Pasatiempo, February 28, 2014 by The New Mexican

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PASATIEMPO I February 28 - March 6, 2014

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LENSIC PRESENTS Under Construction: New Works in Progress

The Queen of Madison Avenue BY RON BLOOMBERG A staged reading of a play about the high price of success Featuring Ali MacGraw, Jonathan Richards, and more March 13 7 pm $10

Tickets: 505-988-1234 www.TicketsSantaFe.org SE RVICE CHARGE S A P PLY AT ALL POINTS OF PURCHASE

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Whatever Happened to Cabeza de Vaca? Free Public Lecture by Baker H. Morrow

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(on the campus of the New Mexico School for the Deaf, 1060 Cerrillos Road, Santa Fe)

For more information, contact 954-7203 or visit morrow.sarweb.org. Image: Brigantine or Launch, sketch by Baker H. Morrow

PASATIEMPO I February 28 - March 6, 2014

Player receives one entry for every 30 points earned on their Lightning Rewards card, March 1 through March 22, 2014. Drawings will be simulcast at Cities of Gold. See Lightning Rewards Club desk for complete contest rules and details. Management reserves all rights.

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Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room • Bedroom • Entertainment • Lighting • Accessories We’re closing our Cerrillos Road location. Our Warehouse Showroom on Airport Road will continue to feature over 8,000 sq. ft. of quality Southwestern Furniture.

Any three-courses from the entire dinner menu featuring Nuevo Ranchero Cuisine — created by Executive Chef & Certified Sommelier Christopher McLean.

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THE SANTA FE NEW MEXICAN

February 28 - March 6, 2014

www.pasatiempomagazine.com

On the cOver 26 the littlest winner When 6-year-old Shirley Temple accepted a hug and an Oscar from host Irvin S. Cobb in 1934, she was the youngest recipient of the award — a record that still holds less than a month after her death in February at 85. Robert Osborne’s new book celebrates 85 years of Academy Awards as this year’s nominees get ready to make acceptance speeches and/or fools of themselves. Mind you, Temple’s award was an special one. Tatum O’Neal is actually the youngest performer to have won a competitive Oscar, for Best Supporting Actress for 1973’s Paper Moon. Cover photo courtesy A.M.P. A.S.

BOOKS

MOvIng IMAgeS

13 In Other Words Mad as Hell: The Making of “Network” 36 clothes reading Dressing Dangerously

40 Like Father, Like Son 42 Pasa Pics

cAlendAr

MuSIc And PerFOrMAnce 14 16 18 20 22 25

50 Pasa Week

Sound Waves Albert “Tootie” Heath Pasa tempos CD reviews terrell’s tune-up The Fleshtones Suite, sweet freedom Lenny Tischler Pasa reviews Bench Warmers 13 Onstage Water by the Spoonful

And 9 Mixed Media 11 Star codes 46 restaurant review: Second Street Brewery

the OScArS 28 Pasa’s picks Film critics predict 32 Sound reasons Oscar’s musical side

Art And ArchItecture 34 Art of Space Matt Lambros: After the Final Curtain

AdvertISIng: 505-995-3819 santafenewmexican.com Ad deadline 5 p.m. Monday

Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 e. Marcy St. Santa Fe, nM 87501. editorial: 505-986-3019. e-mail: pasa@sfnewmexican.com PASAtIeMPO edItOr — KrIStInA Melcher 505-986-3044, kmelcher@sfnewmexican.com

Pharrell Williams in 24 Hours of “Happy”

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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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chief copy editor/Website editor — Jeff Acker 505-986-3014, jcacker@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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StAFF WrIterS Michael Abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 505-986-3039, billk@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com

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cOntrIButOrS loren Bienvenu, taura costidis, laurel gladden, Peg goldstein, robert Ker, Jennifer levin, robert nott, Jonathan richards, heather roan-robbins, casey Sanchez, Michael Wade Simpson, Steve terrell, Khristaan d. villela

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PrOductIOn dan gomez Pre-Press Manager

The Santa Fe New Mexican

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Robin Martin Owner

www.pasatiempomagazine.com

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Ginny Sohn Publisher

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AdvertISIng dIrectOr Tamara Hand 505-986-3007

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MArKetIng dIrectOr Monica Taylor 505-995-3824

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grAPhIc deSIgnerS Rick Artiaga, Jeana Francis, Elspeth Hilbert

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AdvertISIng SAleS - PASAtIeMPO Art trujillo 505-995-3852 Julee Clear 505-995-3825 Matthew Ellis 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830

Ray Rivera editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

“Making the switch to more centralized, professional kind of mayor is what a city with Santa Fe’s challenges needs.” Wednesday, February 26, 2014

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Tickets Santa Fe

Serenata of Santa Fe presents

at The Lensic We’re updating our systems so we can serve you better!

Closed March 2–5

Tickets Santa Fe and the Lensic box office will be closed Sunday–Wednesday, March 2–5, while we install our new state-of-the-art ticketing software.

Reopening Thursday, March 6

We’ll be back to take your ticket orders online, by phone, and in person on March 6, starting at 10 a.m. Thank you for your patience!

FRIDAY, MARCH 7, 2014 7:00PM Scottish Rite Center featuring

COMPOSERS KELVIN MCNEAL (PREMIERE) & RON STRAUSS (NEW WORK) AND KENJI BUNCH Elena Sopoci, violin | Allie Norris, viola Sally Guenther, cello | Pamela Epple, oboe Keith Lemmons, clarinet | Toni Lipton, bassoon Scott Temple, horn | Gail Springer, soprano

All Chamber Music, All the Time

505-988-1234 | 211 W. San Francisco St. For more information about the exciting changes at Tickets Santa Fe, visit Lensic.org.

PASATIEMPO I February 28 - March 6, 2014

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

MIXED MEDIA Seeing new patients in our Santa Fe office! Appointments scheduled through Los Alamos office: 662-4351

Brandon Johnson

Most insurance accepted! (not contracted with Tricare)

Lady Glove’s Chauncey Gadek

Kevin Avants 505 982 2892, cell 505 780 1061 1061 Pen Road, Santa Fe

Putting the art in party The AHA Festival of Progressive Arts is launching its call for applications in a progressive way: by throwing a party with the kind of art and music the annual festival is dedicated to showcasing. On Friday, Feb. 28, the Center for Contemporary Arts hosts an all-night event (7 p.m. to midnight) with performances by a number of mostly nontraditional acts, like Max Friedenberg, Aunt Cackle and the Coleslaw King, DJ Feathericci, Johnny Bell, and the highly testosteronic synth/sampler duo Lady Gloves. Members of the selection committee will be on hand to give a few remarks and answer questions about the application process, which is open until April 30. The festival — which has grown in scope every year since it first took place in 2011 — takes over the Railyard Park in September. Entry to the launch party is based on a $5 to $20 sliding scale. Admission includes food and access to an LP rummage sale and cash bar. The event gives visitors another chance to check out CCA’s arctic-inspired ICEPOP installation by local arts duo Scuba, as well as All the News Fit to Print, a multimedia exhibit by national artists who incorporate The New York Times into their work, guest curated by Donna Ruff (who coincidentally participated in the first AHA Festival). Visitors can also browse the new CCA store, which offers handcrafted local art and albums by local bands. CCA is at 1050 Old Pecos Trail. More details are available at www.afterhoursalliance.com and by calling 505-982-1338. — Loren Bienvenu

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Kick up your heels, kick into high gear or just kick back. From opera and art openings to soccer and beer, Taos offers plenty of reasons to get away for the weekend, including irresistible overnight savings. See TAOS.org/spring.

MARCH 01 Rafting season begins 01–30 Astro Photography, exhibit at DAFA on Kit Carson Road 02 Awards Night Gala at Taos Center for the Arts 08 Ernie Blake Birthday torchlight parade and Spring Beer Fest at Taos Ski Valley 15 The Met Live in HD, opera at Taos Center for the Arts Werther by Massenet, 11am 15–16 Taos Chamber Music Group, French Danish at Harwood Museum of Art, 5pm 16 Sight Unseen, art sale (all works $125!) at Taos Center for the Arts

20–23 Taos Shortz Film Festival at Taos Community Auditorium 111 short films from 22 countries

APRIL 01–12 Taos Poetry Weeks, nightly readings at SOMOS, the Literary Society of Taos 04–30 Taos Moderne: Emerging View of Taos, art exhibit at Town Hall 05 Rio Grande del Norte National Monument 1st anniversary party at Taos Mesa Brewing 05 4th Annual Taos Spring Soccer Showcase at Taos Eco Park 05–06 Closing weekend party at Taos Ski Valley

Bring on spring. PHOTOGRAPH: KEVIN REBHOLTZ

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Snow today. A little whitewater tomorrow. Full of unforgettable contrasts. 888.580.8267 10

PASATIEMPO I February 28 - March 6, 2014

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STAR CODES

Heather Roan Robbins

DEBUSSY, MAHLER & SHOSTAKOVICH SATURDAY, MARCH 1 AT 6PM | SUNDAY, MARCH 2 AT 3PM ST. FRANCIS AUDITORIUM

It’s our party, and we can cry if we want to. The weekend begins with the sun and moon in sappy, permeable, intuitive Pisces. We feel emotions deeply — everybody’s emotions and not just our own. Because we’re acutely aware of our vulnerabilities, it’s tempting to see ourselves as victims, but that gives our power away. Let’s realize most of us are safer than we think and ask what we can do to help those who truly need it, because the next few months are full of challenging opportunities. From our earthly perspective, Jupiter, Uranus, and Pluto form three corners of a square now through the summer, and Mars joins them to complete a revolutionary grand square in April. These planets are already cranking up fervor for freedom. Though we may be tempted to see conflict in terms of perpetrator and victim, oppressor and oppressed, even in our family dynamics, it’ll be more powerful to negotiate what’s best for the whole. We get on with our life after a series of delays this week as Mercury and Jupiter turn direct after a long retrograde. But Mars and Saturn turn retrograde and keep the boat tipping back and forth across the generation gap, gender differences, and chains of command. We may not know who’s on first. We may also say farewell to some cultural parental figure or mentor whose time has come or mourn ones we lost a long time ago. March roars in like a lion early this week. We’re energized and revolutionary as the moon kicks into feisty Aries on Sunday and Monday. Next week the landscape changes; it’s time to straighten out misunderstandings and check in on ongoing projects to see what’s changed. Be ready with solutions when problems are exposed. Collaboration is easier after Venus enters Aquarius on Wednesday. Friday, Feb. 28: The mood is confusing, soggy, and distracted but potentially hopeful with the moon in sensitive Pisces, conjunct intuitive Neptune. As the sun trines Jupiter tonight our spirits may lift and beauty may touch our sensitive nerve endings. Saturday, March 1: Dream and meander under this hypersensitive Pisces new moon. Don’t pull out the guilt card; postpone confrontation and stay empowered and safe. Sunday, March 2: Yesterday’s hurt feelings become today’s argument under a feisty Aries moon. Instead of defensive confrontation, validate feelings and move on. Be ready to explore options and change some stuck situation. Monday, March 3: Questions arise around authority. Expect the unexpected early on as the Aries moon conjuncts Uranus. Respond, but don’t let debate degenerate into fights as Venus and Mars square off. Tuesday, March 4: We strike sparks this morning as the moon opposes Mars, and the sun semisquares Venus. As the moon enters steady Taurus around noon we can settle in a groove and become less feisty. Offer proposals or send out résumés — the ground is fertile. Wednesday, March 5: Keep the pace steady; don’t let a new perception of how much work there is to do become overwhelming as the moon squares Saturn. Encourage one another through flagging enthusiasm. A new sense of friendly collegiality helps as Venus enters Aquarius. Give beloveds guilt-free room to reconnect with peers. Thursday, March 6: Socialize — meetings will take diplomacy and tact but build infrastructure for work ahead. The morning is productive — take time for self-care or check in with people in need this afternoon. Around dinnertime the moon enters talkative, nervy Gemini, and the conversation speeds up. ◀ www.roanrobbins.com

THE SANTA FE PRO MUSICA ORCHESTRA

THOMAS O’CONNOR, CONDUCTOR DEBORAH DOMANSKI, MEZZO-SOPRANO

DEBUSSY

Prelude to the Afternoon of a Faun

MAHLER

SongsofaWayfarer Adagietto from Symphony No. 5 Performed in memory of William Zeckendorf Jr.

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SymphonyforStringsandWoodwinds,Op.73a

Meet the Music one hour before each concert with Thomas O’Connor and John Clubbe. Learn more about the music you love! $20, $35, $45, $65, Students and Teachers $10 Santa Fe Pro Musica Box Office: 505.988.4640 Tickets Santa Fe at the Lensic: 505.988.1234 www.santafepromusica.com

DeborahDomanski’sappearanceissponsoredbytheMillFoundationEmergingArtistGrant

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The 2013-2014 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 February 28 - March 6, 2014

In Other wOrds book reviews

Building Homes, Building Hope in Santa Fe for 27 Years!

Mad as Hell: The Making of “Network” and the Fateful Vision of the Angriest Man in Movies by Dave Itzkoff, Times Books/Henry Holt and Company, 287 pages Some of cinema’s most iconic moments feel very much of their era, while others feel eternal. When Peter Finch’s Howard Beale sits at that news desk in a wet raincoat, fixes the cameras with a stare that’s unhinged yet sharply focused, and states, “I don’t have to tell you things are bad; everybody knows things are bad,” he begins a movie moment that didn’t capture the public imagination so much as it seemed to have sprung fully formed from the public imagination. By the scene’s conclusion, the phrase “I’m as mad as hell, and I’m not going to take this anymore” resounds off the city streets, where it continues to echo to this day. New York Times culture writer Dave Itzkoff accentuates the “mad prophet” angle in his new book about Network, assigning that designation to screenwriter Paddy Chayefsky as much as his surrogate (for that scene, anyway), Howard Beale, played by Peter Finch. The amply researched and highly readable book details Chayefsky’s life from his upbringing to his own time in television, from his career in Hollywood to his death. It also describes Network from conception to the process of casting and selecting Sidney Lumet as director, to production and the reactions to it from audiences and critics. The work is more slender than it could have been, and the aspects pertaining to the nuts and bolts of production are not terribly juicy. A book three times this length could have been given over to the corporate climate that made Network a necessity, but that isn’t touched upon. Nor is Pauline Kael’s valid criticism about the film being an aging white man’s rant against a world that is growing to include Arabs, African Americans, and women in positions of power. Some readers may be disappointed to see Ned Beatty’s superior monologue in the film downplayed in favor of Finch’s more-famous rant. Beatty’s words pull the curtain back on the secondary meaning of the film’s title, the networks of corporations that dominate modern society in a more insidious, thought-provoking fashion. Itzkoff excels in the chapters that open and close the book: the former covers Chayefsky’s biography and the latter offers reflections on the film by talking heads such as Bill O’Reilly, Glenn Beck, Keith Olbermann, Stephen Colbert, and Jon Stewart. That Itzkoff chose pundits at FOX and MSNBC and the Comedy Central jokesters as sources of quotes is apt; these men are more ringmasters than newscasters, and as such are clear descendants of Howard Beale and his histrionics. The news they deliver is barely about the news at all; cable news is so far up its own navel that it’s like a Moebius strip, commenting only on its own narrative. It’s built entirely on fear and paranoia, and the “Why can’t they leave us alone in our living room?” element of Beale’s rant has spilled over to the internet — what would Chayefsky say about that? — which is increasingly being consolidated by the corporations that control access to it. That the Armageddon as imagined in the 1970s never came to pass blunts Network’s impact, but we seem as much on the precipice as ever. You still don’t have to tell us things are bad. We know things are still bad. We’re still mad as hell, but we keep on taking it. — Robert Ker

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SOUND WAVES Loren Bienvenu

The Whole Drum Truth

Tempo-setter A legend about Oscar Peterson has it that a skeptical jazz critic went to one of the pianist’s later concerts to verify the common adage that Peterson played like four pianists at once. When asked whether Peterson still lived up to his reputation, the peevish critic said, “Nah, he doesn’t sound like four pianists. Only two.” Now a few months shy of his 79th birthday, drum legend and newfound Santa Fe resident Albert “Tootie” Heath still plays like four drummers, combining dynamism, subtlety, and rhythmic complexity in equal parts. Local skeptics can judge for themselves when Heath performs at the Museum Hill Café on Friday, Feb. 28. Heath is unusually active for a jazz musician of any age. He spent the last six weeks of 2013 in Copenhagen, playing six nights a week in the resurrected version of a club where he performed several decades ago. “I lived there for about three years and was in the house band. We used to play six nights a week then, too,” Heath told Pasatiempo shortly before leaving town for that engagement. It was followed in late January with a series of shows at Smalls in New York City, where he played with pianist Ethan Iverson of The Bad Plus and bassist Martin Nevin. “I like those young guys, man,” Heath said. “They can do everything — they play Bach, Thelonious [Monk], Miles Davis — originals. All in one concert.” Heath, as bandleader, Iverson, and bassist Ben Street released Tootie’s Tempo in August 2013. Heath grew up in Philadelphia in a family that was supportive of music. “My mother sang in the church choir, and my father played the clarinet in this marching band. It was something he loved. He used to practice

Saturday, and on Sunday he’d go to rehearsal. Then on Monday, he’d put his horn in the pawn shop on the corner, and he’d get maybe three, four dollars. He’d get it back out on the weekend and do that same thing every week until he finally lost it.” His father would also fill the house with music by Duke Ellington, Count Basie, and Coleman Hawkins, playing the latest records on his hand-crank phonograph. Not surprisingly, Heath and his two older brothers all became jazz musicians — and titans of their instruments. Because saxophonist Jimmy and bassist Percy were a good deal older than Heath (8 and 12 years respectively), they established themselves while Heath was still living at home, meaning that the aspiring drummer had a chance to rub shoulders and occasionally sit in with many top players passing through Philadelphia. “Bands like Ellington’s orchestra would come to our house, and my mother would cook dinner for them,” he remembered. “Coltrane was always in the house with my brother. They both played alto [at the time]. We began playing in this club in Philly called Red Rooster, and Coltrane got a chance to make a recording. He got Paul Chambers, Red Garland, and me. I couldn’t believe it. It was his first as a leader.” Heath has played with virtually every hard bop player of consequence over the last 60 years. His recording credits include sessions with Dexter Gordon, Herbie Hancock, Milt Jackson, and a group called The Heath Brothers that he and his brothers established in the 1970s. Heath still plays with Jimmy (now aged 87); Percy passed away in 2005 and is still fondly remembered by his youngest brother for his remarkable achievements. Percy was a gifted mechanic recruited by the Air Force to work on airplanes. His test scores

Albert “Tootie” Heath

PASATIEMPO I February 28 - March 6, 2014

in the training program were so high that he joined a very small trial group of young African American men who were permitted to enter flight school. Despite the racially motivated interference on the part of many of the white officers running the school, Percy passed the training and became part of the Tuskegee Airmen, famous for being the first group of African American pilots. “I remember he came home once, and he had on this dark coat and light gabardine pants, a leather bill on his hat with an insignia, and his lieutenant bars on his shoulder. He was a second lieutenant. He was an officer, in the United States Air Force.” After World War II, Percy left the Air Force. “He decided he’s going to learn to play bass. In two years, he was in New York recording with Miles Davis and Charlie Parker.” Percy later became a founding member of the highly successful Modern Jazz Quartet, a group that Heath joined for one year. “We did a tour of the world. China, Eastern Europe, California, New York. It was fabulous. I made more money in that one year then I did in my whole career up to today.” Prior to that, Heath earned his living as a sideman for a revolving number of hard-bop players. He got his break in the 1950s, when he moved to New York to replace Elvin Jones (best known for his work with Coltrane) in trombonist J.J. Johnson’s band. Heath ended up living on the same block as Jones on 5th St. in Manhattan during one of the most vibrant periods in the history of jazz. He remembers getting hired for three-month stints at bars like The Five Spot, where he would open for Thelonious Monk one week and Charles Mingus the next. Following gigs that often lasted until daybreak, Heath said that “we used to have jam sessions on the roof of our apartments. It was during the day, when everyone was out of the building. Only musicians were up there.” Though Heath might not be initiating any jam sessions on the roof of his new Santa Fe home, he is already displaying characteristic energy in becoming involved with the local music community. His first weekend in town, he remembers going down to the Lensic Performing Arts Center to see drummer Terri Lyne Carrington play with Esperanza Spalding and Geri Allen. The show was sold out, so he went around back and peeked into a high window at about eye level. “I saw a bass scroll, and there’s Esperanza warming up.” After he caught her attention, the show organizers let him inside and gave him a seat where he’s most comfortable — right onstage. “That was my introduction to Santa Fe. It was great.” ◀ Tootie Heath plays at the Museum Hill Café (710 Camino Lejo, 505-984-8900) at 7 p.m. on Friday, Feb. 28, with Andy Zadrozny and Bert Dalton. Tickets are $25; reservations can be made by calling 505-983-6820. Visit www.santafemusiccollective.org.

THE BANFF CENTRE PRESENTS 2013 / 14

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Tickets: 505-988-1234 www.TicketsSantaFe.org the lensic is a nonprofit, member-supported organization

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Gallery Talk on Concept, Curves, and Whimsy 1:30 p.m., Red Dot Gallery 505-820-7338 Opening Reception Feb. 28, 5 to 7 pm. Community Mobile Health Van 9 a.m. to 3 p.m., Main Entrance 505-995-9538 Get blood pressure, glucose and cholesterol checked. Continuing Education Dept. Trip to Greece 5 to 6:30 p.m., West Wing, Room 316 505-428-1834 Information Session. Southwestern Sleepers Lecture Series: Insomnia 5:30 p.m., Room 433 505-438-3101 Backyard Astronomy 7 to 8 p.m., Planetarium 505-428-1744 Yolanda Nava, Salt of the Earth Presentation Noon, Board Room 505-428-1522 Celebrate the 60th anniversary of this New Mexican film. The New Milky Way—Part 1 7 to 8 p.m., Planetarium 505-428-1744 The New Milky Way—Part 2 7 to 8 p.m., Planetarium 505-428-1744 SFCC Governing Board Meeting 5 p.m., Board Room 505-428-1148 Agenda and background materials for board meetings are at www.sfcc.edu/about_SFCC/governing_board. Celebration of Salt of the Earth Board Room 505-428-1522 3 p.m.: Panel Discussion; 5 p.m.: A Crime to Fit the Punishment; 7 p.m.: Salt of the Earth Access to Justice Free Legal Fair 10 a.m. to 2 p.m.,Genoveva Chavez Center 505-955-4000 Lawyers will be available for legal matters.

PLUS... March 1 — Enrollment for Kids Camps at sfcc.edu/kids or 505-428-1676. Through March 5 — “Dos Pintores – Dos Senderos: Padre y Hijo: An Exhibition of Paintings” SFCC Visual Arts Gallery. March 17-23 — SFCC will be closed for Spring Break. Thru April 15 — Free Income Tax Preparation: In the Fitness Education Center, Mon.-Fri., 8:30 a.m. to 5 p.m., and Sat. 9 a.m. to 1 p.m. 505-428-1780. MORE AT WWW.SFCC.EDU Register now for late Spring and Continuing Education Classes.

