for a story. I had heard a lot of gossip, before my first visit, about what the art collective is up to, how it’s run, and who it’s made up of, describing them as everything from “the creative force that will reinvent our city’s image in the contemporary art world” to “the poster children for hipsterism in Santa Fe,” but the only people with opinions seemed to be those who were in no way involved.

For all I know, those could both be accurate descriptions, in their own way. I’m a philistine when it comes to all things visual. When I refer to the tenants of Canyon Road as “overstuffed hacks,” I’m not qualified to judge their artistic abilities or creative vision, it’s just a comment on the personality they exude as a community. It could be totally accurate that some of the people I’ve met in the past weeks are hipsters, or aloof, or any of the impressions on which I based my preconceived notions of Meow Wolf as a group. What I do know is that, the first day I showed up, I learned how to make an 8-foot-tall tree trunk out of scrap lumber. And every day since, I’ve helped a guy build a life-sized mastodon skeleton out of moldable plastic. And the people I have met and helped so far are all supremely grateful for the assistance, engaging with their ideas and totally open to outside input and creative chaos contributing to the execution of their vision.

I can’t quite verbalize yet what Meow Wolf is about. Many of the artists are older than I expected, but I was also surprised to discover just how large a proportion of the creative people in Santa Fe my age and younger are involved in the project. I can say that the people at its core seem to be the ones that showed up. They showed up today and yesterday. They’ll show up tomorrow. They showed up eight years ago, before there was any hype. I can’t yet say for sure why, but it’s interesting to me that the only part of tomorrow I’m really looking forward to is going and making a thing out of stuff with my hands for a few hours in the afternoon.


The point is often the least interesting part of the conversation. Have one with the author: miljen@sfreporter.com


Roads Less Traveled

Lower traffic counts around town could be tied to astill-weak economy, demographics, millennial trends or all of the above

Local NewsWednesday, July 29, 2015 by Elizabeth Miller

If, like many, you’re driving around Santa Fe with the sentiment that traffic has gotten so much worse in recent years, it turns out that it’s all in your head. Traffic counts from the regional Metropolitan Planning Office show that average annual daily traffic around the city decreased 1 percent from 2005 to 2014. Seven percent fewer cars, from just over 5,000 to just under 4,000, are making daily trips on Agua Fría Road. Meanwhile, Santa Fe’s population has grown by 13 percent between 2000 and 2014.

“When we’ve projected into the future we’ve always assumed traffic will continue to grow, but looking at these numbers pretty consistently over the last decade now, some locations are increasing where there is some growth in development, but regionwide we’ve seen a slight decline, which kind of follows national trends in terms of reductions in vehicle miles traveled,” says Keith Wilson, senior planner for the Metropolitan Planning Organization.

"Maybe one of the reasons we’re seeing traffic decline is that we haven’t seen employment come back."

The findings raise a host of questions about economics and demographics, whether the change is a byproduct of the recession’s lingering bootprint in New Mexico or further evidence that the city’s increasing population of retirees means that although there are more people, they’re spending less time on the roads.

“I can’t say what the particular triggers are here in Santa Fe, but nationwide obviously the economy tanking had an impact,” Wilson says. “And you can read lots of articles about the millennials and their desire to be driving less. I’m not sure that’s the major reason in Santa Fe, given that we don’t have a huge population of millennials, but that could just be the trend of people not driving as much could be reflected in Santa Fe.”

Santa Fe’s median age is 44, well above the state median of 36 and the national median of 39. An aging population wouldn’t be driving as much to commute to work or take children to school.

The report on traffic volume trends attributes the change to higher gas prices and the recession that hit in 2008 and, it says, continues today. The lingering recession is reflected now not in gross domestic product as much as jobs, both in Santa Fe and throughout the state.

The Bureau of Business and Economic Research at the University of New Mexico’s report on the economic outlook for 2015 claimed that New Mexico’s recovery from the recession lags behind neighboring states and the nation as a whole, and employment remains roughly 4 percent below 2008 levels. Though the state is climbing out of that pit, employment levels aren’t expected to recover to pre-recession levels until the end of 2017. Santa Fe has reported losses in employment through 2014, with just one exception in 2013.