LEARN MORE. 505-428-1000 www.sfcc.edu

6401 Richards Ave., Santa Fe, NM 87508

EMPOWER STUDENTS, STRENGTHEN COMMUNITY. EMPODERAR A LOS ESTUDIANTES, FORTALECER A LA COMUNIDAD. PASATIEMPOMAGAZINE.COM

PASA TEMPOS

album reviews

C.P.E. BACH MARK The Solo Keyboard MCGUIRE Along the Music, Vol. 26 (Bis) Way (Dead Oceans) Much of March 8 marks the 300th birthday of this intricate, lovely, electro-acoustic Carl Philipp Emanuel Bach, the second su album sounds like introduction music viving son of Johann Sebastian and the — a lengthy warm-up of guitar noodling most extraordinary of the four Bach sons that sets the stage for a powerful jam, like who became composers. During and shortly Pink Floyd does on “One of These Days” after his lifetime he was admired as a guiding or “Shine On You Crazy Diamond” or like light by such figures as Haydn, Mozart, Phish does on nearly every song they’ve and Beethoven. His reputation is again written. Plucked notes of guitar and keyon the upswing, and in the past couple of boards rise and fall in gentle arpeggios, decades his brilliantly imaginative style has found a new generation while electric guitars lay out fuzzy chords like shag carpet. Vocals drift of champions and appreciators. None quite rivals the Hungarian keyaround in a manner very similar to the singing of Animal Collective’s board virtuoso Miklós Spányi, who for two decades has been recording Panda Bear. A snare drum may be isolated here and there, but percussion the composer’s voluminous corpus of solo and concerted keyboard music is minimal. Indeed, the first six songs on Along the Way seem to tiptoe along for the Bis label, a project that will soon reach its completion. He plays as the album builds to the 12-minute “The Instinct.” That moment seems on various early instruments, depending on the repertoire. Volume 26 to then give Mark McGuire — formerly of the band Emeralds — freedom to of the solo works offers the first three of C.P.E. Bach’s Fortsetzung ditch the focus and explore whatever he wants, such as the Aphex TwinSonatas of 1761, so called because they were presented as a esque mischief in “The Human Condition (Song for My Father),” “continuation” (Fortsetzung) of a preceding collection; and the processed synthesizers that chirp like birdsong in “For the the CD is eked out by embellished versions the composFriendships (Along the Way),” and the way “The War on er later prepared for three of the movements. Spányi’s Consciousness” dissolves into squiggly static. Along the instrument of choice here is the clavichord, which the Way is a brilliantly structured album, one that is often ‘Along the Way’ is a composer valued for its possibilities of shaded articulaintimate in its instrumentation but widescreen in scope. tion and expressive contrast. It is a very quiet instrument, It’s near-perfect music for the high desert. — Robert Ker brilliantly structured album, so don’t go fiddling with your volume control. Instead, listen in silent surroundings and focus on the music’s TORD GUSTAVSEN QUARTET Extended Circle (ECM) one that is often intimate intimate, sometimes volatile, narrative. — James M. Keller In the album notes, pianist Tord Gustavsen mentions in its instrumentation moving “in creative circles or spirals, coming back to TINARIWEN Emmaar (Anti-) The love child of Led musical and spiritual issues from ever-new angles.” but widescreen in scope. Zeppelin, Algerian rai music, and assouf (the otherThat tantalizing tidbit is well-fulfilled in this newest worldly blues-inflected guitar music of the Saharan project, his sixth ECM disc. Drummer Jarle Vespestad has nomads), Tinariwen is a collective of Malian musicians that been with him the whole journey, starting with the pianist’s has been around since the 1970s. Their fusion of African, debut, Changing Places (2003), and two more trio albums, and Arabic, and American pop music is as sui generis as it gets. The then three quartet CDs, all with saxophonist Tore Brunborg and group started out playing gigs for the Tuareg rebels of northern bassist Mats Eilertsen — these six comprise the leader’s “extended Mali, where they blended radical Egyptian protest music with the Westcircle.” The opener, “Right There,” is a staid, creeping-pace trio piece. The ern sounds they absorbed from listening to bootleg copies of Hendrix and gorgeous Norwegian hymn “Eg Veit I Himmerik Ei Borg” (A Castle in Heaven) Dylan records. Over the past decade, the band has picked up some serious begins with steaming cymbals, the piano beautiful and slightly ominous A-list celebrity accolades and established a fan base that runs from Asia and the bass a vibrant pulse, and then Brunborg joins, both powerful and through the Americas. Though their sound has always been a hybrid of sensitive on tenor. By four minutes in, he is wailing passionately over global styles, they embrace the West on this album, recorded in Joshua Gustavsen’s dense tangle of chords and arpeggios. “Entrance” (from the Tree National Park. “Chaghaybou” haunts and rocks at the same leader’s pen, as are most of the songs) is again portentous, this time via time, delivering looping riffs of blues-flecked bass thumps and spare soprano and piano guitar over vocal harmonizing and hypnotes. This quiet piece is the result of innotic castanet-like percussion. Americana the-moment group play; Gustavsen calls it fiddler Fats Kaplin lends a high lonesome a “module-based collective composition.” sound to “Imdiwanin ahi Tifhamam” while Next is “The Gift,” a lush, rather bucolic “Koud Edhaz Emin” rides a syncopated trio proceeding: lovely, perfectly played R & B groove over swirls of lute and melodic Nordic jazz. Other high points are the chants. In 2012, the group won a Grammy bluesy “Staying There,” a solo-piano beauty for Best World Music. If repeaters weren’t titled “Silent Spaces,” and “Devotion,” which frowned on at the Grammys,this album was adapted from a liturgical-mass would be a shoo-in as well. commission but is full of fervor. — Casey Sanchez — Paul Weideman

PASATIEMPO I February 28 - March 6, 2014

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TERRELL’S TUNE-UP Steve Terrell

Strings, unfortunately, attached Having an adventurous spirit, when I get promo CDs from artists I’ve never heard of at KSFR-FM, if it looks interesting, I’ll consider playing a track on my radio show without listening to it first. But before I do this, I always check the credits to make sure there are no cellos. Seriously, for the most part, few instruments sap the rock ’n’ roll out of a song faster than a dreary cello. So imagine my surprise when I popped Wheel of Talent, the new CD by The Fleshtones, into my car stereo only to hear strings — a cello and a violin, to be exact — on the very first song. Nooooooo! Actually, the strings on “Available,” which pop up later in the album on “How to Say Goodbye,” turned out to be more of a slight misstep, perhaps a jarring texture, than a deal-breaker. Wheel of Talent, produced by Detroit’s Jim Diamond, shouldn’t be seen as The Fleshtones’ attempt to channel Mantovani. Elsewhere on the album you’ll find a ton of The Fleshtones’ trademark garage-forged “Super Rock.” It’s a high-octane noise that they’ve been pounding out for decades. Queens natives Peter Zaremba (vocals, keyboards, harmonica) and Keith Streng (vocals, guitar) formed the band in 1976, playing a pumped-up hybrid of garage rock, punk, New Wave, and soul. Despite Zaremba’s stint hosting an alt-rock show on MTV in the ’80s, Super Rock never got to be super famous. As they sing on the frantic, autobiographical “It Is as It Was” on this album, “We didn’t have a whole a lot of money/But we did what we wanted to.” I love the classic Fleshtones sound, so my favorites here are hard-driving tunes like “What You’re Talking

PASATIEMPO I February 28 - March 6, 2014

About,” “Roofarama,” and “Veo La Luz,” in which The Fleshtones go bilingual — it’s got a fuzz-heavy guitar (with a riff right out of The Yardbirds’ “Heart Full of Soul”) and Spanish lyrics. I wouldn’t be surprised if this were an outtake from their 2012 EP en Español, Quatro x Quatro. This song has apparently been in the band’s repertoire for a long time. Fooling around on YouTube recently, I stumbled across a 1988 live performance of The Fleshtones performing the English-language version, “I See the Light,” originally done in the ’60s by The Music Explosion. “Hipster Heaven” is a good-natured, fast-rocking poke at one of The Fleshtones’ favorite targets in recent years, the contemporary hipster (this one’s got “a new tattoo and money from home”). There’s even a decent tribute to The Ramones with “Remember the Ramones.” (“You don’t know what it means/To hit the Bowery and make the Scene/For a rock ’n’ roller and a kid from Queens.”) But, getting back to those cello songs, it’s obvious on Wheel of Talent that The Fleshtones are trying to stretch beyond their garage/punk roots. Recorded in Spain by renowned Spanish garage-punk producer Jorge Explosion, the strings on “Available” and “How to Say Goodbye” give those tunes a definite retro pop sheen. The former sounds like a rocking Fleshtones tune with some weird strings joining in, but the latter sounds like something that might have appeared on AM radio in the late ’70s (though it also reminds me a little of The Decemberists). There are other tracks that also seem to be aiming for richer textures. For instance, on the classy “For a Smile,” guest vocalist Mary Huff (from Southern Culture on the Skids) sounds a little like Jackie De Shannon. “Tear for Tear” is a slightly jittery stab at the greasy early ’60 teen-pop sound. It made me think of Gene McDaniels’ “Tower of Strength.” And surprisingly good is the horn-fortified, soulful “What I’ve Done Before,” on which The Fleshtones sound closer to Van Morrison than they’ve ever come before. Once I got (almost) used to the idea of The Fleshtones with strings and came to an uneasy peace with those songs, the only other track that bothered me was “The Right Girl,” which is sung in a phony British accent. If you’d told me that David Bowie was doing guest vocals here, I’d probably buy that story. Instead, I suspect this is some kind of in-joke among the band members. But I don’t get it.

All in all, Wheel of Talent is a good album with a few bugs in it. I am happy to see The Fleshtones still willing to experiment. But next time, I hope they forget the fake English accents and the cello. Acquaint yourself with The Fleshtones at www.yeproc.com/ artists/the-fleshtones. Also recommended: ▼ Todo Roto by Wau y Los Arrrghs!!! Listening to The Fleshtones singing “Veo La Luz” made me hungry for some of the real stuff. Fortunately, the premier Spanish-language garage rockers of this era, Wau y Los Arrrghs!!!, released a new album not too many months ago. It’s produced by Jorge Explosion, who also produced The Fleshtones’ sessions in Spain. But no, Mr. Explosion didn’t bring in a string section for Todo Roto. Led by singer Juanito Wau, this is a fuzz ’n’ Farfisa band (or it that a Vox organ?) that never lets up. Each song, it seems, rocks harder than the last one. Even the tunes that start off slow, like “No Me Veras Caer,” are permanently scarred by Wau’s crazy screams. While Wau, naturally, is the focus of most of the tunes, his Arrrghs are a tight little unit. On the instrumental “Rescate Griego” they prove they could even be a pretty exciting surf band on their own. Bask in the Wau experience at https://slovenly.bandcamp.com/album/ wau-y-los-arrrghs-todo-roto-lp. ▼ Records to Ruin Any Party Vol. 4 by various Voodoo Rhythm artists. I first heard Wau y Los Arrrghs!!! on their first album, Cantan en Español, which was released on my favorite Swiss label — and in fact, one of my favorite labels anywhere, Voodoo Rhythm. How can you describe a Voodoo Rhythm collection to someone unfamiliar with the artists? Here, verbatim, is how label owner “Beat-Man” Zeller (better known as “Rev. Beat-Man”) explains it in his promo one-sheet. “This compilation may contains Dirty Words and way too Loud Guitars Trash Blues Garage Punk, overdriven Boogie Blues Folk and Weimar Republic 1920s Jazz Cajun and Pure Snotty One Man Band Trash Punk.” Got that? The English is broken but the spirit is clear. The sampler features label stalwarts like those German blues punks The Juke Joint Pimps, the Swiss garageman Roy and The Devil’s Motorcycle, New Zealand songwriter Delaney Davidson, and not one but two bands — The Monsters and Die Zorros — involving Beat-Man himself. Among the artists on this collection that I’d never heard of before were Becky Lee and Drunkfoot, a one-woman band from Arizona that performs a slow, sad, pretty love song called “Old Fashioned Man”; The New Primitives, a South African garage band; and Heart Attack Alley, a New Zealand group whose sound might be described as neo-skiffle. Voodoo Rhythm proves once again to be a virtual United Nations of trash rock. Which is why I love them. Explore the world of Voodoo Rhythm at www.voodoorhythm.com. ◀

BITS and pIeceS

03 / 28 - 04 / 19 / 2014

RECEPTION 03 / 28 / 2014

5 - 7 PM

Santa Fe Community Orchestra Oliver Prezant, Music Director

New Works by New Mexico’s Composers Readings of New and Recent Works by:

Monk Blaire and

JayChristopher Williams Friday, March 7th, 6:00 pm

Stieren Hall at The Santa Fe Opera

Featuring works by karina Hean / CatHerine gangloFF / MiCHel Déjean

Free admission; Donations appreciated Call 466-4879 for more information or to submit works for consideration SFCO’s New Works by New Mexico’s Composers program is sponsored by a generous grant from The Mill Foundation.

zane bennett contemporary art 435 S GuadaluPE ST, SaNTa FE, NM 87501 T: 505-982-8111 F: 505-982-8160 zaNEbENNETTGallERy.COM

This and other SFCO projects made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, and the National Endowment for the Arts; the Santa Fe Arts Commission and the 1% Lodger’s Tax.

PASATIEMPOMAGAZINE.COM

Paul Weideman I The New Mexican

Suite, sweet freedom Lenny Tischler’s liberating jazz opus

PASATIEMPO I February 28 - March 6, 2014

Adam Shaening-Pokrasso

wenty years ago, Lenny Tischler viewed a video of Iraqi soldiers invading a Kurdish village and brutalizing people at a wedding during the Gulf War. “I started writing at the piano. I called it ‘A Wedding in Kurdistan,’ “ Tischler said. That was the beginning of what today is a fivemovement jazz suite titled Freedom Work: Folk Forms and Variations. He conducts the piece for sextet and vocalist on Saturday, March 1, at First Presbyterian Church. The performance is co-sponsored by the Santa Fe branch of the NAACP. “I just kept writing and it evolved. Five or six years ago, I had two movements, and Oliver Prezant was nice enough to present them in a reading with the Santa Fe Community Orchestra. The whole thing is about the universal struggle for freedom. It’s classically oriented music interspersed with jazz writing and improvisation.” Born and raised in Hillside, New Jersey, Tischler had classical piano lessons when he was a kid. He and his friends sang on the street corners. “This was the ’50s. We’d smoke cigarettes and spit in the gutter and sing doo-wop. We were bored. We had nothing else to do — nothing better to do, actually.” One day when he was 17, his mother’s cousin came to visit. The man noticed that Lenny had some jazz albums — Tischler remembers records by Cannonball Adderley and the Modern Jazz Quartet. “He leaned over and he goes, ‘You like jazz, kid? I own a club in the city.’ ” The nightclub was Junior’s, across 52nd Street from the Birdland jazz club in Manhattan. “This guy comes over and sits down next to me and he goes, ‘I’m going to call you Quiet Thunder. You don’t talk much, but you got a lot going on in there.’ Then he says, ‘I’m going to take you someplace. Get your coat.’ We go down Seventh Avenue a few blocks, and we make a right. They have these places where you go down from the sidewalk. Did you ever read Hermann Hesse’s book about the Magic Theater where everyone had masks and costumes on? This was like an Andy Warhol movie. There’s all these incredibly beautiful women. I’m 17, a working-class kid. I’ve never seen women like this. We stayed there till dawn. People were smoking pot and drinking and dancing.” The memory is from 1960. It inspired the second movement of Freedom Work: “Night Dance Until Dawn.” “This is where I learned about people who knew how to be freely expressive, and it wasn’t decadent. Nobody was exploiting anybody. They were expressing themselves in a place where it wasn’t allowed in the rest of society. This experience was all about spiritual and artistic freedom. And that night was intertwined with jazz. Philly Joe Jones was hanging out in that bar that night, and so was Horace Silver, and they weren’t even performing. It was Victor Feldman, who played piano and vibraphone with Cannonball.” His memory jumped to the next significant influence in his youth: the civil-rights movement. “I lived on

Lenny Tischler; left, Ron Pokrasso’s Freedom Fighters (detail), which will be on display March 1 at First Presbyterian Church

the periphery of the Newark riots, when this little kid got shot by a Newark cop. I had to put up with a lot of bullshit as a Jew, but it was nothing like what other people experienced.” Tischler’s father immigrated from Poland, and his mother’s parents were from Russia. The first movement of Freedom Work is the Hebrew Kaddish, which is sung at funerals, but it is not about death. “It’s about a reaffirmation of God. You honor the person who died by reaffirming your faith. This movement is based on a variation of the Kaddish by the French modern composer Maurice Ravel, who was influenced by jazz and who himself was an influence on the great 1920s cornetist Bix Beiderbecke.” Following “Night Dance Until Dawn” is the third movement, “Love Song: The Sweetest Thing Is Your Tender Heart.” Based on John Coltrane’s 1965 suite A Love Supreme, it is about nobility and compassion. “I work with thieves and ex-cons in a drug and alcohol rehab program, and in order to be effective I have to be able to get past all their crap. We want to have the option to acknowledge everybody’s humanity because otherwise it doesn’t work, compassion can’t work.” The fourth section of the suite he titled “Hope Is Essential (S.N.T.L.)”. The initials are the first letters of Tischler’s four children’s names. Opening with a blues from jazz-bass legend Charles Mingus, it is intended to voice “a promise to our children that we will never give up hope,” he said. “Like a Mighty Stream” is the final movement. It relates to the civil-rights movement and a quote from the Book of Isaiah that Martin Luther King Jr. paraphrased in his “I Have a Dream” speech: “No, we are not satisfied and will not be satisfied until justice rolls down like water and righteousness like a mighty stream.”

For the March 1 concert, Ed Seymour sings the Kaddish in both Hebrew and English. The instrumentalists are Brian Wingard, tenor saxophone; Arlen Asher, alto sax; J.Q. Whitcomb, trumpet; John Rangel, piano; Andy Zadrozny, bass; and John Trentacosta, drums. Asked about his influences in terms of larger ensembles, Tischler thought of two: the Jazztet, founded by Benny Golson and Art Farmer in 1959, and a Thelonious Monk unit that released a renowned live disc in 1963: Monk Big Band and Quartet in Concert. Tischler is conducting his suite, but he is also a jazz bassist of long standing and an alumnus of the Southwest Jazz Orchestra. “Every one of the musicians who will be performing on March 1 is a better musician than I am,” he said, “and I’m enjoying composition more than playing. In this piece, I’m thinking of harmonies. If I’d had more resources, I’d love to also have trombone and vibes and guitar.” The NAACP is paying two-thirds of the costs of the performance — compensating the musicians and paying for the venue rental — and Tischler is using Kickstarter to help finance the remainder. “Freedom Work is a story about the struggle for freedom and justice and an honoring of the courage of those who believed deeply, like Martin Luther King. Jazz is the language of America. That’s my thing. And it’s written in that language as much as I’m capable of doing it. Music in the Orthodox Jewish temple is very rhythmic and very Arabic, Middle Eastern, so I have that in my head, too.” The composer had the inclination to make the conclusion of the piece “dark, like it’s all unfinished,” Tischler said. “But it has to be uplifting, and that’s what it is.” ◀

details ▼ Freedom Work: Folk Forms and Variations for sextet and vocalist ▼ 7 p.m. Saturday, March 1 ▼ First Presbyterian Church, 208 Grant Ave. ▼ $25 at the door, $20 in advance; call 505-652-2403 or visit www.naacpsfnm.blogspot.com

The Dry Facts “Ranching in the 22nd Century: How We Get There from Here” Sunday, March 2, 2 pm NMHM Auditorium

Courtney White of the Quivira Coalition leads a panel discussion among New Mexico ranchers dealing with drought. Part of Cowboys Real and Imagined. Free with admission; Sundays free to NM residents.

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.

WANTed: downtown Walking Tour Guides

Tuesday, March 4, 9:30 am NMHM Auditorium

Enjoy a lecture and slide show about Santa Fe history from noted archaeologist Cordelia Thomas Snow. Stay for refreshments and learn about joining this popular program. Free.

TREVOR PAGLEN with REBECCA

SOLNIT

WEDNESDAY 19 MARCH AT 7PM LENSIC PERFORMING ARTS CENTER

the sOUNDs OF sAnTA FE The Lensic and FRogville RecoRds pResent

GReat music fRom FRogville RecoRding ARtiSts

————————————————————————————

Round MOuntain

BoRis m c Cutcheon & the Salt Licks

An t hOn y LEOn Bill

PalmeR’S TV killeRs ————————————————————————————

F e b R u a Ry 2 8

7: 3 0 p m

$12

Tickets: 505-988-1234 www.TicketsSantaFe.org

What does a surveillance state look like? Over the past eight months, classified documents provided by NSA whistleblower Edward Snowden have exposed scores of secret government surveillance programs. Yet there is little visual material among the blizzard of code names, PowerPoint slides, court rulings and spreadsheets that have emerged from the National Security Agency’s files. The scarcity of images is not surprising...My intention is to expand the visual vocabulary we use to ‘see’ the U.S. intelligence community. Although the organizing logic of our nation’s surveillance apparatus is invisibility and secrecy, its operations occupy the physical world...If we look in the right places at the right times, we can begin to glimpse America’s vast intelligence infrastructure. — Trevor Paglen, The Intercept, 10 February 2014 Trevor Paglen is a photographer whose work deliberately blurs the lines between science, contemporary art, journalism and other disciplines to construct unfamiliar (yet meticulously researched) ways to see and interpret the world around us. His subjects include experimental geography, state secrecy, military symbology and visuality. He is the author of Invisible: Covert Operations and Classified Landscapes (co-authored by Rebecca Solnit); Torture Taxi: On the Trail of the CIA’s Rendition Flights and Blank Spots on the Map: The Dark Geography of the Pentagon’s Secret World, among other books. His most recent work, The Last Pictures, is a meditation on the intersections of Deep Time (the concept of geologic time), politics and art. Paglen’s visual work has been exhibited at the Metropolitan Museum of Art, the Tate Modern, the Walker Art Center, the San Francisco Museum of Modern Art and in numerous other solo and group exhibitions.