“Maybe one of the reasons we’re seeing traffic decline is that we haven’t seen employment come back,” Wilson says. “A good portion of people commute into Santa Fe for work, and so some of the decline was probably related to the loss of employment.”

By the classical marker for recession, the GDP, Santa Fe returned to pre-recession levels about two years ago, according to Oscar Rodriguez, director of finance for the city. Those low employment rates are a sign the city is still lagging, and when it comes back, it make not look the same.

“When things go down and they come back up, the structure of the economy is different,” he says.

New technology and the Internet have displaced jobs, and perhaps traffic as well, as people shop more online and save themselves car trips.

Echoing that interpretation of the numbers is Eric Faust, design head with Tierra Concepts, who stumbled onto the numbers while researching the traffic around a proposed development on Agua Fría.

“My initial thought wasn’t necessarily that it was something related to population decline or even unemployment, although those things could have an effect on that,” Faust says. “The immediate thought I had is, how does telecommuting and the way our job relationship to work place, the number of people that are traveling out of town, and the number of people who are living outside town and traveling into town for work affect that?”

Not surprisingly, the areas that have seen some increased traffic correlate to those where there’s been development—near the Santa Fe Community College, south of I-25, near 599 and on West Alameda. But most of the changes, Wilson says, are small—perhaps about a 600-vehicle-per-day difference over the last 10 years.

In the last decade, St. Francis Drive between Zia Road and Siringo, which now sees an average of 43,799 cars daily, has seen growth, averaging 3 percent per year, according to the summary from the draft Metropolitan Transportation Plan. That increase is likely due to widening the road from four to six lanes. The several intersections around town that are seeing more cars should expect that trend to continue through 2040.


Don’t Fear La Migra

Immigrant rights have grown, but advocacy groups allege labor exploitation

Local NewsWednesday, July 29, 2015 by Thomas Ragan

The rallies that unfolded earlier this month in front of a pair of Santa Fe businesses, in which workers accused Maki Yaki and Horseman’s Haven Café of owing them $150,000 in back pay, was a scene that never would have played out a few decades ago.

Rewind that even further: If it had happened in the mid-1980s, there’s a very good chance that la migra would have swept in and deported anyone who couldn’t prove their legal working status. And there would have been no discussion of the Living Wage ordinance that has purportedly been violated here.

Great progress has been made in the last three decades along the lines of immigrant rights, but mostly as a coalition, not necessarily on an individual basis, where the worker is always subject to the whims of an employer.

To be sure, workers—both documented and those without papers—have gained rights over the years, not lost them, maybe not across a national spectrum, but certainly on state and local levels. And in a twist of irony, it’s all been accomplished in the absence of national comprehensive immigration reform, not because of it.

This is about workers rights, and not ‘Oh, I’m a poor exploited immigrant.’

The ability for undocumented residents to obtain driver’s licenses in some states, including New Mexico, is just one notable example. Undocumented students now qualify for financial aid for college in New Mexico. And many cities across the country, including Santa Fe, have declared their boundaries sanctuaries where local cops are not allowed to inquire about immigration status when, for example, someone is pulled over for a traffic infraction.

The idea that these immigrants live in some sort of shadow has been recycled so often that it’s taken on a life of its own. Yet barriers have also been erected to protect them even as promises of immigration reform are broken.

With the exception of President Barack Obama using his executive powers last year to delay the deportation of young adults who came to the US as children, this country hasn’t seen a major overhaul in immigration in nearly 30 years. The last time it happened was 1986, when President Ronald Reagan signed a bill that allowed millions of undocumented workers to become US citizens.

Enter the Santa Fe wage theft protests three decades later. It’s a snapshot in time. Whether the pair of workers at the center of the rally were working here illegally or legally, nobody rightly knows. In fact, nobody really cares.

City officials don’t ask those sorts of questions. That’s supposed to be up to the businesses to determine. The workers who allege wage violations, Veronica Velazquez Ruiz and Ivan Hernandez, refused to answer the question.

Marcela Diaz, the executive director of Somos Un Pueblo Unido, the organizer of the march, says their status is irrelevant.