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:

www.lannan.org

SE RVICE CHARGE S A P PLY AT ALL POINTS OF PURCHASE

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

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Bench Warmers Thirteen Santa Fe Playhouse, Feb. 20

Bench mark

anta Fe Playhouse, billed as the oldest continuously running theater company west of the Mississippi, often sets its sights on full-length works that enjoy considerable prestige. Upcoming productions this season, for example, include Nicky Silver’s The Lyons, Terrence McNally’s Frankie and Johnny in the Clair de Lune, and David Lindsay-Abaire’s Good People, all of which enjoyed runs on Broadway. But the company also provides a forum for local endeavors through Bench Warmers, an annual incentive for which a panel reads through short plays submitted for consideration — typically several dozen of them — and selects eight for production, all or at least most of them from hometown writers. Bench Warmers is situated about as far from Broadway as one can get without being an astronaut, but its heart is in the right place, and it not only provides encouragement for aspiring playwrights but also gives voice to some works that may incite audience interest. The rules are clear. Each play may run not more than 15 minutes and is to involve a small cast, two or three characters being the norm. Each needs to fit into a set that consists of exactly one park bench (hence the series’ moniker), with the playwright supplying any requisite props or unusual costumes beyond that. This year marks the 13th installment of the series, and many allusions were made to the presumed unluckiness of that number via a multipart skit that wove through the evening and culminated in Alma Reposadas’ playlet Tech 13. In fact, it was a sad year for the Playhouse, and the evening was dedicated to the memory of longtime Bench Warmers producer Dan Gerrity, who died in November. There was no mistaking the care that all of the eight playwrights invested in their scripts, and each of the winning writers deserves mention: Robert F. Benjamin, Larry Glaister, Alix Hudson, Kelly Huertas, Chadney Everett, Lisa Gray Fisher, and Mary Boliek, in addition to Reposadas. Similar commitment came from the directors and actors, who added up to a numerous roster. The plays (seen on Feb. 20) ran a broad gamut, invariably involving interpersonal confrontation: a daughter uneasy about her widowed father’s interest in a potential spouse (Benjamin’s Too Soon); two half-sisters and a mother at a baby shower the delusional, not-really-pregnant daughter has thrown for herself (Glaister’s The Shower); a lesbian couple sorting out where they stand in their relationship (Hudson’s A Walk in the Park); four students and a younger teacher in a writing workshop that does not proceed as planned (Fisher’s Hijacked); and two firefighters in a standoff against a firestorm and each other (Boliek’s Prevailing Winds). The works are described as plays rather than scenes, and the most successful accordingly struck the best balance of plot arc, precise characterization, and constrained running time. Huertas did it well in Senior Trip, in which three aging women attend a cruise-ship “senior prom” (one of them memorably describes it as “Dirty Dancing meets Cocoon”), their idea of a party being stuck in a 1980s time warp. The play that I am sure will stay with me the longest is Everett’s From Falling Down, a sad and touching encounter between a psychotic mother and her compassionate son who aspire to escape the down-and-out conditions that have engulfed them, but probably will not. Director Vanessa Rios y Valles and actors Karen Leigh and Peter Chapman ushered Everett’s play firmly into a viewer’s heart. — James M. Keller Bench Warmers Thirteen continues at 7:30 p.m. on Friday, Feb. 28, and Saturday, March 1, and at 4 p.m. on Sunday, March 2. Tickets ($20, $15 for 17 and under) are available at the door. Visit www.santafeplayhouse.org or call 505-988-4262 for reservations. Santa Fe Playhouse is at 142 E. De Vargas St.

PASATIEMPO I February 28 - March 6, 2014

tonight . FEBrUarY 28, 2014 . 5-7pm tonight . april 26, 2013 . 5-7pm

l as t fr i daY a r t Wal k In Santa Fe’s Vibrant Railyard Arts District laSt fRiDay eVeRy MoNth

Zane Bennett conteMPorarY art Robert Motherwell, View/Review: Contemporary Masters

tai Modern Monique Van Genderen & Nagakura Kenichi

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Join us and celebrate the art of feasting together tonight!

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leWallen Galleries Group Show: Traces of the Dulcet Earth

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daVid richard GallerY Julian Stanczak, Lineal Pathways Paul Pascarella, New Moon West Gesture Then and Now: The Legacy of Abstract Expressionism

jaMes kellY conteMPorarY WilliaM sieGal GallerY inaugural Show of Works by Gallery artists in New location at 1611 Paseo de Peralta

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charlotte jackson fine art Ronald Davis: Unidentified Floating Objects

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The Railyard Arts District (RAD) is comprised of seven prominent Railyard area galleries and SITE Santa Fe, a leading contemporary arts venue. RAD seeks to add to the excitement of the new Railyard area through coordinated 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. PASATIEMPOMAGAZINE.COM

By Christopher Hampton From the novel by Choderlos de Laclos Directed by Jon Jory

March 7–8, 14–15—7pm; March 9 & 16—2pm $15/$12 Reserved Seating; $5 Students & Seniors Les Liaisons Dangereuses is presented by special arrangement with SAMUEL FRENCH, INC.

NOTE: Fri. & Sat. performances TIME: 7pm | Sun. Matinees: 2pm FOR TICKETS call the Tickets Santa Fe Box Office: 505-988-1234 or www.ticketssantafe.org Performing Arts DePArtment sAntA fe University of Art AnD Design 1600 st. michAel’s Drive sAntA fe, new mexico

The Met: Live in HD C O N T I N U E S AT T H E L E N S I C

BORODIN’S HISTORIC RUSSIAN EPIC

PRINCE IGOR

“A revelatory production . . . dreamlike, wrenchingly human and viscerally theatrical.” —New York Times

March 1, 10 am (live) March 2, noon (encore – NEW TIME) $22–$28 / Encore $22 Tickets: 505-988-1234 www.TicketsSantaFe.org SERVICE CHARGES APPLY AT ALL POINTS OF PURCHASE

SUPPORTED BY

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t h e l e n s i c i s a n o n p r o f i t, m e m b e r- s u p p o rt e d o r ga n i z at i o n

PASATIEMPO I February 28 - March 6, 2014

ON STAGE Joshua Sage

Stop, Santa Fe, what’s that sound: Round Mountain

The local music scene is prone to getting a little sluggish during the dreary winter and early spring months. However, a new series at the Lensic Performing Arts Center (211 W. San Francisco St.) may change that by offering a number of local mainstays a chance to be seen on one of the bigger stages in town. On Friday, Feb. 28, at 7:30 p.m. Frogville Records curates the first installment of Sounds of Santa Fe, bringing together four of the label’s most prominent acts. Headlining the night is Round Mountain, a folk duo composed of brothers and multi-instrumentalists Char and Robby Rothschild. Also on the bill are Boris McCutcheon & the Salt Licks, Anthony Leon, and Bill Palmer’s TV Killers. Tickets ($12) are available through www.ticketssantafe.org and by calling 505-988-1234. Next month’s Sounds of Santa Fe showcase (March 28) is curated by After Hours Alliance. — L.B.

THIS WEEK

Support group: Water by the Spoonful

Quiara Alegría Hudes’ 2012 Pultizer Prize-winning play is an involved tale of how the support sought for addiction and the other burdens life deals us can be as complicated as the affliction itself. Elliot Ortiz is a former Marine whose service in Iraq left both physical and psychological wounds. His online exchange with other addicted souls highlights the complications in all their lives. In weaving their various stories together, Hudes develops warmth for her characters even as their lives offer only glimmers of hope. Directed by Fran Martone, the Teatro Paraguas production of Water by the Spoonful runs Thursday through Saturday, March 6 to 8, at 7:30 p.m. with a Sunday, March 9, matinee at 2 p.m., and continues March 13 to 16. Teatro Paraguas Studio is located at 3205 Calle Marie. Tickets, $15 ($12 seniors and students; Thursday performances are paywhat-you-wish), can be reserved by calling 505-424-1601. — B.K.

Nuremberg’s finest: Música Antigua de Albuquerque

Arnold Schoenberg, Blue Self Portrait

Modernism revealed: Santa Fe Pro Musica

In 1918, Arnold Schoenberg founded in Vienna his Society for Private Musical Performances to present repeated, well-rehearsed concerts to a restrictedmembership audience interested in the increasingly challenging repertoire of modern composition. Some pieces were performed just as they were written, but in many cases Schoenberg or his colleagues recast the music for a chamber ensemble or chamber orchestra. Two of the resulting arrangements figure on Santa Fe Pro Musica Orchestra’s concerts this weekend: Mahler’s Songs of a Wayfarer (here featuring mezzo-soprano Deborah Domanski) and Debussy’s Prelude to The Afternoon of a Faun. Thomas O’Connor conducts this concert, which also includes the Adagietto from Mahler’s Fifth Symphony and another recast composition, Shostakovich’s Symphony for Strings and Woodwinds, Op. 73a, which is an upscaling the violist Rudolf Barshai made of Shostakovich’s Third String Quartet. Concerts take place at 6 p.m. on Saturday, March 1, and 3 p.m. on Sunday, March 2, in St. Francis Auditorium of the New Mexico Museum of Art (107 W. Palace Ave.). Tickets ($20 to $65; discounts available) may be purchased from Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org). — J.M.K.

Lest the 450th anniversary of the birth of the composer Hans Leo Hassler should go unremarked, the early-music ensemble Música Antigua de Albuquerque is devoting an entire program to his works at 4:30 p.m. on Sunday, March 2, at Christ Lutheran Church, 1701 Arroyo Chamiso. Born into a musical family in Nuremberg, Hassler s spent considerable time hobnob- Musicus inte mmu r Germanos sua aetate su bing with avant-garde composers in Venice, certainly studying with the eminent Andrea Gabrieli and befriending his nephew Leo Hassler Hans Giovanni Gabrieli, with whom he collaborated in composing a wedding motet. After he returned to Germany, Hassler gained widespread renown as an organist and composed strikingly beautiful works in late-Renaissance style, including an immense body of sacred works (for both the Catholic and Lutheran factions) and secular songs in German and Italian. After he died, in 1591, his home city of Nuremberg honored him as “Musicus inter Germanos sua aetate summus” (most exalted German musician of his age), which was not an overstatement. Tickets ($16, with discounts for seniors and students) may be purchased at the door; call 505-842-9613 for reservations. — J.M.K.

PASATIEMPOMAGAZINE.COM

Robert Nott I The New Mexican

Black tie, gold suit “Don’t scratch it. There may be chocolate underneath,” someone told Martin Balsam just after he accepted an Oscar statuette for Best Supporting Actor for A Thousand Clowns in 1965. Oscar has proven to be much more durable than that, celebrating its 86th birthday on Sunday, March 2, when the annual Academy Awards presentation ceremony takes place in Hollywood’s Dolby Theatre. ABC will telecast the show live. Last year, roughly 40 million people were reported to have watched the proceedings. The first televised broadcast came 60 years before, filmed live at the RKO Pantages Theatre with Bob Hope serving as emcee, on March 19, 1953. That 1953 awards show covered nominees from 1952 productions, with Cecil B. DeMille’s The Greatest Show on Earth winning Best Picture, Gary Cooper winning Best Actor for High Noon, and Shirley Booth netting the Oscar for Best Actress for Come Back, Little Sheba. John Ford earned Best Director for The Quiet Man, while Charles Schnee picked up the Best Screenplay for The Bad and the Beautiful. For the record, Anthony Quinn took Best Supporting Actor for Viva Zapata! and Gloria Grahame took Best Supporting Actress for The Bad and the Beautiful. But unless you are an Oscarphile, does anyone really remember who won which award 50 years ago, or even 50 weeks ago? Quick — name last year’s Supporting Actor award winner and candidates. The history of Oscar and the Academy Awards is the story of facts and figures, winners and losers, and famous speeches and notorious moments. And to commemorate it all, Abbeville Press has just published 85 Years of the Oscar by Robert Osborne, just in time to remind us that there was one time when the Academy considered 17 months worth of films (1932-1933), and that nominated categories have come and gone over the years. Yes, there was once a category for Best Dance Director, but who makes musicals nowadays? Osborne’s history is a fascinating collection of ultimately forgettable facts, but if you like Oscar, you’re bound to like the book. It starts with the creation of the Academy of Motion Pictures Arts and Sciences in 1927, which was founded following a dinnertime conversation among movie mogul Louis B. Mayer, actor Conrad Nagel, director Fred Niblo, and producer Fred Beetson. Nagel acted in such films as The Kiss, The Divorcée, Second Wife, and Numbered Men, while Niblo directed The Temptress, The Mysterious Lady, Wives Beware, and Blame the Woman. These titles sound like chapters of my own life. When the Academy launched the idea of presenting awards for outstanding achievement in cinema, you could get a movie ticket for 25 cents, and that included a short subject and cartoon. During its first few years of existence, the Academy considered movies released 26

PASATIEMPO I February 28 - March 6, 2014

oscar ceremonies remembered between Aug. 1 of one year and July 31 of the next, which is why, when they converted to a strict Januaryto-December calendar year a few years later, they had to take into account movies made over a 17-month period to catch up. Initially 12 categories were created, including Best Dramatic Directing and Best Comedic Directing, as well as “Achievement in Title Writing.” (Remember, this was the tail end of the silent-film era.) By year two, only seven categories were considered: Production, Best Actor, Best Actress, Direction, Writing, Cinematography, and Art Direction. Now there are about two dozen, including special awards like the Irving G. Thalberg Memorial Award. In case you are wondering, 1927’s Wings won Best Picture the first year. MGM art director Cedric Gibbons designed the Oscar statuette. Shortly thereafter he won an Oscar for Best Art Direction for 1929’s The Bridge of San Luis Rey — no conflict of interest there. In 1930 George Arliss was nominated for Best Actor for two films — Disraeli and The Green Goddess. He won, but the award was announced specifically for the Disraeli performance, though the reasoning behind that remains unclear. A Laurel and Hardy short — The Music Box — won producer Hal Roach a Best Comedy Short Oscar for the 1932 awards, and believe it or not, in 1934 a Three Stooges short, Men in Black, was nominated but lost to La Cucaracha. You can find both shorts on YouTube, so why don’t you take a look and decide which one seems better today? In fact, YouTube is your friend when it comes to reviewing famous Oscar ceremony moments. Did Greer Garson really babble on for more than 40 minutes while receiving her Best Leading Actress award for Mrs. Miniver back in 1942, as Oscar myth has it? She claims she talked about six minutes, and a brief clip of her accepting her award, which is on YouTube, shows she spoke rather ponderously, making the speech seem much longer than it probably was. Nearly a decade later, she took to the Oscar stage to give a statuette

Slumdog Millionaire’s director Danny Boyle and actor Ayush Mahesh Khedekar at the 81st Academy Awards®in 2008; Richard Harbaugh/© A.M.P.A.S. Top, Spencer Tracy and Bette Davis in 1938 at the 11th Academy Awards®; courtesy A.M.P.A.S.

Santa Monica Civic Auditorium, location of the 38th Academy Awards®ceremony, April 18, 1966; courtesy A.M.P.A.S. Guy Lombardo, Judy Garland, and Mickey Rooney at 1939’s 12th Academy Awards. Garland received a special award — a miniature statuette — “for her outstanding performance as a screen juvenile.”; courtesy of A.M.P.A.S.

to Humphrey Bogart for his leading role in 1951’s The African Queen, and in her presenter’s speech she joked that she still had about 10 minutes left over from 1942 to talk — but few found the quip amusing. The years 1940 and 1941 brought new Oscar presentation policies. Until then, winners were notified in advance that they had won. Now it was all a surprise, which of course is part of the fun in watching the broadcast. 1941 also marked the first inclusion of documentary films — Churchill’s Island won that year — and it was the first time an American president, Franklin D. Roosevelt, participated in an Oscar ceremony, as he broadcast a radio announcement thanking Hollywood for its patriotic work. Does anyone remember that Gene Kelly was nominated for an Oscar for Best Actor for 1945’s Anchors Aweigh, or that Larry Parks netted an Oscar nod for Best Actor for 1946’s The Jolson Story? Or that Arthur Kennedy received four Best Supporting Actor nods without ever winning an award? In 1951 the Warner Bros. melodrama I Was a Communist for the FBI — which is not a documentary — was nominated for Best Documentary. Among the 1956 nominations was one for the Bowery Boys movie High Society, but the nominees — writers Edward Bernds and Elwood Ullman — asked the Academy to withdraw them from the ballot since the Academy had somehow mixed that film up with the MGM movie musical of the same title starring Bing Crosby, Frank Sinatra, and Grace Kelly.

Over time, the awards ceremony got longer and longer — clocking in at three hours and 22 minutes in 1978, which is the last time John Wayne came to the show. Battling cancer, he gave a brief but brave speech indicating his plan to “be around for a whole long longer.” He died about two months later. Wayne only won an Oscar once, for 1969’s True Grit. “I spent nearly fifty years chasing this elusive fellow with good performances and bad,” he once said. Osborne’s book records the running time of all the shows and weighs in on the embarrassing moments — the streaker running across the stage during a speech by David Niven at the 1973 ceremony, Rob Lowe dancing with Snow White at the 1988 ceremony, and so on — while highlighting the reflections of those who won the award. One of the best of those stories in Osborne’s book involves Ellen Burstyn, who won Best Leading Actress in 1974 for Alice Doesn’t Live Here Anymore. She could not attend the Oscar ceremony, so Jack Lemmon and Walter Matthau later delivered the award to her in New York, where she was performing in a play. She

asked Matthau what the Oscar really meant. “Let’s put it this way, Ellen,” Matthau said. “When you die, the newspapers will say, ‘The Academy Award-winning actress Ellen Burstyn died today.’ ” ◀

“85 Years of the Oscar” by Robert Osborne was published by Abbeville Press. PASATIEMPOMAGAZINE.COM

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JONATHAN’S PICKS BEST PICTURE — Martin Scorsese did another bravura job with The Wolf of Wall Street, but a self-

indulgent hand on the editing console and glamorization of a real-life sleazeball probably doomed his chances out of the gate. Captain Phillips, Dallas Buyers Club, Her, Nebraska, and Philomena, fine pictures all, have not generated the requisite buzz and are relegated to ballast for Oscar’s ship this year. It comes down to three: 12 Years a Slave, Gravity, and American Hustle. I didn’t much like 12 Years a Slave, but Oscar did not ask for my opinion. CHOICE: Nothing stands out PREDICTION: 12 Years a Slave

DIRECTING — Splitting the vote is all the rage lately, although traditionally the Best Picture and Best Director awards match up — that parlay scores roughly 73 percent since Oscar’s beginning. Last year Argo took Best Picture, and its director, Ben Affleck, didn’t rate a nomination. This year’s director casualties from the Best Picture list are Stephen Frears (Philomena), Spike Jonze (Her), Jean-Marc Valleé (Dallas Buyers Club), and Paul Greengrass (Captain Phillips). Of those left standing, the best chances fall to Steve McQueen (12 Years a Slave) and Alfonso Cuarón (Gravity). Cuarón’s technical dazzle and his white-knuckle dramatics, plus Oscar’s split personality, should carry the day. CHOICE: Alfonso Cuarón, Gravity PREDICTION: Alfonso Cuarón

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hat are they thinking over there at the Academy? For the past few years, Oscar has fielded an odd nine entries in the Best Picture race. What, the Academy couldn’t come up with one more movie good enough to stand toe to toe with this lot? Before Midnight? How about Inside Llewyn Davis? Too Welsh-sounding? Or Lee Daniels’ The Butler? Putting the director’s name in the title probably killed it. By the Academy’s rules, a movie must get at least 5 percent of the total votes cast to merit a nomination. It seems these nominees were the only ones to rise to that bar. And so, like a baseball team, Oscar is putting nine on the field. — J.R.

ACTOR IN A LEADING ROLE — After sprinting to an early lead, aging Bruce Dern is fading in the stretch. Oscar’s not showing much respect for elders in this category — Robert Redford wasn’t even nominated. Christian Bale is a recent Oscar winner, and the Academy likes to spread the wealth. Leonardo DiCaprio played two shady Long Island millionaires last year, and they cancel each other out. The race comes down to Chiwetel Ejiofor and Matthew McConaughey, both playing with socially loaded dice. But the compelling personal storyline goes to McConaughey for his startling transformation from lightweight to dramatic dynamo over the past two seasons. And he’s already collected the Golden Globe and Screen Actors Guild awards this year. They say good things come in threes. CHOICE: Matthew McConaughey, Dallas Buyers Club PREDICTION: Matthew McConaughey

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ACTRESS IN A LEADING ROLE — Can you believe it? Meryl Streep is nominated, and nobody’s

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Dallas Buyer’s Club

Nebraska

The Wolf of Wall Street

12 Years a Slave

American Hustle

Gravity

talking about her chances (although she was, as always, terrific). Amy Adams is nominated again, great again, and nobody’s talking about her either. The same goes for Sandra Bullock. Judi Dench, like Streep, is pure gold wherever she sets her foot. But even with the malodorous controversy surrounding beleaguered director Woody Allen, Cate Blanchett’s Blue Jasmine performance smells irresistibly sweet. CHOICE: Judi Dench, Philomena or Cate Blanchett, Blue Jasmine PREDICTION: Cate Blanchett Her

continued on Page 30 PASATIEMPOMAGAZINE.COM

Supporting Actor nominee Michael Fassbender

Foreign Language Film nominee The Great Beauty

Supporting Actress nominee Jennifer Lawrence

Oscar picks, continued from Page 29

LAUREL’S PICKS

ACTOR IN A SUPPORTING ROLE — Christoph Waltz

BEST PICTURE — Some years the big Oscar winner is

was an upset winner last year, beating out Tommy Lee Jones and denying Philip Seymour Hoffman the chance to go out a winner. Will there be an upset winner this year? Don’t bet on it. Michael Fassbender was repulsively superlative, Barkhad Abdi so good you wouldn’t let him on a plane, and Jonah Hill and Bradley Cooper weren’t chopped liver. But Jared Leto, returning to the screen after a few years off with his band, simply wrapped it up with his meltingly good transvestite with a heart of gold. He’s been cleaning up in the pre-Oscars awards, and he won’t stop now. CHOICE: Jared Leto, Dallas Buyers Club PREDICTION: Jared Leto

ACTRESS IN A SUPPORTING ROLE — Last year

the obscurity slot went to Jacki Weaver (Silver Linings Playbook); this year it’s June Squibb. In your inner ear can you hear “And the Oscar goes to … June Squibb.”? Neither can I. And what happened to Oprah? Maybe Oscar figured she already had enough gold. I loved Sally Hawkins, and Julia Roberts held her own opposite Meryl Streep, which ought to be grounds for an award. If Jennifer Lawrence hadn’t just held the trophy high last year, she’d be an awfully tough act to beat. But who can resist saying Lupita Nyong’o? CHOICE: Sally Hawkins, Blue Jasmine PREDICTION: Lupita Nyong’o, 12 Years a Slave

WRITING (ADAPTED SCREENPLAY) — Before

Animated Feature nominee Frozen

Supporting Actress nominee Sally Hawkins

Midnight is smart and compelling but maybe too talky for Oscar’s taste. Philomena might not be here without the great Judi Dench, The Wolf has too much baggage, and screenplay isn’t what comes to mind with Captain Phillips. There’s a certain steamroller quality surrounding 12 Years a Slave. It won’t sweep the evening, but it could show up again here. CHOICE: Richard Linklater, Julie Delpy & Ethan Hawke, Before Midnight PREDICTION: John Ridley, 12 Years a Slave

WRITING (ORIGINAL SCREENPLAY) — Woody Allen is a persona non grata this year, and Dallas Buyers Club will be rewarded elsewhere. Nebraska may get nothing at all. David O. Russell is the only director to have all four of his actors nominated in two straight years, and he’s directed three Oscar performances, but he’s never won one himself, as director or writer. And he probably won’t again this year. Spike Jonze’s screenplay for Her is about as original as they come, and he too has never won the big enchilada. CHOICE: Eric Warren Singer & David O. Russell, American Hustle PREDICTION: Spike Jonze, Her BONUS ROUND — Santa Fe’s Joshua Oppenheimer

looks golden for his remarkable documentary feature The Act of Killing, and his mother would be so proud. I took plenty of flak for touting The Great Beauty, but I like its chances for Best Foreign Language film. Frozen has Best Animated Feature down cold, and its song “Let It Go” is a likely winner too.

NO RESPECT — Robert Redford, Oprah, and the Coen Brothers should get together and make a movie called Dissed at the Oscars. Sarah Polley (Stories We Tell) could make a documentary about it.

PASATIEMPO I February 28 - March 6, 2014

clear-cut, but not in 2014. If there were any correlation between critics’ favorites and actual winners, the race would’ve been over a long time ago, with 12 Years a Slave taking home the top prize. But Alfonso Cuarón is the frontrunner in the directing category, for helming this summer’s enthralling tentpole Gravity. Prevailing wisdom dictates that the winner of the award also wins in this one (the Academy has only broken with tradition 10 times in the last 60 years), but maybe the Academy will divide the spoils. And other awards can also be bellwethers. American Hustle took home a Golden Globe and a Screen Actors Guild award, and even the Producer’s Guild of America couldn’t make up their minds, declaring a first-ever tie between Gravity and 12 Years a Slave. It’s hard to deny that American Hustle is a crowd pleaser, much like Gravity, but while I love the way the film reveals that most of us do some kind of hustle to get what we want out of life, I shave off a few points because it’s more of a character study than a straight-up narrative film. There’s no doubt that 12 Years a Slave is a powerful and important epic, but I found it somewhat flawed cinematically. Peter Travers of Rolling Stone has said, “Gravity is more than a movie. It’s some kind of miracle,” and I’m inclined to agree. It certainly dazzles and entertains. But I suspect the Academy will decide this is a year for a film that, as Lupita Nyong’o said at the SAG awards ceremony, shines a light “underneath the floorboards of this nation ... reminding us what it is we stand on.” SHOULD WIN: Gravity WILL WIN: 12 Years a Slave

DIRECTING — This category is loaded with champs. I love Alexander Payne for the way his films skewer pockets of Americana so vividly and astutely, and Nebraska is no exception — bleak but humorous and ultimately touching. As he did with Silver Linings Playbook, David O. Russell wrangled four of the year’s finest performers, who earned Oscar nods in all four acting categories. I could go on a rant about Martin Scorsese’s overlong, indulgent The Wolf of Wall Street. There’s a scene in Wonder Boys in which a young student critiques an author’s new book by saying, “It sort of reads in places like you didn’t make any choices,” and I felt as if Scorsese was having so much fun, he didn’t either. Steve McQueen’s work is gutwrenching and at times also truly gorgeous, and I’m glad someone used the trappings typically romanticized in films like Gone With the Wind to stir up mortification and outrage. Visionary Alfonso Cuarón is the frontrunner, though, for his magnificent, inspired work in Gravity, and while he could’ve rested on his special-effects laurels, he also offered up a story that is gripping from beginning to end. SHOULD AND WILL WIN: Alfonso Cuarón, Gravity ACTOR IN A LEADING ROLE — There must be something inherently untrustworthy about Leonardo DiCaprio’s face. Twice (in The Wolf of Wall Street and The Great Gatsby) he was cast as a man who tries to convince people that he’s something he isn’t and who thinks money can solve everything. In Nebraska, Bruce Dern is almost too convincing as a grumpy old alcoholic schlub. Pretty impressive for a man who in real life, according to The New York Times, “has never

touched alcohol ... and is always in the middle of some dizzyingly digressive story.” Chiwetel Ejiofor gave a visceral performance in 12 Years a Slave. Christian Bale is an amazing chameleon, transforming himself into a paunchy balding con artist for American Hustle. But ah, the McConaughey-ssance. Matthew McConaughey has come a long, long way from hitting on high school girls in Dazed and Confused, and his dedication to his role as a homophobic redneck rodeo buff with AIDS can’t be ignored. He’s already brought home Golden Globe and SAG awards, which practically makes him a shoo-in. Let’s just hope he doesn’t talk about Neptune in his acceptance speech again. WILL WIN: Matthew McConaughey, Dallas Buyers Club

ACTRESS IN A LEADING ROLE — No surprises

among the nominees here. We’re used to seeing Amy Adams, Judi Dench, and Meryl Streep in the acting categories, and even Sandra Bullock has a golden statuette on her mantel. Streep yet again blows the rest of her cast members out of the water, and that’s saying something when you’re talking about the star-spangled cast of August: Osage County. The clear winner, though, is Cate Blanchett, the sordid details of Woody Allen’s personal life notwithstanding. I hate to imagine the Academy robbing an actress of a well-deserved honor. SHOULD AND WILL WIN: Cate Blanchett, Blue Jasmine

ACTOR IN A SUPPORTING ROLE — This is another

close category. Much has been made of the fact that newcomer Barkhad Abdi got a nod for his role as a Somali pirate captain while Tom Hanks, in Captain Phillips’ title role, was snubbed. He does a commendable job, but he’s out of his league here. The real competitors are Jared Leto of Dallas Buyers Club and Michael Fassbender from 12 Years a Slave — both firsttime nominees. Fassbender almost takes his chilling, terrifying intensity too far. Leto is lovable and hilarious as Ron Woodroof’s hustling transgender business partner — I was riveted whenever he was onscreen. MIGHT HAVE A BETTER CHANCE IF HE WEREN’T PLAYING ONE OF THE WORST HUMAN BEINGS ON THE PLANET: Michael Fassbender, 12 Years a Slave WILL WIN: Jared Leto, Dallas Buyers Club

ACTRESS IN A SUPPORTING ROLE — Yet another

category that’s almost a dead heat. I adored June Squibb as the uninhibited, foul-mouthed spitfire wife of Dern’s character in Nebraska. But the Oscar this year belongs to either Jennifer Lawrence for her live-wire performance as an impulsive, slightly unhinged housewife in American Hustle or Lupita Nyong’o for her devastatingly moving turn as the sometimes-beloved, sometimes-abused, but always-strong-willed Patsey in 12 Years a Slave. Who ultimately wins may depend on whether the Academy wants to give Lawrence two back-to-back Oscars or reward a talented newcomer. SHOULD WIN: Lupita Nyong’o, 12 Years a Slave COULD WIN BY A HAIR (OR A BUNCH OF HAIR IN HOT ROLLERS): Jennifer Lawrence, American Hustle

FOREIGN LANGUAGE FILM — Omar is a gripping

fictional drama about star-crossed friends and lovers on the West Bank. In The Missing Picture, Rithy Panh recounts the atrocities committed by the Khmer Rouge he witnessed when he was a boy; using hand-carved ceramic statues and poetic voice-over, it will haunt you for days. The Broken Circle Breakdown swept me off my feet with its touching, gut-wrenching story; its intertwining of themes and music; and its meditation on some of life’s heaviest questions. But The Great Beauty is an inventive, gorgeous, thought-provoking portrait of the languorous dolce vita that’s an obvious, loving nod to Fellini — and that’s a recipe for Oscar success. SENTIMENTAL FAVORITE: The Broken Circle Breakdown WILL WIN: The Great Beauty

DOCUMENTARY FEATURE — 20 Feet from Stardom

is a fantastic behind-the-scenes romp through 20thcentury popular music, and The Square offers a gripping ground-level view of political change in Egypt that began in Tahrir Square and is still far from settled. Journalist Jeremy Scahill continues to open our eyes to things we might not want to see in Dirty Wars, but it needed more depth and detail. The Act of Killing will walk away with the award in this category, though. It captures a former Indonesian death-squad leader laughing as he brags about all the people he has killed, reenacting the murders, and coming to grips on a visceral level with the atrocities he has committed. I’ve never seen another film like it. SHOULD AND WILL WIN: Joshua Oppenheimer & Signe Byrge Sørensen, The Act of Killing

ANIMATED FEATURE FILM — Despicable Me 2 is silly, imaginative, and funny, but the plot felt a little loosey-goosey. The Croods has some eye-poppingly creative creatures and scenery. I appreciated Frozen’s emphasis on sisterly love rather than Disney’s oldschool insistence that “some day my prince will come.” That film took home a Golden Globe, and it’s certainly the fan favorite — it had a spectacular run at the box office, clocking in as Disney’s highest-grossing animated film of all time, and it also happens to be the highest-grossing film with a woman ( Jennifer Lee) at the helm (she go-directed with Chris Buck). Perhaps, though, the Academy will use an Oscar as their fond farewell to the now-retired master Hayao Miyazaki for The Wind Rises. PROBABLY SHOULD WIN: Hayao Miyazaki & Toshio Suzuki, The Wind Rises WILL WIN: Chris Buck, Jennifer Lee & Peter Del Vecho, Frozen WRITING (ADAPTED SCREENPLAY) — 12 Years a Slave is the clear winner for taking a 19th-century memoir and turning it into an engrossing modern film. WILL WIN: John Ridley, 12 Years a Slave

WRITING (ORIGINAL SCREENPLAY) —

Oddly enough, originality isn’t always the clear marker for winners in this category. Blue Jasmine, Nebraska, and American Hustle, while amazing works full of juicy parts, aren’t as strong narratively. Dallas Buyers Club was seen as risky, and the screenwriters couldn’t get it made for a decade or more; it’s a bit conventional in structure, but the narrative is strong, and the characters are vivid. But Her stands apart for its captivating story, unique characters, and sensitive dialogue. You can’t get much more original than the story of a man in the not-too-distant future who has a love affair with an operating system. WILL WIN: Spike Jonze, Her

RANDOM NOTES — Though it might seem easy

to choose a bustle- and petticoat-heavy period piece (The Invisible Woman) for Achievement in Costume Design, American Hustle (Michael Wilkinson) has jaws dropping, fingers pointing, and audiences snickering with its flashy leisure suits, wide ties, and down-tothere necklines. I can only hope the Academy gives the Makeup and Hairstyling Award to Robin Mathews and Adruitha Lee for their subtle work in Dallas Buyers Club, because otherwise we could see “Academy Award Winner” printed on DVD cases for Jackass Presents: Bad Grandpa or The Lone Ranger, misleading unsuspecting viewers into thinking either film is worth watching. Theaters are already screening a singalong version of Frozen, so this Oscar probably belongs to “Let It Go,” but personally, I’d hand it to Pharrell Williams’ utterly infectious and optimistic “Happy,” from Despicable Me 2. Gravity will do a technical slam dunk and take home both the Cinematography and Visual Effects awards. Although let’s be honest: Smaug the Magnificent definitely lived up to his name. ◀

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OSCAR’S MUSICAL SIDE Bill Kohlhaase I The New Mexican

he criteria for choosing Oscar nominations is something of a mystery, and no more so than in the music categories. The rules and regulations for nominations are generally straightforward — the Academy’s board of governors this year disqualified Bruce Broughton’s “Alone Yet Not Alone” from the film of the same name after its nomination, because the composer used his “position as a former governor and current executive committee member to personally promote one’s own Oscar submission.” The reason one score or song is chosen over the others is not as clear. Unless, of course, its winning comes for reasons having little to do with the craft and application of film music. Take this year’s four nominations for best original song. Kristen Anderson-Lopez and Robert Lopez’s poppsychology anthem “Let It Go” from Frozen, with Idina Menzel’s perky performance, is most likely on the short list because of the film and soundtrack’s commercial

PASATIEMPO I February 28 - March 6, 2014

success. Does it have a chance against the established star power (the Academy loves star power) of U2 (“Ordinary Love” from Mandela: Long Walk To Freedom); Karen O of the Yeah Yeah Yeahs (“The Moon Song” from Her); or the cat-in-the-hat Pharrell Williams (“Happy” from Despicable Me)? Musically, Williams’ old-school-meets-new-groove R & B track is by far the best of the lot. And you can dance to it all day long! But then, Williams’ celebrity status, firework-bright since the Grammy Awards, is relatively recent. Pardon my cynicism, but those Academy types — no need for disparaging clichés — were probably influenced by Scarlett Johansson and Joaquin Phoenix’s duet of O’s syrupy song, as heard in the film. And you can be sure that many in Hollywood think Bono and U2 are the greatest band ever, especially when you throw in the film’s social-historical self-righteousness. I’d say that the odds are even that one of those two, for the wrong reasons, will take away the little man. But in my opinion, Williams deserves it. The awarding for best original score also might, as it often does, make no sense at all. The failure to include Mark Orton’s work for Nebraska among the nominees — perhaps because it carried variations of a few numbers Orton had already recorded with the

art band Tin Hat — is the most perplexing thing since 1960, when Morris Stoloff and Harry Sukman’s score for Song Without End beat out Nelson Riddle’s Can-Can with Cole Porter’s songs from the original Broadway play (the rules regarding previously composed material were different back then). Orton’s music is the perfect fit for Alexander Payne’s lost-in-the-heartland saga of decline, familiar yet unique for its blend of country twang and art-song emotion. Which of the nominated scores can compete with it? Steven Price’s sparky music for Gravity should be the favorite for its edgy propulsion and ominous electricity. Its static contrasts with the film’s suspended visuals — those short-circuit climaxes! — and it isn’t afraid to sonically irritate. Alexandre Desplat’s understated work for Philomena does what great film music should do — defer and complement — with sensitive orchestration and sympathetic moods, often coming in a waltz count. The soundtrack recording, not yet released on disc, is something to look forward to with its melancholy and carnival-of-life influences. Thomas Newman’s original music for Saving Mr. Banks may get a lift from its supercalifragilisticexpialidocious-referencing nostalgia. To his credit, Newman’s score is vastly different from the Mary Poppins melodies interwoven through the soundtrack. Those songs won an Oscar for Richard and Robert Sherman in 1964 (the Banks soundtrack recording includes a second CD of the Sherman brothers performing their demo songs for the movie). Only if the Academy voters confuse the Shermans’ work with Newman’s — we wouldn’t put it past them — will this score win. Then there’s perennial favorite John Williams and his score for The Book Thief. The music is pleasantly serious, but as is often the case with a Williams score, it feels too calculated and manipulative. Williams, who’s won five Oscars in different musical categories and has been nominated 49 times, can never be dismissed. That leaves Will Butler and Owen Pallett of Arcade Fire and their work for Her. The score isn’t typical Arcade Fire — there’s too much space and spareness — but it does carry much of the buzzy instrumentation and simple chord progressions we’ve come to expect from the ensemble. It’s the perfect backdrop for an introvert’s coming-out party. My guess is that the Academy, still congratulating itself for the hipness displayed in 2010 when it gave best original score to The Social Network composers Trent Raznor (Nine Inch Nails) and Atticus Ross, will give the Oscar to Butler and Owen’s futuristic work. But for the wrong reasons. ◀

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ART OF SPACE Paul Weideman Saving seats Matt Lambros’ richly detailed photographs of abandoned theaters are portraits of gaudy decrepitude, a lamentable parade of forgotten architectural glories. The Brooklyn photographer backs up his images with research illuminating the stories behind the buildings and, once in a while, hope that restoration is on the horizon. Ten prints from Lambros’ After the Final Curtain series are on exhibit at the Jean Cocteau Cinema through March 17. The photos of aged performance and cinema spaces are notable not only for the ghastly state of the buildings’ interiors but also for their amazing architectural details such as the ceiling of Philadelphia’s Uptown Theatre, with its spiky central star figure, and the intricate plasterwork in the Empress Theatre in Brooklyn’s Crown Heights neighborhood. “The Empress is all carved out,” Lambros told Pasatiempo. “Today the main level is a grocery store, and the upper level is storage for a Hasidic publishing company.” Some of the theaters have seen many uses since their heydays. The century-old Metropolitan Opera House in Philadelphia, for example, has functioned as a sports arena and two churches during recent decades. The essential splendor of stage and auditorium raises questions about the fate of these buildings. What about the 1926 Embassy Theater in Lewistown, Pennsylvania, which still boasts its original, glorious chandelier? Or Loew’s Majestic Theater in Bridgeport, Connecticut, with its beautiful, intact proscenium arch? “The Embassy was recently purchased, and I think there is a plan to restore it,” Lambros said. “The Majestic is actually the twin of the Loew’s Palace; they’re in the same building in Bridgeport, and both are over 90 years old. The city will give the Majestic to anyone who has a proposal and the money to restore it.” The Palace, its walls covered with frescoes of formal Italian gardens, is one of the less-tattered Lambros has photographed. With 3,642 seats, it was and is the state’s largest movie theater. It was originally used for vaudeville shows and silent movies and then for talking films beginning in the mid-1930s. By the early 1970s, ticket sales had declined to the point that it was put on the market. After a few years as an adult-film house, it closed in 1975. Since then, non-X-rated movies have been shot inside it. The city hopes to restore it. With such a high level of elaborate and often unharmed decoration, many of these faded glories around the country could be renovated, as Santa Fe’s 83-year-old Lensic Performing Arts Center was in 2000-2001. Two problems not so easily addressed are the disappearing audience and the abandonment of America’s main streets. “I usually go on a pretty long road trip every year. I was in one Kansas town, and that downtown was not

With such a high level of elaborate and often unharmed decoration, many of these faded glories around the country could be renovated.

thriving,” Lambros noted with understatement. “It was a Saturday, and they had their farmers market. A block of main street was closed, but there were only two booths. One was selling raffle tickets, and the other was selling cookies. There was no actual produce. “A lot of the old theaters ended up closing because of the changing neighborhood, but also because of the rise of television and an antitrust lawsuit in the 1940s involving movie theaters.” The suit against Paramount Pictures resulted in the end of the studios’ practice of

block-booking in studio-owned theaters, freeing up movie houses to show any films the owners wished. “After that, more than one theater in the area could show the movie. Then they started dividing theaters up. They’d seal off the balcony and twin the theater, then divide them further, and then real multiplexes began to be built.” Lambros has found abandoned architecture riveting since he was a mere tyke, visiting old barns with his grandmother in Dutchess County, New York. “Her inquisitive nature made a lasting impression on me,” he recalls in his artist statement. As an adult, his curiosity ultimately was transformed into “a vehicle for artistic expression.” “I started out shooting abandoned hospitals, more as a fun hobby,” he said in the interview. “I started researching some of the atrocities that happened at asylums across the country, but you can only do so much of that before you get burned out. Then one day I was sitting in a theater in Manhattan watching a terrible B movie. I love those. This was a Troma film by Lloyd Kaufman, Poultrygeist: Night of the Chicken Dead. I’m sitting there watching and laughing with friends and I look up and notice an amazing chandelier and I start taking in more of the architecture. I’m wondering, Why is this movie being shown here? It must have been something back in the day.” He began doing research and found out about the King’s Theatre in Brooklyn, the first abandoned theater he photographed. “I ended up finding an old newspaper that had the names of old theaters in Brooklyn, and I researched where they were and what was left and what the history was. And I found that the Three Stooges did tours, where they would show up at premieres, but it wouldn’t be Hollywood or Times Square, it was little theaters like in Brooklyn. Or in Pennsylvania, where Roy Rogers had showed up with Trigger at the Embassy Theater in Lewistown. Later people tried to find hoofprints on the stage to prove it.” The internet is an indispensable research aid. He often starts with the website CinemaTreasures.com, at least to get ideas. He has an ongoing relationship with the Theatre Historical Society of America in Elmhurst, Illinois. And he researches at local libraries and newspapers. Lambros used a digital newspaper archive to track down the story behind one theater in Marshall, Texas, although the process was not entirely smooth. “I found an archive on the Marshall city website of their newspaper, but it was only for 1929 to 1932, then 1955, then one from 1999. I thought that was perfect, because I knew the theater opened in 1930. “I started out searching every issue in January and I found one article saying, ‘Theater to open in March.’ I searched through March and I finally saw ads for the

Above, Paramount/Liberty Theatre, Youngstown, Ohio; opposite page, top, Adams Theatre, Newark, New Jersey; below, King’s Theatre, Brooklyn, New York

PASATIEMPO I February 28 - March 6, 2014

Photos courtesy Matt Lambros, www.mlambrosphotography.com

first shows that showed there and even the name of the architect.” The theater opened with Young Eagles starring Buddy Rogers and Jean Arthur, plus the Laurel & Hardy short Brats. Lambros has photographed more than 60 derelict theaters. His camera is a Canon 5D Mark II. “I try to shoot wide. I like to kind of get an establishing shot of everything, then go for the details.” Lambros sells prints on his website (www.mlambrosphotography. com), and he is represented by Galerie Sakura in Paris. He has shot a series on electrical outlets and light switches in abandoned buildings, but After the Final Curtain will be occupying him for some time. “I have about 12 more posts that will be going up on my website. Right now I’m 12 ahead, or 12 behind, however you look at it. And I’ve researched every state and I have lists of theaters in every one.” “My hope for my work,” he writes in his statement, “is that it will shine light on beautiful, dated architecture and on the equal yet sinister beauty in decay.” ◀

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Loren Bienvenu I For The New Mexican

Clothes reading Jonathan Faiers dissects fashion in film

onathan Faiers opens his probing and often wry inquiry into the connection between fashion and film with a few questions: In movies, why are raincoats more frequently carried than worn? When is it acceptable to wear an all-white suit? And why should bloodstains be removed as quickly as possible? The last question seems to have the most obvious answer, but the earlier two hint at the thesis of Faiers’ newest book — in mainstream Englishlanguage film, from talkies to today, clothing and accessories commonly serve the opposite of their intended function. Faiers is a reader (akin to a lecturer or professor) at England’s Winchester School of Art, University of Southampton, and his previous published works include Tartan, a book on the symbolism and traditions of textiles. The occasionally dense Dressing Dangerously is something of an academic coffee-table book. Given its cinematic scope, it is satisfyingly heavy on the visuals, mainly in the form of arresting movie stills that range from the classic — Humphrey Bogart smoking a cigarette in a trenchcoat, circa the 1940s — to the not-quiteas-classic — the magic scarf of legendary dodgeball champion Patches O’Houlihan (Rip Torn) in the 2004 film Dodgeball. Given the book’s emphasis on how garments can drive plot, there are also plenty of images of bloody coats, shoes, and gloves. The author clunkily explains that the book’s interlinked essays follow “a direction from outer to inner. As the book progresses from overcoats, raincoats and furs, via suits, accessories and finally revealing the body of the wearer by means of rips, tears, and stains, so too does the consideration of the filmic examples 36

PASATIEMPO I February 28 - March 6, 2014

move from a multiplicity of dysfunctional surfaces to more sustained and penetrating examinations of specific sequences.” The opening chapter, “Cloaking Devices,” is devoted to overcoats. The foremost purpose of an overcoat, he writes, is protection. It can be buttoned up to shield its wearers against the elements, just as it can be donned to help conceal

Breakfast at Tiffany’s, 1961; “The style wars of the raincoat are resolved,” Jonathan Faiers notes in Dressing Dangerously: Dysfunctional Fashion in Film. Images courtesy Yale University Press.