“This is about workers rights, and not ‘Oh, I’m a poor exploited immigrant,’” Diaz says. “Immigrant workers, through their struggles, raise the floor a little bit at a time, and the ones who usually benefit are all workers.”

The fact is, she says, immigrant workers themselves are a part of the community, and they should be recognized as such—every time they wipe down a table, prepare Christmas chile or take out the garbage. After all, they are paid for it. The only question now is whether it was the going rate of $10.84, the city’s minimum wage, or considerably less.

And all of it can add up. This much we know: A minimum wage has existed for more than a decade, and suddenly claims are coming out of the woodwork, in many ways due to Somos Un Pueblo Unido, which began instructing workers about their rights after the complaints started to trickle into the office in February last year, Diaz says.

Velazquez Ruiz, for example, claims she worked in excess of 100 hours every two weeks for Maki Yaki and only got paid $500 in cash for it.

The Santa Fe City Attorney’s office ultimately denied her request for $45,000 over a six-year period and ruled that she was entitled to $5.

“I worked for this man for nearly six years, and I worked hard for him,” Velazquez Ruiz tells SFR in Spanish. “I worked overtime. And this is what I get? Five dollars? There’s something wrong with the system.”

She rejected the settlement, calling it “disrespectful,” and is now appealing the case. So is Hernandez, who claims Maki Yaki owes him $7,000 for four years of work. He says that in 2011, he was not paid minimum wage, and that in the last three years, he amassed hundreds of overtime hours.

The city determined that Maki Yaki’s owner, Hwidong Park, owed him $165, a check he too turned away, putting more faith in the appeal process.

Zachary Shandler is the assistant city attorney dealing with allegations of violations of the city’s Living Wage ordinance. Since February 2014, he’s handled 18 claims. The city awarded recovery in four cases; eight are pending; three cases were thrown out after the city said violations took place; three occurred in businesses that have left the city.

Shandler says he decided to only go back three years in his investigation, mostly because the owners of both businesses simply don’t have records beyond three years.

Seems kind of convenient, don’t you think?

Park did not return calls to SFR for comment, nor did Kim Gonzales, the owner of the Horseman’s Haven Café. However, Gonzales did file an affidavit, under penalty of perjury, stating that she did not know the employees who are alleging wage theft.

Shandler says he’s working with attorneys from both sides to get to the bottom of it.


Letters to the Editor

07.29.15

Letters to the EditorWednesday, July 29, 2015 by SFR

News, July 15: “Growin’ in the Free World”


Corrective Actions

Thank you for the excellent article. It is absolutely wonderful to learn of local people and projects who are providing solutions to the problem, people like Calvin Hildebrand and his algae fertilizer product. I knew about the evils of Monsanto but not about Neil Young’s tour and the local people who are taking corrective actions. This is empowering! Thank you!

Dave Weaver
Rio Rancho


Cover, July 22: “Teaching New Teachers”


Can’t Continue This

I’ve been teaching in the same New Mexico district for 22 years [after completing] the UNM Resident Teacher Program...The amazing program applied directly to my classroom...

Many of my cohort are still teaching, and several are school and district administrators throughout New Mexico...We simply cannot remain in a traditional vs. fast track teacher ed mind-set. We have to accommodate those who can’t afford a “year off from an income” while they try to complete student teaching.

We also can’t continue to have an education undergrad degree be the “best” option. We have to listen to potential teachers. They’re telling us we need to find a hybrid approach that gets them into paid residencies in classrooms while being supported in their first two or three years while they earn an advanced degree.

I refuse to write off all programs that are trying to support new teachers on a non-traditional path. By labeling them “deform” we are ignoring a real chance to do something 21st century in teacher ed. The “traditional approach” doesn’t necessarily make better teachers.

I would not be the teacher I am today without an innovative approach. The UNM RTP was cutting edge (and I would argue the precursor to these new programs) and the best educational experience I’ve ever had. More importantly, it served the over 3,000 New Mexico students I’ve taught as well, and that is how we should judge a program’s effectiveness...We have to create something new.