Left to right from opposite page, stills from Brighton Rock, 1947; High Anxiety, 1977; Bringing Up Baby, 1953; Serial Mom, 1994

one’s form and identity. Further, the overcoat is a nomadic garment — unlike a pair of pants, for instance, one’s overcoat is more likely to be slung over the back of a chair, tossed onto a bed, or left behind in a restaurant. “This peripatetic existence combined with the coat’s ability to disguise and cover up means that the cinematic overcoat is implicated, often directly, in more than its fair share of criminal activity. It is present as its wearers arrive and leave the scene of the crime, it is forgotten in haste, it is mistaken for similar garments (the trenchcoat, indelibly identified with the on-screen detective, is especially prone to this), it is stained, torn, and objects are regularly placed within its pockets or lost from it in the form of belts and buttons.” Thus, though their function is ostensibly to protect, overcoats often prove dysfunctional by betraying the activity or secrets of their owners. Faiers proceeds to track the varying social implications of the overcoat over time. Using the 1979 film Being There as one example, he discusses how wearing clothing from another era can create misleading, even plot-altering, impressions. The protagonist of Being There is a simple-minded elderly gardener who, following the death of his wealthy master, ventures out into the world wearing his former employer’s dated formal wear: “A suit, Homburg hat, and double-breasted, dark blue heavy wool overcoat thickly padded and waisted … typical of the fashionable male silhouette of the 1920s and ’30s.” Because of his appearance, the naive gardener is perceived as “sagacious,” rather than simple, a trope carried to such a farcical extreme that he ultimately wins the trust of the president. As Faiers puts it, “His outmoded and reserved tailoring is understood as a mark of breeding and conservative fundamental American values.” The idea that clothes often lead to the misidentification of characters is particularly well explored in “Trophies,” a section on wearable status symbols like jewelry and fur. The expected function of these items is to convey opulence and social rank, but Faiers demonstrates a number of instances when these luxury items are employed for contrast and

sometimes even possess mastery over their owners, rather than the other way around. He supports his arguments here and elsewhere with references to economist Thorstein Veblen’s theory of conspicuous consumption: “That in order for fashion to fulfill its true socio-economic function, it needs to be as impractical and expressive of an indolent lifestyle as possible.” Faiers sees wearable trophies as a cinematic embodiment of this theory, particularly in the way they exemplify “how women are used by men as vehicles for such displays of wealth and status.” He gives as an example the 1931 film Possessed, which stars Joan Crawford as the mistress of a successful lawyer (Clark Gable). During a montage sequence showing the passage of time, Crawford’s arm changes calendars hung on a wall, and with each passing year, the number of diamond bracelets on her arm

increases. Rather than symbolizing the devotion of a lavish lover, the bracelets represent the shackles of a bankrupt relationship. This section is also adept at showing how seemingly contradictory costume applications can have the same social connotations. In an extended discussion on the use of furs to indicate luxury, Faiers mentions Raquel Welch’s role as Loana the Fair One in the 1966 film One Million Years B.C. Wearing a fur bikini, Welch is the prototypical sexy cavewoman. This primitive use of fur is compared with Ginger Roger’s all mink gemencrusted dress from the 1944 film Lady in the Dark, “reported at the time to be the most expensive film costume ever made (estimated at $35,000).” In the first case the fur bikini is employed to portray Loana continued on Page 38

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Dressing Dangerously, continued from Page 37 the Fair One as a ferocious, feline-like warrior. In the second, the fur gown is meant to emphasize that Rogers’ character is a luminary of high society (or at least, desires to be perceived as such). Faiers concludes that in both cases the fur transforms its wearer into a sensualized and fetishized object. Though much of the book’s analysis is of the “reading-between-the-lines” variety, sometimes it veers into more literal territory and draws directly on things particular characters say about fashion (as opposed to what fashion says about them). Channeling some of the dark humor of filmmaker John Waters, Faiers invokes Waters’ anti-hero from the 1994 film Serial Mom, Beverley Sutphin. During her murder trial toward the end of the film, the homicidal soccer mom (played by Kathleen Turner) escalates from fashion police to fashion vigilante in reaction to a clothing faux pas. Enraged by a juror who made the mistake of wearing white high heels at the wrong time of year, she accosts the woman in a courthouse phone booth: “You can’t wear white after Labor Day!” Ignoring the woman’s pleas that “Fashion has changed!” Sutphin proceeds to beat the hapless juror to death with the phone receiver. Whether or not fashion has changed, the serial mom emerges victorious — not only does she get away with murder, she also makes sure the white shoes become more seasonally appropriate by leaving them streaked with red. Color significance is the topic of an engaging chapter called “White Lies and the Tailoring of Evil.” Whereas a woman in white is deemed innocent (seen with the purity implied by a white wedding dress), a man wearing the same color is suspect. As the author puts it, “The archetypal garment that perfectly expresses the equation between tailoring and the sociopath, the basting together of cloth and cruelty, is the white suit.” Two examples of white-suited deviants are Nitti, the impeccably dressed mob assassin from the 1987 prohibition-era film The Untouchables, and flamboyant disco dancer Tony Manero ( John Travolta) from Saturday Night Fever. “A fastidious man who dresses to be noticed is represented as suspect, untrustworthy, often effeminate and homosexual,” Faiers says. The argument is extended from the false innocence of white to the false gentlemanly implications of a stylish criminal. To this end, he brings in the 1932 gangster film Scarface, which helped establish the trope of the criminal whose rise to power is accompanied by increasingly flashy clothing and jewels. Neither clothes nor accessories, however, truly disguise the depravity of the wearer — as is the case of the titular villain of that film, whose “scarred face remains an insistent indicator of his equally disfigured psyche.” Nor can this ostentatious “tailored armor,” as Faiers terms it, protect its bearer. Although it identifies the gangster as a dangerous person of consequence, it also identifies the gangster as a gangster — someone untrustworthy, who operates outside of traditional societal and legal boundaries and should be targeted as a result. In subsequent chapters and with similar insight, Faiers considers topics ranging from urban cowboys to monogrammed handkerchiefs. Without culminating in any overarching conclusions, the book emphasizes that clothing and accessories in film can be effective agents of plot advancement as well as social commentators. One is inspired with the desire to look at the dysfunction of fashion outside of film — just as fur coats in film more often indicate poverty of spirit than luxury, they have the potential in real life to mark their wearers as tawdry, rather than elegant. And while gloves often suggest crime or violence in film (like Freddy Krueger’s razor-clawed glove in A Nightmare on Elm Street), they sometimes provide equal symbolic fascination in reality (Faiers points to the evidential glove used during O.J. Simpson’s murder trial, calling it “a real-life echo of the multi-valency and visual persistence of the cinematic glove as accessory to crime and vestimentary trace of the criminal”). Here and elsewhere, the book comes close to making its most compelling, though perhaps least original, point — that, in the words of Oscar Wilde, “Life imitates art far more than art imitates life.” By showing the extent to which everyday objects can silently comment on art and life, Faiers encourages his readers to watch movies with a renewed eye to how an unraveling garment can unravel a plot as well as social conventions. And the next time we head out to the theater to do so, at least some of us will think twice before donning an all-white suit. ◀ “Dressing Dangerously: Dysfunctional Fashion in Film” by Jonathan Faiers is published by Yale University Press.

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movIng Images film reviews

He has your nose, I think: Masaharu Fukuyama and Machiko Ono

Brothers from another mother

Robert Ker I For The New Mexican

Like Father, Like Son, drama, in Japanese with subtitles, not rated, The Screen, 3.5 chiles Japanese director Hirokazu Kore-eda rarely points his camera far from the lives of children and parents. He broke out to a global audience with his 2005 film Nobody Knows, a tragedy about four kids who are abandoned by their mother and left to fend for themselves. He followed that with his masterpiece, 2008’s Still Walking, about a family who reunite on the anniversary of one sibling’s death. In 2011, he made I Wish, a film about two young sons of divorced parents who each live with a different parent. Now, he offers his spin on the “switched at birth” story and imbues it with attention to detail and intellectual curiosity about what makes a family unit tick. At the center of the tale is Ryota Nonomiya (Masaharu Fukuyama), a workaholic father who lives in an immaculate high-rise apartment with his wife and 6-year-old son. The parents seem satisfied in their quiet, comfortable lifestyle until a phone call from the hospital, informing them that their son was switched with another baby, sends tremors through their lives. Their true son was given to another family who have received a similar phone call, and everyone involved must decide if they want to switch the children back to their blood relatives or keep things as they are. It seems like a setup for a meditation on nature versus nurture, but Kore-eda doesn’t choose a side on that debate. We don’t get a strong sense for the children’s personalities at all — they’re just kids. Kore-eda is more concerned with the obligations that the parents feel toward the child they raised versus the one they birthed. It’s a movie that asks what you would do in the lead characters’ situations at every turn. Kore-eda is also interested in various dichotomies between the two families, primarily as a method of framing Ryota’s distaste for the “parents” of his son. They live in the country, they’re fairly poor, they prioritize enjoying life over working hard, and their home is alive with bustling chaos. Ryota is the opposite on all accounts, but Kore-eda is careful not to frame him as a villain. Ryota considers the advice of his boss more than that of his own father, and, tellingly, Ryota’s mother had no hand in raising him, which may partially explain why he’s so insensitive to his wife’s motherly needs. It’s wonderful to see a movie in which family life in 2014 is so carefully dissected and defined, but what is most refreshing is how Kore-eda shows us the information rather than telling us. Few directors know how to present their stories visually anymore, and Kore-eda is one of the very best, using a variety of visual cues to convey the situation. Early in the film, Ryota’s family and their apartment is arranged with mathematical precision, and they are frequently shot in silhouette, as their lives are orderly but in the dark. They’re dressed in black, white, and gray, while the country family is depicted in wild, clashing color. One important scene features two characters having a conversation as they walk on separate paths; it’s a simple yet effective way to show lives that are bound in different directions and a poetic way to pose the question: Will those two paths converge? ◀ 40

PASATIEMPO I February 28 - March 6, 2014

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Queen Bees & Masterminds: Creating a Culture of Respect and Dignity amongst Teens An evening with ROSALIND WISEMAN, best-selling author and internationally recognized expert on bullying among children.

March 12th, 7-9pm at the Lensic Most famously the author of Queen Bees & Wannabes, the basis for the movie Mean Girls - Rosalind Wiseman is an internationally recognized expert on children, teens, parenting, bullying and social justice. Her work to create communities based on the belief that each person has a responsibility to treat themselves and others with dignity aligns with the SFMC’s bullying prevention work to create a safer and more inclusive culture. Participants will walk away with positive ways to impact their community and concrete strategies for any parent, educator, or professional who works with children and teens. Tickets are $15 at www.lensic.org or 988-1234 A fundraiser for the Santa Fe Mountain Center’s bullying prevention work with youth and adults in New Mexico. www.santafemc.org

santa fe is the only aMerican venue for what

The New York Times called a “Trove of Spanish Artwork” from the reserves of the British Museum. Familiar as Goya’s iconic self-portrait The Sleep of Reason Produces Monsters may be, there is no substitute for a first-hand encounter with its inky intensity as the cats symbolizing witchcraft fix you in their stare and the bats of ignorance and the owls of folly descend.

107 west palace avenue on the plaza in santa fe nMartMuseuM.org · 505-476-5072 Francisco de Goya, The Sleep of Reason Produces Monsters (detail), 1797–1798, etching and aquatint. © The Trustees of the British Museum. The presentation of this exhibition is a collaboration between the British Museum, London and the New Mexico Museum of Art.

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MOVING IMAGES pasa pics

— compiled by Robert Ker

that of a boisterous play-before-work family living in the country. The families must decide whether to keep or switch back the kids they have been raising. Not rated. 120 minutes. In Japanese with subtitles. The Screen, Santa Fe. (Robert Ker) See story, Page 40. THE MET LIVE IN HD: PRINCE IGOR Ildar Abdrazakov stars in this staging of Alexander Borodin’s opera, which is broadcast live from the Met, where it has not been seen for nearly 100 years. 270 minutes, plus intermission. 10 a.m. Saturday, March 1, with an encore showing at noon Sunday, March 2. Lensic Performing Arts Center, Santa Fe. (Not reviewed) NON-STOP An ordinary trans-Atlantic flight is terrorized by someone who threatens to kill all the passengers on board. Fortunately, one of those passengers is a federal air marshal. Unfortunately, the terrorist has a vendetta against this marshal. Fortunately, the marshal is played by Liam Neeson. Go get ’em, Liam! Rated PG-13. 106 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) Could this be the last feature directed by Japanese animation master Hayao Miyazaki? The Wind Rises, nominated for a Best Foreign Language Film Oscar, screens at Regal Stadium 14 in Santa Fe

opening this week BACK TO THE FUTURE Plucky young skateboarder Marty (Michael J. Fox) accidentally travels back to the year 1955. An eccentric scientist (Christopher Lloyd) agrees to help him return to the ’80s. But first, Marty has to make sure his parents (Lea Thompson and an inspired Crispin Glover) have their first kiss at the school dance. With a brilliant script, jokes galore, and terrific performances from the lead actors down to the one-line extras, only a butthead would think this isn’t one of the heaviest blockbusters of all time. Rated PG. 116 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) BEING JEWISH IN FRANCE France, the first country in Europe to welcome Jews as full citizens, reveals a Jekyll-and-Hyde attitude toward its Jewish population in Yves Jeuland’s documentary, which was made in 2007 for French television. The film combines a lot of archival footage with interviews of Jewish writers, intellectuals, and politicians whose memories stretch back to the Holocaust. Jeuland covers the shifting ground from the conclusion of the Dreyfus Affair 42

PASATIEMPO I February 28 - March 6, 2014

in 1906, through two world wars, and into presentday conflicts between Jews and Arabs in France. It is shown in two parts; part two screens this week. Call Santa Fe Jewish Film Festival at 505-216-0672 or see www.santafejff.org for showtimes and prices. Not rated. 185 minutes total. In French with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) GAME OF THRONES MARATHON The Jean Cocteau shows the first three seasons of the HBO series Game of Thrones, based on George R.R. Martin’s Song of Ice and Fire books. Several episodes screen per week (first come, first served). Occasionally, Martin will drop by or a cast or crew member will appear via Skype. Season 2 episodes 9 and 10 screen at 7 p.m. on Friday, Feb. 28. Season 3 episodes 1, 2, and 3 screen at 7 p.m. on Monday, March 3. Not rated, but not suitable for children. Each episode runs roughly 55 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) LIKE FATHER, LIKE SON Japanese director Hirokazu Kore-eda (Still Walking) has spent much of his career reflecting on what makes families tick. His latest, which is told with an uncommon visual sense and attention to nuance, centers on a strict workaholic (Masaharu Fukuyama) who learns that his 6-year-old was switched at the hospital with

THE SINGULARITY Director Doug Wolens appears in person for the screenings of his documentary about the “singularity,” an event that many people believe is forthcoming, in which artificial intelligence surpasses human intelligence. 7 p.m. Saturday, March 1, and 4 p.m. Sunday, March 2, only. 76 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) SON OF GOD Diogo Morgado plays Jesus Christ in this biopic, which covers everything from Christ’s birth to death in epic, action-movie style. This movie attracted controversy during production, when it was discovered that they cast a man who looks very much like the current president of the United States as Satan (the character was since removed). Some afternoon screenings at Regal Stadium 14 are dubbed in Spanish. Rated PG-13. 138 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE WIND RISES Japanese animation master Hayao Miyazaki, now 73 years old, keeps promising his retirement from feature filmmaking and then changing his mind. If The Wind Rises is indeed his last film, it might be apt: it’s an Academy Awardnominated fable that centers on the director’s pet theme of flight, as conveyed through the eyes of a boy in the 1920s who dreams of making airplanes. Dubbed in English. Rated PG-13. 126 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)

now in theaters THE ACT OF KILLING In 1965, at the direction of Indonesia’s new leaders, thugs and paramilitary groups slaughtered over a million people. Filmmaker Joshua Oppenheimer interviews some of the killers, who still hold positions of power. They preen for the cameras and reenact their bloody deeds. It’s surreal, phantasmagorical, and utterly devastating. Nominated for a Best Documentary Oscar. Not rated. 159 minutes. In English and Indonesian with subtitles. Jean Cocteau Cinema, Santa Fe. (Jonathan Richards) ABOUT LAST NIGHT Kevin Hart is everywhere these days; odds are he’s on three channels on your TV right now, and he stars in two movies currently in theaters: Ride Along, and this romantic comedy about two couples at very different points in their relationships. Rated R. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) AMERICAN HUSTLE Irving Rosenfeld (Christian Bale) and Sydney Prosser (Amy Adams) bond over the music of Duke Ellington at a party. This is appropriate, because David O. Russell has orchestrated his wild and wonderful riff on the 1978 Abscam sting operation like an Ellington suite. The film weaves themes and rhythms, tight ensemble work and electrifying solos, and builds to a foot-stomping climax. Nominated for 10 Academy Awards, including Best Picture and all four acting categories. Rated R. 138 minutes. Regal Stadium 14, Santa Fe. (Jonathan Richards) ANCHORMAN 2: THE LEGEND CONTINUES This comic sequel about the Channel 4 news team (Will Ferrell, Paul Rudd, Steve Carell, David Koechner, and Christina Applegate) and their adventures in 1980s cable news returns in an R-rated, extended cut. It avoids the trap that sinks many comedy sequels by not getting too plot-heavy. A shark named Doby nearly steals the show. Rated R. 119 minutes. Regal Stadium 14, Santa Fe. (Robert Ker) AUGUST: OSAGE COUNTY Tracy Letts adapts his Pulitzer Prize-winning play for the screen, with an embarrassment of riches led by Meryl Streep as the poisonous matriarch of one of the most dysfunctional families you’ll ever meet. As the family gathers to cope with the suicide of the patriarch (Sam Shepard), Streep is joined but not matched by a generally strong cast, with particular kudos to

Julia Roberts, who along with Streep was nominated for an Oscar for her work here. Rated R. 119 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) BROKEN CIRCLE BREAKDOWN This Belgian indie boasts artful cinematography, a fantastic soundtrack, and now an Oscar nomination for a Best Foreign Language Film. Two people fall in love, have a baby, and perform in a bluegrass band until tragedy strikes. Director Felix Van Groeningen throws time in a blender, whirring around from the middle to the beginning and back. 6:20 p.m. Saturday, March 1, only. Not rated. 111 minutes. In Flemish with subtitles. Jean Cocteau Cinema, Santa Fe. (Laurel Gladden) DALLAS BUYERS CLUB In 1985 a Texas redneck named Ron Woodroof was diagnosed as HIV-positive, at a time when AIDS was known almost exclusively as a gay disease. His battle against a medical industry that put profit ahead of patients is the basis for this remarkable story. Matthew McConaughey as Woodroof and Jared Leto as his transvestite sidekick Rayon were good enough to earn notice from the Academy, which also nominated the film for Best Picture. Rated R. 117 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) FROZEN Disney’s latest fable, nominated for Best Animated Feature Film, is strange: it is a breezy tale of misunderstanding with no real villain or central conflict. Two princess sisters in a fantasy kingdom part ways when one is revealed to have magical powers to summon snow and ice. With the help of a big lug ( Jonathan Groff), younger sis (Kristen Bell) must pull older sis out of her withdrawal from society. Rated PG. 108 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) GRAVITY You’ve never seen a movie like this before. Tense and gripping but also tranquil and meditative, this thriller from director Alfonso Cuarón centers on two astronauts (George Clooney and Sandra Bullock) whose shuttle is destroyed while they are on a space walk. The resulting struggle to survive — like the special effects of the film itself — showcases humankind’s vast resourcefulness and potential. Nominated for 10 Academy Awards, including Best Picture. Rated PG-13. 91 minutes. Screens in 3-D only at Regal Stadium 14, Santa Fe. (Robert Ker) THE GREAT BEAUTY Director Paolo Sorrentino’s excursion through Roman high life is a funny, sexy, and heartbreaking look at a society dancing as fast as it

can to keep up with a past that can’t be caught. Our guide is Jep Gambardella (Toni Servillo), a writer who made a literary splash with a novel 40 years ago and hasn’t been able to think of anything worth writing about since. Nominated for Best Foreign Language Film, the movie is a conscious and masterful updating of Fellini. Not rated. 142 minutes. In Italian with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) HER Writer and director Spike Jonze has spun a modern fable about a melancholy man ( Joaquin Phoenix) and his computer operating system (voiced by Scarlett Johansson). The breadth of the themes makes Her a Rorschach test: one could see it as a movie about the definition of love, our reliance on technology, the shifting of gender roles, or the merits of Buddhist philosophy. It’s up for five Academy Awards, including Best Picture. Rated R. 119 minutes. Regal DeVargas, Santa Fe. (Robert Ker) IN SECRET Elizabeth Olsen plays Thérèse, a woman in 1860s Paris who is stuck in a marriage to her foul cousin (Tom Felton), thanks to her aunt ( Jessica Lange). She meets a handsome artist (Oscar Isaac), which almost always means trouble to loveless marriages in 19th-century Europe. Soon enough, a heinous crime is committed. Based on Émile Zola’s novel Thérèse Raquin. Rated R. 102 minutes. Regal DeVargas, Santa Fe. (Not reviewed) INSIDE LLEWYN DAVIS The Coen brothers have made a richly textured, visually gorgeous film set in the Greenwich Village folk scene at the start of the ’60s. The title character (Oscar Isaac) is loosely inspired by Dave Van Ronk, one of the core figures of the folk revival, but he doesn’t achieve similar stature. The Coens handle the music with respect and treat the life of a marginal artist with humor, sympathy, and a nice streak of cynicism. The film is about opportunities missed, lost, and squandered. Rated R. 105 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) KNIGHTS OF BADASSDOM Peter Dinklage graces this stoner comedy about a band of LARPers (live-action role-playing participants) who take on a demon unleashed when a would-be wizard reads from a real tome of dark magic purchased on eBay. The plot is thin, the jokes are lame, and the protagonist (Ryan Kwanten) has all the charisma of a cardboard standee. 8:30 p.m. Saturday, March 1, and 6:20 p.m. Sunday, March 2, only. Rated R. 86 minutes. Jean Cocteau Cinema, Santa Fe. ( Jeff Acker) continued on Page 44

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THE LEGO MOVIE Emmet Brickowski (voiced by Chris Pratt) is an ordinary LEGO worker in a city where everyone follows instructions to build the perfect world. Then, Brickowski learns from some rebels that he can build whatever he wants, and they set out to defeat the evil President. What sounds like a long commercial is one of the best family films in recent years, with subversive humor, nifty twists, wild visuals, catchy music, guest spots by the likes of Batman, and an anarchic plot that still snaps together as perfectly as a certain plastic toy. Rated PG. 101 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) THE MONUMENTS MEN During World War II, the U.S. put together a team of art scholars and academics under the aegis of the military to try to locate art treasures looted by the Nazis. As the war wound down, it became apparent that the Germans were prepared to destroy these works if they couldn’t keep them. George Clooney, wearing the hats of writer, director, producer, and star, has crafted a hugely enjoyable old-fashioned war movie in the tradition of The Dirty Dozen out of this gripping, funny, and moving material. Rated PG-13. 118 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) NEBRASKA Woody Grant (Bruce Dern) has won a million dollars, or so his letter from Publishers Clearing House says, and he’s determined to go to Lincoln, Nebraska, to claim his prize. His son David (Will Forte) agrees to drive him. The film’s black-and-white photography brings out the lonely feeling of an era and a generation disappearing into the past. Dern and director Alexander Payne are both up for Oscars, and the film is in the running for Best Picture. Rated R. 115 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) THE NUT JOB Bug-eyed rodents rule the day in this cartoon about a squirrel (voiced by Will Arnett) and a rat (Robert Tinkler) break into a nut store. Kids might like it, but parents may not make it through the trailer. Rated PG. 85 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Not reviewed)

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PASATIEMPO I February 28 - March 6, 2014