Lisa Harris
SFReporter.com


Short-Term Solution

As a recently retired teacher of 29 years, I will say that this is a short-term solution. Bravo to those who are still willing to enter the teaching profession.

But with current negativity toward teachers, low pay, long hours and insulting evaluations, it is no wonder colleges are short of teacher candidates. Society has dumped more responsibility on teachers with no additional support.

Classroom teachers are expected to be social workers, counselors, attendance specialists and more—all in addition to individualizing instruction for an increasingly diverse student population. And with less time for real instruction due to testing schedules.

I think all administrators’ salaries need to be tied to test results, attendance and graduation rates. Why should taxpayers pay them big salaries for poor results? Maybe take all monies earmarked for salaries and divide equally amongst everyone, with some preference for experience, degrees and longevity. In my opinion, too much money is wasted at the district office on positions that have little to do with student success.

Milli MacFarland
SFReporter.com


Consider the Source

Yay! The Santa Fe Public Schools profit/test/ego-driven administration is replacing teachers with unexperienced non-teachers...SFPS did not dream this up, it is a national agenda of the profiteers who are attempting to privatize and destroy public education. The same folks who brought us the “mysterious” teacher shortage...Teachers are leaving the profession in droves because they are now deprived of the last shred of autonomy and are constantly harassed, disrespected, monitored and blamed for every societal and parental failing.

Cate Moses
SFReporter.com


Streetview, July 22: “Yabba-Dabba Doctrine”


Equal Mockery for All

I wonder if [SFR] would publish a bumper sticker that is derogatory towards the Muslim or Jewish faiths? This is clearly derogatory toward the Christian faith showing the ichthus fish (Christian symbol) being eaten by a dinosaur. I’m all for freedom of speech. But I’m going to guess that we won’t ever see anything derogatory about any other faith besides Christianity.

Will
SFReporter.com


Online, July 16: “Sanbusco for Sale”


Great Idea

Did someone say indoor mountain bike park?

Pablo Mijo
via Facebook


Born Here, 8 July: “Talking About the Gun”


Some Folks Just Can’t

I am a member of a local “gun club,” the Northern Rio Grande Sportsmans Club, and I have, on occasion, spoken with fellow members, at the range north of town where we have excellent target shooting facilities, who are very even-minded on the subject. Most of us agree, for example, that in spite of the 2nd Amendment “guarantee” of gun ownership rights, there are some folks who should not, must not, cannot be allowed to possess firearms.

A lessor number of us realize that the only practical solution to that is to require a thorough background check on ALL gun sales, even between friends, neighbors and family members. However, the only way that could ever result in a managed system, one where anyone who had a firearm in his or her possession would have to prove they acquired it legally (and from whom), would be to have registration of all guns. From what I can tell, however, most so-called “law-abiding” gun owners object to that. I am not one of them. (I am law abiding.)

Your comments about Americans in general, especially as described by someone elsewhere in the world, are right on!

Warren Watson
Eldorado


A&C, July 15: “I Don't Want Change. I Want Swiss Cheese”


Powerfully Ahead

If you don’t know [Death of a Salesman] or have forgotten this show, see it! Miller captured in 1949 what John Bradshaw explained so eloquently in the Eighties—the Toxic Family Secret. Willy’s mental disintegration is huge, and watching his classic American sales personality—sailin’ the blue on a smile and a shoe shine!—go down in flames is gripping, but this is truly a father and son tragedy; Harrison’s remark about Biff is right on. The poster for the play could easily read “What Happens in Boston Stays in Boston.” A powerful play, way ahead of its time.

Kerry Carnohan
SFReporter.com



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Eavesdropper

07.29.15

EavesdropperWednesday, July 29, 2015 by SFR

“These aisles are too wide now.”

—Overheard at the (newly expanded) Traders Joe’s


Send your Overheard in Santa Fe tidbits to: eavesdropper@sfreporter.com


Street View

07.29.15

Street ViewWednesday, July 29, 2015 by SFR
When you’re down and out, when you’re on the street...Leave the garage, hop on over to the SFR Best of Santa Fe Party and cheer up!


Send shots to streetview@sfreporter.com or share with #SFRStreetview for a chance to win movie passes.

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