THE PAST In his 2011 Oscar-winning film A Separation, Iranian filmmaker Asghar Farhadi vaulted into the first rank of world cinema with a complex drama of a family coming apart. His latest treats a similar situation, with many of the same thematic elements and character assignments. If the twists seem more contrived this time, the impact is still stunning. The plot takes us through a series of reveals, each turn leading to another that deepens and complicates the one before. Rated PG-13. 130 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) PHILOMENA Steve Coogan plays a down-on-his-luck journalist who brings an Irishwoman ( Judi Dench, Oscar-nominated once more) to America to find her long-estranged son. The film has the makings of an odd-couple comedy — and there are laughs — but the material runs much deeper and darker than that. The film is up for a Best Picture Oscar. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. (Robert Ker) POMPEII In this blockbuster, Mount Vesuvius erupts and blasts lava all over a period drama, a gladiator movie, and a romance, turning the whole thing into a big disaster pic. Kit Harington plays a slave-turned-gladiator who must race against time to save his true love (Emily Browning) before his entire ancient Roman city is buried beneath red, glowing, special effects. Rated PG-13. 105 minutes. Screens in 3-D and 2-D only at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) RIDE ALONG Kevin Hart plays a wise-cracking young punk who joins an older, hard-case cop (Ice Cube) on a ride-along. And then things get crazy. Rated PG-13. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) ROBOCOP Director Paul Verhoeven’s 1987 RoboCop elevated a B-movie premise into a scathing critique of society and a prescient look at the city of Detroit. This remake looks like a sleek action pic. Rated PG-13. 117 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) 3 DAYS TO KILL Kevin Costner attempts to reinvent his career as an action star the same way Liam Neeson did with Taken. He plays a spy who speaks in a gravelly voice and really loves his daughter. He also has a fatal disease and is offered an assignment to take out a terrorist with the promise that if he kills it, a cure will come. Rated PG-13. 117 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

12 YEARS A SLAVE Director Steve McQueen takes us into America’s slave trade with clinical observation and exquisite composition, but he tarnishes his adaptation of Solomon Northup’s 1853 autobiography — about the free-born man’s stint as a slave after being captured and shipped south — with too many movie moments, blunting the impact. The film is up for nine Oscars, including Best Picture and acting awards for Chiwetel Ejiofor, Lupita Nyong’o, and Michael Fassbender. Rated R. 133 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE 2014 OSCAR NOMINATED SHORTS Each category of this year’s shorts — animated, documentary, and live action — includes cutting-edge technique and storytelling. The excellent animated series boasts a seeming restoration of Mickey Mouse’s “Steamboat Willie” days until the characters tear through the screen, and a dazzling account of a throwback industrial world inhabited by machines. The live-action films offer fear, hope, and comedy in settings from war-torn Africa to hospitals. See them all. Not rated. Running times vary. The Screen, Santa Fe. (Bill Kohlhaase) WINTER’S TALE Colin Farrell plays a thief in 1916 New York City who falls in love with a dying woman ( Jessica Brown Findlay) but is chased away by his demonic ex-teacher (Russell Crowe). He escapes on a magical white horse and ends up in modern times, where another woman ( Jennifer Connelly) helps him find his true love. Rated PG-13. 118 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)

other screenings Center for Contemporary Arts 8:30 p.m. Friday, Feb. 28: Chlorine. 1:30 p.m. Thursday, March 6: Perfect Sisters. DreamCatcher Lone Survivor. Jean Cocteau Cinema 11 p.m. Friday & Saturday, Feb. 28 & March 1; 8:30 p.m. Sunday, March 2: Purple Rain. 3:45 p.m. Tuesday, March 4: Charade. 3:30 p.m. Wednesday, Feb. 5: One-Eyed Jacks. 4 p.m. Thursday, March 6: Jack and the Beanstalk (1952). Regal Stadium 14 2 p.m. Sunday, March 2; 2 & 7 p.m. Wednesday, March 5: Rear Window. 5:30 p.m. Thursday, March 6: Double feature of 300 in 2-D and 300: Rise of an Empire in 3-D. 8 & 10:30 p.m. Thursday, March 6: 300: Rise of an Empire. Screens in 3-D. ◀

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 Being Jewish in France (Part 2) (NR) Sun. 12 p.m. Tue. 7 p.m. Chlorine (NR) Fri. 8:30 p.m. Dallas Buyers Club (R) Fri. 3:15 p.m., 6 p.m. Sat. 4 p.m. Sun. 1 p.m. Mon. 4 p.m., 7 p.m. Tue. 4 p.m. Wed. and Thurs. 4 p.m., 7 p.m. The Great Beauty (NR) Fri. to Sun. 2 p.m. Thurs. 2 p.m. The Past (PG-13) Fri. and Sat. 5 p.m., 7:45 p.m. Sun. 5 p.m. Mon. to Thurs. 5 p.m., 7:45 p.m. Perfect Sisters (NR) Thurs. 1:30 p.m. The Singularity (NR) Sat. 7 p.m. Sun. 4 p.m. JeAn CoCteAu CinemA

418 Montezuma Avenue, 505-466-5528 The Act of Killing (NR) Fri. to Sun. 2:30 p.m. Back to the Future (PG) Tue. to Thurs. 6:10 p.m., 8:30 p.m. The Broken Circle Breakdown (NR) Sat. 6:20 p.m. Charade (G) Tue. 3:45 p.m. Game of Thrones (NR) Fri. 7 p.m. Mon. 7 p.m. Jack and the Beanstalk (NR) Thurs. 4 p.m. Knights of Badassdom (R) Sat. 8:30 p.m. Sun. 6:20 p.m. One-Eyed Jacks (NR) Wed. 3:30 p.m. Purple Rain (R) Fri. and Sat. 11 p.m. Sun. 8:30 p.m. regAl deVArgAS

562 N. Guadalupe St., 505-988-2775, www.fandango.com 12 Years a Slave (R) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:55 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. August: Osage County (R) Fri. and Sat. 1:10 p.m., 4:10 p.m., 7:10 p.m., 10 p.m. Sun. to Thurs. 1:10 p.m., 4:10 p.m., 7:10 p.m. Her (R) Fri. and Sat. 1:20 p.m., 4:20 p.m., 7:20 p.m., 10:10 p.m. Sun. to Thurs. 1:20 p.m., 4:20 p.m., 7:20 p.m. In Secret (R) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:10 p.m. Sun. to Thurs. 1:40 p.m., 4:40 p.m., 7:40 p.m. Inside Llewyn Davis (R) Fri. and Sat. 4:30 p.m., 10:05 p.m. Sun. to Thurs. 4:30 p.m. Nebraska (R) Fri. to Thurs. 1:30 p.m., 7:30 p.m. Philomena (PG-13) Fri. and Sat. 1:50 p.m., 4:50 p.m., 7:35 p.m., 9:50 p.m. Sun. to Thurs. 1:50 p.m., 4:50 p.m., 7:35 p.m. regAl StAdium 14

3474 Zafarano Drive, 505-424-6296, www.fandango.com 3 Days to Kill (PG-13) Fri. to Wed. 1:10 p.m., 4:25 p.m., 7:40 p.m., 10:20 p.m. 300 Double Feature (NR) Thurs. 5:30 p.m. 300: Rise of an Empire 3D (R) Thurs. 8 p.m., 10:30 p.m. About Last Night (R) Fri. to Wed. 12:15 p.m., 2:45 p.m., 5:15 p.m., 7:50 p.m., 10:20 p.m. American Hustle (R) Fri. and Sat. 4:05 p.m., 7:15 p.m., 10:20 p.m. Sun. 7:15 p.m., 10:20 p.m. Mon. and Tue. 4:05 p.m., 7:15 p.m., 10:20 p.m. Wed. 9:40 p.m. Anchorman 2: Supersized (R) Fri. to Wed. 12:30 p.m., 4 p.m., 7:10 p.m., 10:20 p.m. Frozen (PG) Fri. to Wed. 1:30 p.m., 4:35 p.m., 7:25 p.m. Gravity 3D (PG-13) Fri. to Wed. 8:05 p.m., 10:20 p.m. The Lego Movie 3D (PG) Fri. to Wed. 3:05 p.m., 5:35 p.m. The Lego Movie (PG) Fri. to Wed. 12 p.m., 2:30 p.m., 5 p.m., 7:30 p.m., 10 p.m.

The Monuments Men (PG-13) Fri. to Wed.

1:15 p.m., 4:30 p.m., 7:20 p.m., 10:10 p.m.

Non-Stop (PG-13) Fri. to Wed. 12 p.m.,

2:40 p.m., 5:20 p.m., 7:50 p.m., 10:25 p.m. The Nut Job (PG) Fri. and Sat. 1:10 p.m. Mon. and Tue. 1:10 p.m. Pompeii (PG-13) Fri. to Wed. 2:35 p.m., 10:20 p.m. Pompeii 3D (PG-13) Fri. to Wed. 12:05 p.m., 5:10 p.m., 7:45 p.m. Rear Window (PG) Sun. 2 p.m. Wed. 2 p.m., 7 p.m. Ride Along (PG-13) Fri. to Wed. 12:10 p.m., 2:40 p.m., 5:05 p.m., 7:45 p.m., 10:15 p.m. RoboCop (PG-13) Fri. to Wed. 1:30 p.m., 4:40 p.m., 7:35 p.m., 10:20 p.m. Son of God (PG-13) Fri. to Thurs. 12:50 p.m., 4 p.m., 7:10 p.m., 10:20 p.m. The Wind Rises (PG-13) Fri. to Wed. 12:40 p.m., 4:10 p.m., 7:15 p.m., 10:15 p.m. Winter’sTale (PG-13) Fri. to Wed. 10:05 p.m. the SCreen

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com

2014 Oscar Nominated Animation Shorts (NR)

Sat. 12:15 p.m. Sun. 10 a.m. Mon. 5:15 p.m. Wed. 5:15 p.m. 2014 Oscar Nominated Live Action Shorts (NR) Fri. and Sat. 5 p.m. Tue. 5 p.m. Thurs. 5 p.m. Like Father, Like Son (NR) Fri. and Sat. 2:30 p.m., 7:30 p.m. Mon. to Thurs. 2:30 p.m., 7:30 p.m. mitChell dreAmCAtCher CinemA (eSPAñolA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com 3 Days to Kill (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:05 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:05 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. About Last Night (R) Fri. 4:45 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:25 p.m., 4:45 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:25 p.m., 4:45 p.m., 7:05 p.m. Mon. to Thurs. 4:45 p.m., 7:05 p.m. The Lego Movie in 3D (PG) Fri. 4:35 p.m. Sat. and Sun. 2 p.m., 4:35 p.m. Mon. to Thurs. 4:35 p.m. The Lego Movie (PG) Fri. 4:35 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:35 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:35 p.m., 7 p.m. Mon. to Thurs. 4:35 p.m., 7 p.m. Lone Survivor (R) Fri. and Sat. 6:55 p.m., 9:25 p.m. Sun. to Thurs. 6:55 p.m. The Monuments Men (PG-13) Fri. 4:30 p.m., 7:15 p.m. Sat. and Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m. Non-Stop (PG-13) Fri. 4:50 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:20 p.m. Mon. to Thurs. 4:50 p.m., 7:20 p.m. Pompeii (PG-13) Fri. 4:55 p.m., 7:10 p.m., 9:45 p.m. Sat. 2:20 p.m., 4:55 p.m., 7:10 p.m., 9:45 p.m. Sun. 2:20 p.m., 4:55 p.m., 7:10 p.m. Mon. to Thurs. 4:55 p.m., 7:10 p.m. Ride Along (PG-13) Fri. 5 p.m., 7:30 p.m., 9:40 p.m. Sat. 2:30 p.m., 5 p.m., 7:30 p.m., 9:40 p.m. Sun. 2:30 p.m., 5 p.m., 7:30 p.m. Mon. to Thurs. 5 p.m., 7:30 p.m. RoboCop (PG-13) Fri. 4:45 p.m., 7:20 p.m., 9:55 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:20 p.m., 9:55 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. Son of God (PG-13) Fri. 4:40 p.m., 7:35 p.m. Sat. and Sun. 1:45 p.m., 4:40 p.m., 7:35 p.m. Mon. to Thurs. 4:40 p.m., 7:35 p.m.

Don’t miss any of our delicious special event menus. For current & coming attractions see joesdining.com. Locally Sourced European Influenced American Comfort Food

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RESTAURANT REVIEW Laurel Gladden I For The New Mexican

The brew that is true

Second Street Brewery 1814 Second St., 505-982-3030 www.secondstreetbrewery.com

Lunch and dinner, 11 a.m.-10 p.m. Mondays-Thursdays, 11 a.m.-11 p.m. Fridays-Saturdays, noon to 9 p.m. Sundays Vegetarian options Takeout available Patio dining in season Handicapped-accessible Noise level: moderate to loud if crowded; extremely loud if there’s live music Beer & wine Credit cards, no checks

•

The Short Order The dining room at the original Second Street Brewery is a warm, almost cavelike space with a definite community-brewpub ambience. You’ll probably run into someone you know there, especially if you’re hovering around the bar waiting for a table, which you can expect to do on weekend nights. Naturally, the menu offers bar-food standards, but there are more thoughtful, creative additions as well as a few healthy choices. Servers are hardworking, efficient, and always goodnatured. Recommended: nachos, portobello wrap, grilled Caesar salad, burger with mushrooms and blue cheese, fish and chips, and pulled pork sandwich.

Ratings range from 0 to 4 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.

PASATIEMPO I February 28 - March 6, 2014

When I win the lottery, I’m going to use some of that money to pave the heavily rutted alleyway that acts as a parking corridor for Second Street Brewery. You practically need an SUV with off-road clearance to navigate that welltraveled path. The thought of traversing all those craters might be the only thing that would drive me away from this funky midtown brewery and restaurant. The dining room is a warm, almost cavelike space with a definite community-brewpub ambience. You might run into someone you know there, especially if you’re hovering around the bar waiting for a table, which you can expect to do on weekend nights. What’s that you’re drinking while you’re waiting? Probably the IPA, with its nearly chewable hop level and a hint of roses. Or the good-humored Tres Equis, an amber with a sweet caramel maltiness draped over the hops. Perhaps the highly drinkable Rod’s Best Bitter, crisp but sweet and subtly hoppy. If you try the Winter Warmer — with a fruity spiciness reminiscent of gingerbread — watch out for its high alcohol level. Wait for the weather to warm up to drink the lager-style Kölsch, light and hay-golden. Naturally, the menu offers bar-food standards. Chips can be dipped in surprisingly spicy habanero salsa, chunky guacamole, or eerily orange and smooth queso. Because it’s there, tackle the mountain of nachos — blanketed in cheese, with black-bean and pico de gallo boulders tumbling down the side amid barely wilted lettuce, and at the top dual peaks of nubbly guacamole and snowy sour cream. For an interesting change, skip the meat and add smoked portobellos. You can’t go wrong with wings doused with traditional Buffalo sauce, with its vinegary tang and that sharp peppery burn that lingers on your lips. Or go bigger and build a burger, adding toppings to a well cooked, evenly charred Angus beef patty. Blue cheese and mushrooms make for a deep, rich combination. You might insist that you can’t get a decent Philly cheesesteak sandwich anywhere outside Pennsylvania. But it’s hard to argue that Second Street’s Railyard Chile Philly isn’t satisfying on a deeply juicy, meaty, spicy, gloppy level. Here, a hoagie roll is stuffed with sliced rib-eye and sautéed onions, mushrooms, and peppers and then slathered in a chile-spiked spin on Cheez Whiz. Don’t miss the generous plate of fish and chips — slabs of cod, steaming hot inside their puffy beer-batter blankets. You can rely on the fries being ideally cooked to a deep-golden hue, although sometimes they’re crisp, other times limp. More thoughtful, creative menu additions include beerbraised pork shanks in a dark, heady chipotle sauce and the grilled Caesar salad, which has an infectious smoky flavor amplified by its enticing salty-spicy chipotle dressing. The habanero-citrus pulled pork sandwich is twice the size of anything by a similar name you’d eat in Memphis. The zingy sauce isn’t for the faint of heart, although the creamy slaw adds a cooling counterpoint. Cobb salad gets a lot of flak — the lettuce is often just a bed for its rich, fatty companions. At Second Street, the greens are actually green, and they’re plentiful enough to

stand up to the rest — the expected bacon, boiled egg, blue cheese, and avocado as well as purple cabbage, grape tomatoes, and black and green olives. Sadly, my slablike chicken breast was so dry I opted to set it aside. The vegetarian-friendly smoked portobello wrap impressed even my meat-loving friends. Tangy feta balances the juicy mushroom’s sweet earthiness, briny tapenade adds a healthy dose of salt, and sunflower kernels offer crunch. A pylon of bland quinoa sits at the center of the healthy but ho-hum Total Vegetarian plate. It’s topped with a golden croquette of sharp goat cheese and a confetti hat of carrot, cabbage, and sunflower sprouts. Alongside lie wedges of crumbly, mildly nutty tempeh and crisp but otherwise nondescript green beans. OK, I lied earlier. One other thing might drive me away from Second Street — live music. Not the music itself, but the levels to which it’s cranked. While I applaud Second Street for supporting local musicians, can’t they play unplugged? This is a restaurant, not a concert hall or a club. For the most part, people are there to enjoy a meal, have a beer or two, and talk with their friends — which with amplified music is hard enough to do in the back of the room, much less if you’re sitting beside a three-foot-tall speaker. When I see a band haul in an amplifier, I cringe and start thinking about going home — no matter how many cavernous potholes I have to drive through to get there. ◀

Happy hour dinner for four at Second Street Brewery: Pint, Winter Warmer........................................ $ 3.50 Pint, Tres Equis Lager....................................... $ 3.50 Pint, IPA............................................................ $ 3.50 Wings (6).......................................................... $ 9.00 Chips, salsa & guacamole................................. $10.00 Chile Philly....................................................... $12.00 Total Vegetarian................................................ $14.00 Smoked portobello wrap................................... $10.00 Pork shanks...................................................... $15.00 TOTAL.............................................................. $80.50 (before tax and tip) Dinner for four, another visit: Pint, Rod’s Best Bitter........................................ $ 4.50 Pint, Kölsch...................................................... $ 4.50 Soda.................................................................. $ 2.00 Nachos.............................................................. $ 8.00 Chicken Cobb salad.......................................... $13.00 Kids fish & chips.............................................. $ 8.00 Burger with mushrooms & blue cheese............ $11.75 Pulled pork sandwich....................................... $11.00 TOTAL.............................................................. $62.75 (before tax and tip)

Lensic Presents

T h e a ce l P r e h t O

FUSIONTheatre Company Tradition // Innovation // Excellence

March 7 & 8

Friday 8 pm, Saturday 2 pm & 8 pm

$20-$40

Discounts for Lensic members & students

by S

hit W r har

The spellbinding drama that captivated Broadway audiences in 2013. “A cunningly constructed entertainment” — The New York Times

Tickets: 505-988-1234 www.TicketsSantaFe.org the lensic is a nonprofit, member-supported organization

S E R V I C E C H A R G E S A P P LY A T A L L P O I N T S O F P U R C H A S E

The Dry Facts “Ranching in the 22nd Century: How We Get There from Here” Sunday, March 2, 2 pm NMHM Auditorium

Courtney White of the Quivira Coalition leads a panel discussion among New Mexico ranchers dealing with drought. Part of Cowboys Real and Imagined. Free with admission; Sundays free to NM residents. WANTed: downtown Walking Tour Guides

Tuesday, March 4, 9:30 am NMHM Auditorium

Enjoy a lecture and slide show about Santa Fe history from noted archaeologist Cordelia Thomas Snow. Stay for refreshments and learn about joining this popular program. Free.

PASATIEMPOMAGAZINE.COM

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2013 Summer Guide to Santa Fe and Northern New Mexico

Legendary art markets

Farmers and ranchers

Day trips from Santa Fe Northern pueblos

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The most successful and soughtafter guide to the summer activities in Santa Fe and Northern New Mexico. Visitors and residents alike find it full of the must-have information to what there is to see and do during the summer season. Season-long distribution.

Publishing Sunday, May 18

SPACE RESERVATION & AD COPY DEADlINE: 4/18/2014 DISTRIBUTION: Sunday Insertion in the Santa Fe New Mexican Bonus Distribution: 30,000 SPECIFICATIONS: Trim size: 8.5 x 10.75 Full Glossy Magazine, Perfect Binding

To Advertise, Call

505-995-3852 48

PASATIEMPO I February 28 - March 6, 2014

pasa week Friday, Feb. 28

142 E. De Vargas St., $20, ages 17 and under $15, santafeplayhouse.org, 505-988-4262, final weekend. (See review, Page 22) Grease Santa Fe Preparatory School presents the musical, 7:30 p.m., 1101 Camino de Cruz Blanca, $10 at the door, discounts available, 505-982-1829, runs through Sunday. Jekyll & Hyde St. John’s College presents the musical; directed by artist-in-residence Roy Rogosin, 7:30 p.m., Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge, 505-984-6000.

GALLERY/MUSEUM OPENINGS

A Sea Gallery 407 S. Guadalupe St., 505-988-9140. The Other Shore, encaustic and mixed-media paintings by Carol Hoy, reception 5-7 p.m., through March 11. Adobe Gallery 221 Canyon Rd., 505-995-0550. Hopi and Zuni katsina dolls, closing reception 4-6 p.m. Charlotte Jackson Fine Art 554 S. Guadalupe St., 505-989-8688. Unidentified Floating Objects, work by painter Ronald Davis, reception 5-7 p.m., through March. Counter Culture 930 Baca St., 505-995-1105. Photographic montage by Melvin Duncan, through March 27. David Richard Gallery 544 S. Guadalupe St., 505-983-9555. New Moon West, Paul Pascarella’s paintings, reception 5-7 p.m., through April 12. Marji Gallery 453 Cerrillos Rd., 505-983-1012. Sculptural glass by Bruce Pizzichillo, reception 5-7 p.m. Red Dot Gallery 826 Canyon Rd., 505-820-7338. Concept, Curves, and Whimsey, sculptural works by Cary Cluett, Tom Osgood, and DeeAnne Wagner, reception 5-7 p.m., through March 28. Gallery talk 1:30 p.m. Saturday. Santa Fe Clay 545 Camino de la Familia, 505-984-1122. Works by ceramic artists Lee Akins, Marc Digeros, and Lilly Zuckerman, reception 5-7 p.m., through April 19. Santa Fe Time Bank 1219 Luisa St., Suite 1, 505-490-2119. Eyes of the Animal Soul, watercolors by Carol Montoya, reception 5:30-7:30 p.m., through April 18. Zane Bennett Contemporary Art 435 S. Guadalupe St., 505-982-8111. View/ Review: Contemporary Masters, including Robert Motherwell (1915-1991), Ellsworth Kelly, and Pierre Soulages, reception 5-7 p.m., through March 22.

CLASSICAL MUSIC

TGIF recital Krzysztof Zimowski, Dana Winograd, and Linda King: music for violin, cello, and piano by Ponce, Sarasate, and Turina, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations welcome, 505-982-8544, Ext. 16.

IN CONCERT

Jonathan Wilson Contemporary-folk music, 7:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Place, $12 in advance, 505-988-1234, ticketssantafe.org, $15 at the door.

Pasa’s Little Black Book......... 50 Elsewhere............................ 52 People Who Need People..... 52 Pasa Kids............................ 52

compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com

OUTDOORS

Star Party Experience the night sky over the village of Cerrillos with green-laser views of stars and constellations, 7 p.m., Cerrillos Hills State Park, 16 miles south of Santa Fe off NM 14, $5 per vehicle, 505-474-0196. Winter hiking session The City of Santa Fe Recreation Division offers local trail hikes ranging from easy to moderate, 11 a.m.-1 p.m., $20, preregister at Genoveva Chavez Community Center, 3221 Rodeo Rd. Contact Michelle Rogers, 505-955-4047, or visit chavezcenter.com.

EVENTS

Charlotte Jackson Fine Art, 554 S. Guadalupe St., shows paintings by Ronald Davis.

AHA Festival of Progressive Arts Application-launch party presented by After Hours Alliance; pop-up performances by Max Friedenberg, Aunt Cackle and The Coleslaw King, DJ Feathericci, Johnny Bell, and Lady Gloves, 7 p.m.-midnight, Muñoz Waxman Gallery, Center for Contemporary Arts, 1050 Old Pecos Trail, $5-$20 sliding scale, 505-982-1338. Santa Fe Restaurant Week Prix-fixe lunches and dinners, and seminars, at local restaurants, through Sunday. Visit newmexicorestaurantweek.com for event details.

NIGHTLIFE

Legends of the Celtic Harp Acoustic trio, with Patrick Ball, Lisa Lynne, and Aryeh Frankfurter, 7:30 p.m., Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. Mardi Gras dance Dave Dunkin Band, with J.D. Sipe, Clay Lowder, and Adam Jones, 7 p.m., Bishop’s Lodge Ranch Resort & Spa, 1297 Bishops Lodge Rd., $20, call 505-982-2827 for tickets and information; costumes, masks, and beads encouraged. Santa Fe Music Collective Albert “Tootie” Heath on drums, Bert Dalton on piano, and Andy Zadrozny on bass, 7 p.m.,

In the Wings....................... 53 At the Galleries.................... 54 Museums & Art Spaces........ 54 Exhibitionism...................... 55

Museum Hill Café, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.org. (See Soundwaves, Page 14) Sounds of Santa Fe Local musicians showcase series; Round Mountain, Boris McCutcheon & the Salt Licks, Anthony Leon, and Bill Palmer’s TV Killers, 7:3011 p.m., the Lensic, $12, ticketssantafe.org, 505-988-1234.

THEATER/DANCE

Benchwarmers 13 Festival of eight 15-minute playlets by local playwrights, 7:30 p.m., Santa Fe Playhouse,

(See Page 50 for addresses) Cowgirl BBQ Americana guitarist Ben Wright, 5-7:30 p.m.; Blues band Hello Dollface, 8:30 p.m.; no cover. El Farol Jay Boy Adams and Zenobia, R & B, 9 p.m., call for cover. Hotel Santa Fe Guitarist/flutist Ronald Roybal, 7-9 p.m., no cover. La Fiesta Lounge at La Fonda C.S. Rockshow, with Don Curry, Pete Springer, and John Elias, 8 p.m., no cover. ▶▶▶▶▶▶▶▶

calendar guidelines

Please submit information and listings for Pasa Week no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 505-820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 505-986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter. PASATIEMPOMAGAZINE.COM

Lodge Lounge at The Lodge at Santa Fe Pachanga! Club Fridays with DJ Gabriel “Aztec Sol” Ortega spinning salsa, cumbia, bachata, and merenge, 8:30-9:30 p.m., call for cover. Mine Shaft Tavern CD-release party for Glenn Neff’s album Bamako, 8 p.m., no cover. Second Street Brewery MVIII Jazz Project, 6-9 p.m., no cover. Second Street Brewery at the Railyard Bill Hearne Trio, classic country, 7-10 p.m., no cover. Shadeh Carnival Mardi Gras celebration, 9 p.m.-4 a.m. Tiny’s Mark Yaxley, Brazilian classical jazz, 5:30 p.m.; Sean Healen Band folk-rockers, 8:30 p.m.-close; no cover. Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.

1 Saturday GALLERY/MUSEUM OPENINGS

Antiques & Interiors on Grant 136 Grant Ave., 505-983-0075. Pop-up exhibit of mixed-media work by Jerome Kuhl, reception 5:30-7:30 p.m., through March 8. Barn Dogs La Tienda Shopping Center, 7 Caliente Rd., Eldorado, 505-466-1059. Horsin’ Around in the Dressing Room, equine-themed photographs by Daniel Quat, grand opening 3-5 p.m. Interfaith Shelter 2801 Cerrillos Rd., 505-795-7494. Group show, reception 2-4 p.m.

317 Aztec 20-0150 317 Aztec St., 505-8 the Inn at Agoyo Lounge a ed am Al e on th 505-984-2121 303 E. Alameda St., nt & Bar Anasazi Restaura Anasazi, the Rosewood Inn of e., 505-988-3030 113 Washington Av Betterday Coffee 5-555-1234 , 50 905 W. Alameda St. nch Resort & Spa Ra e dg Lo ’s Bishop ., 505-983-6377 Rd e dg Lo 1297 Bishops Café Café 5-466-1391 500 Sandoval St., 50 ó Casa Chimay 5-428-0391 409 W. Water St., 50 ón es ¡Chispa! at El M 505-983-6756 e., Av ton ing 213 Wash Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. te Café The Den at Coyo 5-983-1615 132 W. Water St., 50 g Duel Brewin 5-474-5301 1228 Parkway Dr., 50 lton Hi El Cañon at the 88-2811 5-9 50 , St. al ov 100 Sand

James Larson Studio 33-A Bisbee Ct., 602-538-0014. Sculpture studio relocation sale, noon-5 p.m. today and Sunday. Santa Fe Public Library, Main Branch 145 Washington Ave., 505-955-6781. Bette Yozell: watercolors; Mike Walsh: pottery, reception 1-5 p.m., through March.

OPERA IN HD

The Met Live at the Lensic The series continues with Prince Igor, Dmitri Tcherniakov’s production of Borodin’s Russian epic, 10 a.m., the Lensic, $22-$28, 505-988-1234, ticketssantafe.org, Sunday encore.

CLASSICAL MUSIC

Santa Fe Pro Musica Orchestra Featuring mezzo-soprano Deborah Domanski, music of Debussy, Mahler, and Shostakovich, 6 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$65, discounts available, ticketssantafe.org, 505-988-1234.

IN CONCERT

Bella Gigante Gender-bending cabaret singer, with singer Kenny Brown and pianist Debbie Wagner, 8 p.m., La Casa Sena Cantina, 125 E. Palace Ave., $15 cover, 505-988-9232. Lenny Tischler The local composer/musician debuts his jazz suite Freedom Work: Folk Forms and Variations, in commemoration of Black History Month, 7 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., $25 in advance and at the door, naacpsfnm.blogspot.com, 505-652-2403. (See story, Page 20)

Pasa’s little black book Spa Eldorado Hotel & St., 505-988-4455 o isc nc Fra n Sa . W 309 El Farol 5-983-9912 808 Canyon Rd., 50 ill Gr & El Paseo Bar 92-2848 5-9 50 , St. teo lis Ga 208 Evangelo’s o St., 505-982-9014 200 W. San Francisc erging Arts High Mayhem Em 38-2047 5-4 50 , ne 2811 Siler La Hotel Santa Fe ta, 505-982-1200 1501 Paseo de Peral asters Iconik Coffee Ro -0996 28 5-4 50 , St. na Le 1600 La Boca 5-982-3433 72 W. Marcy St., 50 ina nt Ca La Casa Sena 505-988-9232 e., Av e lac Pa E. 5 12 at La Fonda La Fiesta Lounge , 505-982-5511 St. o isc nc Fra n Sa 100 E. a Fe Resort nt Sa de da sa La Po e Ave., lac Pa E. 0 and Spa 33 505-986-0000 g Arts Center Lensic Performin St., 505-988-1234 o 211 W. San Francisc

PASATIEMPO I February 28 - March 6, 2014

THEATER/DANCE

David Hoptman: Mixed-Media Photography and Printmaking Lecture, 3-5 p.m., Santa Fe Public Library, Main Branch, 145 Washington Ave., no charge. Opera Breakfast lecture A discussion of Borodin’s Prince Igor, by Mary Kime, 8:30 a.m.; a series of pre-opera lectures in conjunction with The Met at the Lensic season; Collected Works Bookstore, 202 Galisteo St., $5 suggested donation at the door, 505-988-4226.

cocktails, and music, 6:30 p.m., Inn and Spa at Loretto, 211 Old Santa Fe Trail, $75, VIP tickets $100, 505-982-4599, lafamiliasf.org. 19th Annual Santa Fe Pen Fair Santa Fe Pens hosts more than 20 manufacturers; 10 a.m.-6 p.m., Sanbusco Market Center, 500 Montezuma Ave., no charge; cursivehandwriting seminars open to adults and children, to register for the free handwriting sessions, call 505-989-4742, santafepens.com. iPhone-photography workshop Led by David Hoptman, 10 a.m.-3 p.m., Timberwick Studios, 24 Timberwick Rd., no charge, call 805-403-2993 to enroll. Santa Fe Farmers Market Local goods sold weekly on Saturday; this week’s live music by Paw Cole & The Clinkers, 8 a.m.-1 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, santafefarmersmarket.com, no charge. Santa Fe Restaurant Week Offering prix-fixe lunches and dinners, and seminars, at local restaurants, visit newmexicorestaurantweek.com for details, concludes Sunday. Trader Walt’s Southwestern & International Marketplace More than 100 vendor booths with antiques, folk and fine art, books, jewelry, and snacks, 8 a.m.3 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, no charge.

EVENTS

NIGHTLIFE

Benchwarmers 13 Festival of eight 15-minute playlets by local playwrights, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20, ages 17 and under $15, 505-988-4262, santafeplayhouse.org, final weekend. (See review, Page 22) Grease Santa Fe Preparatory School presents the musical, 7:30 p.m., 1101 Camino de Cruz Blanca, $10 at the door, discounts available, 505-982-1829, concludes Sunday. Jekyll & Hyde St. John’s College presents the musical, directed by artist-in-residence Roy Rogosin, 7:30 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, no charge, 505-984-6000.

BOOKS/TALKS

Divine Decadence Chocolate Challenge Ten chefs compete to make the best chocolate creation in support of La Familia Medical Center; hors d’oeuvres, complimentary champagne,

Lodge Lounge at The Lodge at Santa Fe 750 N. St. Francis Dr., 505-992-5800 Low ’n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe 125 Washington Ave., 505-988-4900 The Matador 116 W. San Francisco St. Mine Shaft Tavern 2846 N.M. 14, Madrid, 505-473-0743 Molly’s Kitchen & Lounge 1611 Calle Lorca, 505-983-7577 Museum Hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Trail, 505-982-1851 Palace Restaurant & Saloon 142 W. Palace Ave., 505-428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 505-986-0022 Pranzo Italian Grill 540 Montezuma Ave., 505-984-2645 Santa Fe Community Convention Center 201 W. Marcy St., 505-955-6705

(See Page 50 for addresses) Café Café Contemporary-Latin guitarist Ramón Bermudez, 6 p.m., no cover.

Santa Fe Sol Stage & Grill 37 Fire Place, solofsantafe.com Second Street Brewer y 1814 Second St., 505-982-3030 Second Street Brewer y at the Railyard 1607 Paseo de Peralta, 505-989-3278 Shadeh Buffalo Thunder Resort & Casino Pojoaque Pueblo, U.S. 84/285, 505-455-5555 Sweetwater Harvest Kitchen 1512-B Pacheco St., 505-795-7383 Taberna La Boca 125 Lincoln Ave., 505-988-7102 Tiny’s 1005 St. Francis Drive, Suite 117, 505-983-9817 The Underground at Evangelo’s 200 W. San Francisco St. Upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000 Vanessie 434 W. San Francisco St., 505-982-9966 Warehouse 21 1614 Paseo de Peralta, 505-989-4423 Zia Dinner 326 S. Guadalupe St., 505-988-7008

Cowgirl BBQ Newgrass band Mystic Lizard, 2-5 p.m.; theatrical jazz quartet Le Chat Lunatique, 8:30 p.m.; no cover. El Farol Controlled Burn, classic rock and country covers, 9 p.m., call for cover. Hotel Santa Fe Guitarist/flutist Ronald Roybal, 7-9 p.m., no cover. La Fiesta Lounge at La Fonda C.S. Rockshow, with Don Curry, Pete Springer, and Ron Crowder, 8 p.m., no cover. La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, featuring vocalist Whitney Carroll Malone, 6-9 p.m., call for cover. Mine Shaft Tavern Broomdust Caravan, juke-joint honky-tonk and biker-bar rock, 7 p.m., call for cover. Pranzo Italian Grill David Geist and Julie Trujillo, piano and vocals, 6-9 p.m., call for cover. Second Street Brewery Alt-Americana band Boris & The Saltlicks, 6-9 p.m., no cover. Second Street Brewery at the Railyard Paw Cole & The Clinkers, old-timey tunes, 7-10 p.m., no cover. Sweetwater Harvest Kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover. Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m., no cover. Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.

2 Sunday GALLERY/MUSEUM OPENINGS

James Larson Studio 33-A Bisbee Ct., 602-538-0014. Sculpture studio relocation sale, noon-5 p.m.

OPERA IN HD

The Met Live at the Lensic Prince Igor, Dmitri Tcherniakov’s production of Borodin’s Russian epic, noon, the Lensic, $22, 505-988-1234, ticketssantafe.org.

CLASSICAL MUSIC

Música Antigua de Albuquerque Hassler & the German Renaissance, in celebration of the composer’s 450th anniversary, 4:30 p.m., Christ Lutheran Church, 1701 Arroyo Chamiso, $16, discounts available, 505-842-9613. Santa Fe Pro Musica Orchestra Featuring mezzo-soprano Deborah Domanski, music of Debussy, Mahler, and Shostakovich, 3 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$65, discounts available, ticketssantafe.org, 505-988-1234.

THEATER/DANCE

Benchwarmers 13 closing night Festival of eight 15-minute playlets by local playwrights, 4 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20, ages 17 and under $15, 505-988-4262, santafeplayhouse.org. (See review, Page 22) Grease Santa Fe Preparatory School presents the musical, 2 p.m., 1101 Camino de Cruz Blanca, $10 at the door, discounts available, 505-982-1829.

Melvin Dunkin: photographic-montage study, at Counter Culture, 930 Baca St.

Jekyll & Hyde St. John’s College presents the musical; directed by artist-in-residence Roy Rogosin, 3 p.m., Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge, 505-984-6000.

EVENTS

19th Annual Santa Fe Pen Fair Santa Fe Pens hosts more than 20 manufacturers; noon-5 p.m., Sanbusco Market Center, 500 Montezuma Ave., no charge; cursive-handwriting seminars open to adults and children, to register for the free handwriting sessions, call 505-989-4742, santafepens.com. Jambo Kids Foundation benefit Dance party with live music; food catered by chef Ahmed Obo, noon-3 p.m., Jambo Imports, 2010 Cerrillos Rd., two doors down from Jambo Café, $20 at the door, 505-474-5252. Railyard Artisan Market Weekly event with live music, entertainment, and local artists; this week’s musicians, Mose Malin and Lucy Barna, 10 a.m.-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, no charge, artmarketsantafe.com. Santa Fe Restaurant Week Concludes today; prix-fixe lunches and dinners, and seminars, at local restaurants, newmexicorestaurantweek.com. Shackleton’s Ekphrastic: Writing Antarctica A writing workshop led by Christopher J. Johnson, 2-4 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, call 505-982-1338 for details. Trader Walt’s Southwestern & International Marketplace More than 100 vendor booths with antiques, folk and fine art, books, jewelry, and snacks, 9 a.m.4 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, no charge.

NIGHTLIFE

(See Page 50 for addresses) Cowgirl BBQ Cowgirl Brunch with Neil Youngtribute band Drastic Andrew & The Cinnamon Girls, noon-3 p.m.; Alto Street, 8 p.m.; no cover.

El Farol Latin chanteuse Nacha Mendez, 7:30 p.m., call for cover. La Fiesta Lounge at La Fonda Movie night, 6-10 p.m., no cover. Mine Shaft Tavern Americana guitarist Gene Corbin, 3 p.m., call for cover. Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.

3 Monday BOOKS/TALKS

Breakfast With O’Keeffe The talk series continues with Volcanoes and the Landscapes They Produce, presented by Rice University professor emeritus William P. Leeman, 9:30 a.m., Georgia O’Keeffe Museum, 217 Johnson St., by museum admission, 505-946-1039. Frontier Battles and Massacres: A Historical and Archaeological Perspective The Southwest Seminars lecture series continues with New Mexico History Museum director Frances Levine, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 505-466-2775. Gardens of the Mind: Winter Lecture Series Santa Fe Botanical Garden presents The Garden Beheld: A History of the Painted Garden From Pompeii to Abiquiú, with Bonnie Joseph, 2 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, $10, register online at santafebotanicalgarden.org, 505-471-9103. Santa Fe Photographic Workshops Instructor Image Presentations Open conversation and slide presentation of works by Jay Maisel, David X. Tejada, and Rick Allred, 8-9 p.m., Sunmount Room, Immaculate Heart of Mary Retreat and Conference Center, 50 Mount Carmel Rd., no charge, 505-983-1400, Ext. 11. Santa Fe Poetry Trails Monthly open-mic poetry reading, 6:30 p.m., sign up at 6 p.m., Teatro Paraguas Studio, 3205 Calle Marie, donations welcome, 505-424-1601.

EVENTS

Game of Thrones Free weekly screenings of the HBO series at 7 p.m. through March 24, Jean Cocteau Cinema, 418 Montezuma Ave., jeancocteaucinema.com.

NIGHTLIFE

(See Page 50 for addresses) Cowgirl BBQ Cowgirl karaoke hosted by Michele Leidig, 8 p.m., no cover. La Fiesta Lounge at La Fonda Soulstatic, funk and R & B, 7:30 p.m., no cover. Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.

4 Tuesday BOOKS/TALKS

A Santa Fe History Join archaeologist Cordelia Thomas Snow in a presentation of historic Santa Fe images, 9:30-11:30 a.m., New Mexico History Museum Auditorium, 113 Lincoln Ave., no charge, 505-476-5200. Digest This: Spirits & Poetry A talk and tasting with distiller Colin Keegan followed by poet Hakim Bellamy reading from his collections, 6 p.m., SITE Santa Fe, 1606 Paseo de Peralta, $10, sitesantafe.org, 505-989-1199, 21+. Malena Mörling The poet reads from and signs copies of The Star by My Head, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

NIGHTLIFE

(See Page 50 for addresses) ¡Chispa! at El Mesón Argentine Tango Milonga, 7:30 p.m., no cover. Cowgirl BBQ Fat Tuesday celebration: Santa Fe Chiles Dixie Jazz Band, 4-6 p.m.; Hillstompers Brass Band, 6:30 p.m.; Broomdust Caravan, juke-joint honkytonk and biker-bar rock, 8 p.m.; no cover before 8 p.m., $5 cover after. ▶▶▶▶▶▶▶▶

PASATIEMPOMAGAZINE.COM

▶ People who need people

El Farol Canyon Road Blues Jam, 8:30 p.m., call for cover. La Fiesta Lounge at La Fonda Soulstatic, funk and R & B, 7:30 p.m., no cover. Mine Shaft Tavern Fat Tuesday celebration with Felix y Los Gatos, Cajun/Gypsy swing, 3-7 p.m.; Connie Long & Fast Patsy, Janis Joplin meets Patsy Cline, 7:30 p.m.-close; call for cover. Palace Restaurant & Saloon Laissez les bons temps rouler with the Hillstompers Band, 9:30 p.m., call for cover. Vanessie Classical and jazz guitarist Marc Yaxley, 6:30-9:30 p.m., call for cover.

Artists

5 Wednesday BOOKS/TALKS

Dharma talk Alan Senauke, Berkeley Zen Center vice-abbot, 5:30 p.m., Upaya Zen Center, 1404 Cerro Gordo Rd., donations accepted, 505-986-8518. NMMA exhibit talk and tour The weekly series continues with Spanish Master José de Ribera, 12:15 p.m., New Mexico Museum of Art, 107 W. Palace Ave., by museum admission, 505-476-5075. School for Advanced Research lecture Whatever Happened to Cabeza de Vaca?, by Baker Morrow, 6 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., no charge, 505-954-7203. Tree of Life: Our Forests in Peril The NMHM monthly lecture series continues with author Brian Stout, noon-1 p.m., New Mexico History Museum Auditorium, 113 Lincoln Ave., no charge.

OUTDOORS

Gentle walk The ongoing guided trail walk series continues with a one- to two-mile trek along a relatively flat trail; 9:15 a.m. Meet at Pajarito Environmental Education Center, 3540 Orange St., Los Alamos, no charge, 505-662-0460.

NiGhTLiFE

(See Page 50 for addresses) Cowgirl BBQ Instrumental-rock duo Marbin, 8 p.m., no cover. El Farol Nacha Mendez and Santastico, 8 p.m., call for cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country tunes, 7:30 p.m., no cover.

6 Thursday ThEATER/DANCE

Water by the Spoonful Teatro Paraguas presents Quiara Alegria Hudes’ drama, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $15, discounts available, 505-424-1601, teatroparaguas.org, continues Thursdays-Sundays through March 16.

EVENTS

Public programming at SFCC Planetarium Monthly series; Backyard Astronomy, live presentation followed by outdoor viewing of the night sky, 7-8 p.m., Santa Fe Community College, 6401 Richards Ave., $5 at the door, discounts available, 505-428-1744.

NiGhTLiFE

(See Page 50 for addresses) Cowgirl BBQ Mose McCormack, instrumental country rock, 8 p.m., no cover. 52

The trio Legends of the Celtic Harp performs at Gig Performance Space on Friday, Feb. 28, and on Saturday, March 1, at the Harwood Museum of Art in Taos.

El Farol Guitarras con Sabor, Gypsy Kings-style tunes, 8:30 p.m., call for cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country tunes, 7:30 p.m., no cover. La Posada de Santa Fe Resort and Spa Pat Malone Trio, featuring Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 6-9 p.m., call for cover. Low ’n’ Slow Lowrider Bar at hotel Chimayó Tenor guitarist and flutist Gerry Carthy, 9 p.m., no cover. Palace Restaurant & Saloon Thursday limelight karaoke, 10 p.m., no cover. The Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m., no cover. Tiny’s Six-piece dance band J.J. & The Hooligans, 8 p.m.-close, no cover. Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover. Zia Diner Trio Bijou, vintage jazz with Gemma DeRagon on violin and vocals, Andy Gabrys on guitar, and Andy Zadrozny on bass, 6:30-8:30 p.m., no cover.

▶ Elsewhere AlbuquErquE

National Fiery Foods & Barbecue Show Annual exposition of spicy foods, 4-8 p.m. Friday, 11 a.m.-7 p.m. Saturday, 11 a.m.-6 p.m. Sunday, Feb. 28-March 2, Sandia Casino & Resort, 30 Rainbow Rd., $15, ages 18 and under $5, fieryfoodsshow.com. New Mexi-Gras Fat Friday Dance to the Mil-Tones Brass Band, Stu MacAskie Duo, and Raven Rutherford & Her S.P.P. Band; silent auction, raffle, and hors d’oeuvres, 6:30 p.m. Friday, Feb. 28; fundraiser for the New Mexico Jazz Workshop Youth Education Programs, Albuquerque Museum of Art & History, 2000 Mountain Rd. N.W., $50 in advance, group discounts available, nmjazz.org, 505-255-9798. Chatter Sunday Pianist Judith Gordon and clarinetist James Shields, music of Debussy, Poulenc, and Satie, 10:30 a.m. Sunday, March 2, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterabq.org.

PASATIEMPO I February 28 - March 6, 2014

Jammin’ for Relief ii A benefit concert for New Mexico Association of Food Banks Fresh Produce Initiative; dance to the music of more than 40 local musicians, 5-8 p.m. Sunday, March 2, African American Performing Arts Center, 310 San Pedro Blvd. N.E., donations accepted, 505-217-1066. Matt Wilson Quartet Outpost Performance Space celebrates its 25th anniversary with the New York-based percussionist, 7:30 p.m. Thursday, March 6, $20, discounts available, 505-268-0044, outpostspace.org. Vertical Road UNM faculty dance concert, 7:30 p.m. ThursdaysSaturdays, 2 p.m. Sundays, through March 9, Rodey Theatre, Center for the Arts, 1 University of New Mexico Blvd., $15, discounts available, unmtickets.com, 877-664-8661, for more information visit theatre.unm.edu.

los AlAmos

Los Alamos Community Winds Celebrating the bicentenary of Richard Wagner and the 75th anniversaries of The Wizard of Oz and Gone With the Wind with Wagner and the Movies, 7 p.m. Saturday, March 1, donations accepted, lacw.org. Mesa Public Library Gallery 2400 Central Ave., 505-662-8240. Los Alamos Photography Club Show 2014, reception 5:30-7 p.m. Monday, March 3, through March 28.

mAdrid

Johnsons of Madrid 505-471-1054. Preserve La Bajada Mesa, group show in protest of a proposed mining operation; works by Mel Johnson and Cosmo Monkhouse; reception 3-5 p.m. Saturday, March 1.

TAos

David Anthony Fine Art 132 Kit Carson Rd., 575-758-7113. Exothermic Reactions, photographs of pyrotechnic tableaus by David Mapes, through Friday, Feb. 28. Legends of the Celtic harp Acoustic trio, with Patrick Ball, Lisa Lynne, and Aryeh Frankfurter, 7 p.m. Saturday, March 1, Harwood Museum of Art, 238 Ledoux St., $15, 575-758-9826.

Call for artists and fashion designers Santa Fe Arts Commission Community Gallery seeks apocalypse-themed works for its November exhibit End of Days; submit portfolios (5-10 images, artist statement, and/or bio) no later than March 14 to Rod Lambert, Community Gallery, P.O. Box 909, Santa Fe, NM, 875040909; santafeartscommission.org, 505-955-6705. Center for Contemporary Arts Accepting work for the exhibit The Big Picture, opening mid-March; email up to five images, dimensions, and a curriculum vitae to richard@ccasantfe.org. MasterWorks of New Mexico 2014 Open to all New Mexico artists; accepting miniatures, pastels, watercolors, and oils/ acrylics; miniatures must be shipped by March 15 or hand-delivered by March 22; for prospectus and information visit masterworksnm.org.

Photographers

Photographers Center Choice Awards call for entries The local nonprofit organization offers photographers awards and participation in its Review Santa Fe networking event; guidelines and application form available online at visitcenter.org; March 21 deadline.

Volunteers

Bollywood Club invasion Dance Party Call Deepti, 505-982-9801, to donate your time during this annual Amma Center of New Mexico benefit; held Saturday, March 22, at the Scottish Rite Center. Cerrillos hills State Park volunteer training Seeking weekend receptionists, park greeters, and help serving refreshments during public programs; training held 10 a.m.1 p.m. Saturday, March 8; call for reservations, 505-474-0196, Visitor’s Center, 37 Main St., Cerrillos. New Mexico history Museum historical Downtown Walking Tours Those interested in acting as tour guides are encouraged to attend an event at 9:30 a.m. Tuesday, March 4, for an illustrated presentation on the city’s downtown core with archaeologist Cordelia Thomas Snow. Tour-guide training sessions run 3-5 p.m. Thursdays, March 13 and 20, and 10 a.m.-noon and 1-5 p.m. Saturday, March 29. Contacts: Peter Sinclaire, 505-983-7744 and Linda Clarke, 505-989-1405.

Filmmakers/Performers/Writers

Santa Fe Playhouse: 93rd season Accepting proposals from local directors for fall 2014-summer 2015 season; any genre (no original plays considered); 505-988-4262, March 31 deadline, santafeplayhouse.org.

▶ Pasa Kids Santa Fe Children’s Museum events Weekly events including an open art studio, a drama club, preschool programs, and a jewelry-making club, 1050 Old Pecos Trail, 505-989-8359, by museum admission, visit santafechildrensmuseum.org for ongoing programs and special events. Children’s Story hour Readings from picture books for children up to age 5; 10:45-11:30 a.m. weekly on Wednesdays and Thursdays, Collected Works Bookstore, 202 Galisteo St., no charge, 505-988-4226. ◀

In the wings MUSIC

David Russell Classical guitarist, 7:30 p.m. Friday, March 7, Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, $40 at the door, 505-984-6000. Serenata of Santa Fe Here & Now, works by Kelvin McNeal and Ron Strauss, 7 p.m. Friday, March 7; performers include oboist Pamela Epple, cellist Sally Guenther, and French hornist Scott Temple, Scottish Rite Center, 463 Paseo de Peralta, $25, 505-988-1234, ticketssantafe.org. Notes on Music: Mendelssohn Illustrated talk with Santa Fe Concert Association artistic director Joseph Illick, 7:30 p.m. Tuesday, March 11, Temple Beth Shalom, 205 E. Barcelona Rd., $20, discounts available, SFCA box office, 505-984-8759 or 505-988-1234, ticketssantafe.org. Greensky Bluegrass Progressive-bluegrass band, 7:30 p.m. Wednesday, March 12, Santa Fe Sol Stage & Grill, 37 Fire Place, $15 in advance, $20 at the door, ticketssantafe.org, 505-988-1234. Yacouba Sissoko Kora player, 7:30 p.m. Friday, March 14, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. Music on the Hill Elevated The jazz series continues with pianist Larry Ham and saxophonist Woody Witt, 7:30 p.m. Saturday, March 15, Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, $25, 505-984-6118. Schola Cantorum of Santa Fe Echoes of Ireland, medieval chants and choral music, 7 p.m., Sunday, March 16, concert preview 6:30 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $20 in advance and at the door, discounts available, 505-474-2815, schola-sf.org. The Variation Trio Violinist Jennifer Koh, violist Hsin-Yun Huang, cellist Wilhelmina Smith; featuring pianist Benjamin Hochman, 3 p.m. Sunday, March 16, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$65, discounts available, 505-988-4640, santafepromusica.com or 505-988-1234, ticketssantafe.org. Sharon Jones and the Dap-Kings Soul and funk; Valerie June opens, 7:30 p.m. Tuesday, March 18, Lensic Performing Arts Center, 211 W. San Francisco St., $34-$54, 505-988-1234, ticketssantafe.org. Pierre Bensusan French-Algerian acoustic guitarist, 7 p.m. Wednesday, March 26, Garrett’s Desert Inn Music Room, 311 Old Santa Fe Trail, $25 in advance, brownpapertickets.com, 800-838-3006. Curtis on Tour Touring ensemble made up of students from the Curtis Institute of Music; music of Mozart, Barber, Katerina Kramarchuk, 7:30 p.m. Wednesday, March 19, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$40, ticketssantafe.org, 505-988-1234. Santa Fe Symphony Featuring violinist Clara-Jumi Kang; music of Bruch, Rachmaninov, and Borodin, 4 p.m. Sunday, March 23, the Lensic, $22-$76, 505-988-1234, ticketssantafe.org.

Upcoming events The Mavericks Veteran country/rock/Tex-Mex-fusion band, 7:30 p.m. Monday, April 7, the Lensic, $36-$54, 505-988-1234, ticketssantafe.org. Neko Case Singer/songwriter, with The Dodos, 7:30 p.m. Monday, April 14, the Lensic, $34-$44, 505-988-1234, ticketssantafe.org. The Dandy Warhols Power-pop rockers, 7:30 p.m. Tuesday, April 29, Santa Fe Sol Stage & Grill, 37 Fire Place, $27 in advance, 505-988-1234, ticketssantafe.org, $35 at the door.

Beth Kennedy Jones Music from the Lena Horne Songbook, with the Bert Dalton Trio, 6 p.m. Sunday and Monday, March 23-24, La Casa Sena Cantina, 125 E. Palace Ave., $25, 505-988-9232. Sounds of Santa Fe 2 Local musicians showcase series; featuring Luke Carr’s Storming the Beaches With Logos in Hand, Mi (Ben Wright), and iNK oN pAPER, 7:30 p.m. Friday, March 28, Lensic Performing Arts Center, 211 W. San Francisco St., $12, 505-988-1234, ticketssantafe.org. Joe Ely Alt-country singer/songwriter, with David Ramirez, 8 p.m. Saturday, March 29, Santa Fe Sol Stage & Grill, 37 Fire Place, $32 in advance, $40 at the door, 505-988-1234. An Evening With Joyce DiDonato Mezzo-soprano, 6:30 p.m. Monday, March 31, the Lensic, 211 W. San Francisco St., concert only $25-$95, 505-988-1234, ticketssantafe.org; premium seats and dinner $325, tickets available through the Santa Fe Concert Association, 505-984-8759. Joshua Redman Jazz saxophonist, 7 p.m. Friday, April 4, Outpost Performance Space, 210 Yale Blvd. S.E., Albuquerque, $30, students $25, holdmyticket.com.

THEATER/DANCE

The Other Place Fusion Theatre Company presents Shar White’s drama, 8 p.m. Friday, 2 and 8 p.m. Saturday, March 7-8, the Lensic, 211 W. San Francisco St., $20-$40, 505-988-1234, ticketssantafe.org. The Queen of Madison Avenue A reading of Ron Bloomberg’s new play, 7 p.m. Thursday, March 13, the Lensic, 211 W. San Francisco St., $10, 505-988-1234, ticketssantafe.org. Aspen Santa Fe Ballet Choreography by Nicolo Fonte, Cayetano Soto, and Norbert de la Cruz, 7:30 p.m. Friday and Saturday, March 21-22, the Lensic, $25-$72, 505-988-1234, ticketssantafe.org, April 19 encore. Southwest Irish Theater Festival Theaterwork presents four plays and a concert, March 21-30, James A. Little Theater, 1060 Cerrillos Rd., reservations 505-471-1799. HaMapah/The Map Dancer Adam McKinney’s multimedia performance, 7:30 p.m. Saturday, 2 p.m. Sunday, March 22-23, The Dance Barns, 1140 Alto St., $20, discounts available, 505-988-1234, ticketssantafe.org.

David Russel performs at st. John’s college on march 7.

The Lyons Santa Fe Playhouse presents Nicky Silver’s comedy, 7:30 p.m. Thursdays-Saturdays, 2 p.m. Sundays, March 28-April 13, final dress rehearsal/sneak preview March 27, Santa Fe Playhouse, 142 E. De Vargas St., gala opening $30; general admission $20; discounts available, 505-988-4262. Flamenco Fiesta! 2014 Dancer Juan Siddi, choreographer/dancer Mina Fajardo, guitarist Chuscales, percussionist Alejandro Valle, and singer Vicente Griego, 6 p.m. Thursday and Friday, March 27-28, Teatro Paraguas Studio, 3205 Calle Marie, $20, 505-424-1601. The Guru of Chai Jacob Rajan’s one-man portrayal of modern India, 7:30 p.m. Tuesday, April 1, the Lensic, 211 W. San Francisco St., $15-$35, 505-988-1234, ticketssantafe.org. Luma Experimental-light theater performance, 2 and 7 p.m. Sunday, April 6, the Lensic, 211 W. San Francisco St., $15-$35, discounts available, 505-988-1234, ticketssantafe.org. Spring Awakening A musical based on Frank Wedekind’s oncecontroversial play, 7 p.m. Friday and Saturday, April 25-May 3, 2 p.m. Sunday, May 4, Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org.

HAPPENINGS

Cowboy Hoedown Live music by Holy Water and Whiskey, dance lessons, and crafts in conjunction with the exhibit Cowboys Real and Imagined, 1-4 p.m. Sunday, March 9, New Mexico History Museum, 113 Lincoln Ave., by museum admission, 505-476-5200. Banff Mountain Film Festival World Tour 2014 Action-sports-themed films, 7 p.m. Monday and Tuesday, March 10-11, the Lensic, 211 W. San Francisco St., $16 one night, $28 both nights, ticketssantafe.org, 505-988-1234. Queen Bees & Masterminds: Creating a Culture of Dignity and Respect Amongst Teens Presentation by author Rosalind Wiseman in support of Santa Fe Mountain Center, 7 p.m. Wednesday, March 12, the Lensic, $15, 505-988-1234, ticketssantafe.org. An Evening With Amy Goodman KSFR, KNME, and KNUM present the journalist, 7 p.m. Friday, March 14, the Lensic, $15, 505-988-1234, ticketssantafe.org, proceeds benefit the radio stations. Lannan Foundation In Pursuit of Cultural Freedom series Photographer Trevor Paglen discusses his work, followed by a conversation with author Rebecca Solnit, 7 p.m. Wednesday, March 19, the Lensic, $6, 505-988-1234, ticketssantafe.org. Sixth Annual Bollywood Club Invasion Dance Party DJ-driven dance rhythms, Indian-dance class, Indian bazaar, and food, 7 p.m.-12:30 a.m. Saturday, March 22, Scottish Rite Center, 463 Paseo de Peralta, $15, ages 11 and under $7, 512-694-4375, proceeds benefit Amma Center of New Mexico. Paper Dosa Collaborative event between the owners of the San Francisco restaurant Dosa and the local art collective SCUBA in support of the CCA; sample South Indian fare on handmade plates, 7-10 p.m. Saturday, March 29, Center for Contemporary Arts, 1050 Old Pecos Trail, $50, 505-982-1338, ccasantafe.org. PASATIEMPOMAGAZINE.COM

At the GAlleries

• The Blinding Light of History: Genia Chef, Ilya Kabakov, and Oleg Vassiliev, Russian paintings and drawings • Breakthroughs: The Twentieth Annual Juried Graduate Exhibition, all through May 17. Closed Sundays and Mondays; visit unmartmuseum.org.

Commissioner’s Gallery— New Mexico State Land Office 310 Old Santa Fe Trail, 505-827-5762. One Tree, Many Roots, works by Diana Stetson and Noel Chilton, through Friday, Feb. 28. David Richard Gallery 544 S. Guadalupe St., 505-983-9555. Oli Sihvonen: In Motion, paintings from 1988 to 1991, through March 8; Thomas Downing: Paintings From the 1970s, through Friday, Feb. 28; Selections From June Wayne’s Friends, mixed media from the Robin Park Collection, through Saturday, March 1.

eSpanola

Bond House Museum and Misión Museum y Convento 706 Bond St., 505-747-8535. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Call for hours; visit plazadeespanola.com.

loS alamoS

MuseuMs & Art spAces

Bradbury Science Museum 1350 Central Ave., 505-667-4444. Information on the history of Los Alamos and the Manhattan Project, as well as over 40 interactive exhibits. Open daily; visit lanl.gov/museum. Los Alamos Historical Museum 1050 Bathtub Row, 505-662-4493. Doomtown: Art From the Nevada Test Site, traveling exhibit of work by Doug Waterfield, through Saturday, March 1. Exhibits on area geology, early homesteaders, and the Manhattan Project. Housed in the Guest Cottage of the Los Alamos Ranch School. Visit losalamoshistory.org; open daily. Pajarito Environmental Education Center 3540 Orange St., 505-662-0460. Exhibits of flora and fauna of the Pajarito Plateau; herbarium, live amphibians, and butterfly and xeric gardens. Closed Sundays; visit pajaritoeec.org.

Santa Fe

Center for Contemporary Arts 1050 Old Pecos Trail, 505-216-0672. Icepop, installation by Sandra Wang and Crockett Bodelson of the art collective SCUBA, through March 30, Muñoz Waxman Gallery • All the News That’s Fit to Print, group show, SpectorRipps Project Space, both shows through March 30. Open Thursdays-Saturdays; visit ccasantafe.org. Georgia O’Keeffe Museum 217 Johnson St., 505-946-1000. Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views; through Sept. 14. Paintings, drawings, sculptures, sketches, and photographs by O’Keeffe in the permanent collection. Open daily; visit okeeffemuseum.org. Museum of Contemporary Native Arts 108 Cathedral Place, 505-983-1666. Articulations in Print, group show, through July • Bon à Tirer, prints from the permanent collection, through July • Native American Short Films, continuous loop of five films from Sundance Institute’s Native American and Indigenous Program. Closed Tuesdays; visit iaia.edu/museum. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 505-476-1269. Native American Portraits: Points of Inquiry, vintage and contemporary photographs, through January 2015 • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, more than 1,300 artifacts from the museum collection. Closed Mondays through Memorial Day; visit indianartsandculture.org. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 505-476-1200. Tako Kichi: Kite Crazy in Japan, exhibition of Japanese kites, through March • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art • Brasil and Arte Popular, pieces from the museum’s Brazilian collection, through Aug.10. Closed Mondays; visit internationalfolkart.org. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 505-982-2226. Filigree & Finery: The Art of Adornment in New Mexico, through May • Window on Lima: Beltrán-Kropp Peruvian Art Collection, exhibit of gift items, including a permanent gift of 60 art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso, through May 27 • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonialperiod re-creation. Closed Mondays; visit spanishcolonialblog.org. 54

taoS

commissioner’s Gallery, New Mexico state land Office, shows work by Noel chilton.

New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 505-476-5200. Transformed by New Mexico, Mezzanine Gallery exhibit of work by photographer Donald Woodman, through Oct. 12 • Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16 • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe. Closed Mondays; visit nmhistorymuseum.org. New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. Renaissance to Goya: Prints and Drawings From Spain, through March 9 • 50 Works for 50 States: New Mexico, through April 13. Closed Mondays; visit nmartmuseum.org. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Place, 505-988-8900. Gathering of Dolls: A History of Native Dolls, through April 27. Closed Mondays; visit pvmiwa.org. Santa Fe Children’s Museum 1050 Old Pecos Trail, 505-989-8359. Houses permanent and temporary interactive exhibits. Closed Mondays and Tuesdays through May; visit santafechildrensmuseum.org. SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. Feast: Radical Hospitality in Contemporary Art, group show, through May 18. Closed Mondays-Wednesdays; visit sitesantafe.org. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13. Open daily; visit wheelwright.org.

PASATIEMPO I February 28 - March 6, 2014

albuquerque

Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-243-7255. Behind Closed Doors: Art in the Spanish American Home, 1492-1898, works from the Brooklyn Museum, through May 18 • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, more than 150 examples of craftsmanship and design distinctive to the charro • African American Art From the Permanent Collection, installation of drawings, prints, photographs, and paintings by New Mexico African American artists, through May 4. Closed Mondays; visit cabq.gov/culturalservices/albuquerquemuseum/general-museum-information. Indian Pueblo Cultural Center 2401 12th St. N.W., 866-855-7902. Our Land, Our Culture, Our Story, a brief historical overview of the Pueblo world, and exhibit of contemporary artwork and craftsmanship of each of the 19 pueblos. Open daily; visit indianpueblo.org. National Hispanic Cultural Center 1701 Fourth St. S.W., 505-604-6896. En la Cocina With San Pascual, works by New Mexico artists. Hispanic visual arts, drama, traditional and contemporary music, dance, literary arts, film, and culinary arts. Closed Mondays; visit nationalhispaniccenter.org. New Mexico Museum of Natural History & Science 1801 Mountain Rd. N.W., 505-841-2804. Timetracks, core exhibits offer a journey through billions of years of history, from the formation of the universe to the present. Open daily; visit nmnaturalhistory.org. UNM Art Museum 1 University of New Mexico Blvd., 505-277-4001. Melanie Yazzie: Geographies of Memory, works by the printmaker and sculptor • 400 Years of Remembering and Forgetting: The Graphic Art of Floyd Solomon, etchings by the late artist

Harwood Museum of Art 238 Ledoux St., 575-758-9826. Ken Price: Slow and Steady Wins the Race, Works on Paper 1962-2010, drawings by the late artist • Charles Mattox: Poetry in Motion, works on paper from the 1970s • Art for a Silent Planet: Blaustein, Elder and Long, works by local artists Jonathan Blaustein, Nina Elder, and Debbie Long, exhibits up through May 4 • Highlights From the Harwood Museum of Art’s Collection of Contemporary Art • Death Shrine I, work by Ken Price • works of the Taos Society of Artists and Taos Pueblo Artists. Closed Mondays; visit harwoodmuseum.org. Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson displaying artifacts, antique firearms, pioneer belongings, Carson memorabilia, and books about New Mexico. Open daily; visit kitcarsonhomeandmuseum.com. La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. One of the few Northern New Mexico-style, late-Spanishcolonial-period “great houses” remaining in the American Southwest. Built in 1804 by Severino Martin. Open daily; visit taoshistoricmuseums.org. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Twelfth Annual Miniatures Show & Sale, through March 2. Historical collections of Native American jewelry, ceramics, and paintings; Hispanic textiles, metalwork, and sculpture; and a wide range of contemporary jewelry. Closed Mondays through March; visit millicentrogers.org. Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. The Animal World of Eugenie Glaman, etchings and paintings, through March 2. Housed in the studio and home that artist Nicolai Fechin built for his family between 1927 and 1933. Open 10 a.m.4 p.m. Closed Mondays; visit taosartmuseum.org.

exhibitionisM

A peek at what’s showing around town

Robert Motherwell (1915-1991): Hermitage, 1975, lithograph. View/ Review: Contemporary Masters at Zane Bennett Contemporary Art is an exhibition of work by Robert Motherwell, Frank Stella, Jasper Johns, Francis Bacon, and others who have had a major impact in the art world over the past 50 years. The show opens with a 5 p.m. reception on Friday, Feb. 28. The gallery is at 435 S. Guadalupe St. Call 505-982-8111.

Lee Akins: Round Vase, 2011, terra cotta. Santa Fe Clay (545 Camino de la Familia) presents an exhibition of work by Lee Akins, Marc Digeros, and Lilly Zuckerman. The artists use earthenware and terra cotta to craft functional, sculptural vessel forms. Akins, an instructor at Santa Fe Clay, incorporates figurative elements into his pottery, inspired by ancient fertility figures. Digeros makes angular, slab-built wares with colorful glazes and designs. Zuckerman’s platters and bowls retain the finger impressions of the artist, giving the pieces an organic, textured appearance. There is an opening reception on Friday, Feb. 28, at 5 p.m. Call 505-984-1122.

Jerome Kuhl: New Orleans Diorama, paint and carved wood on canvas, 1995. Jerome Kuhl depicts airplanes, cars, erotica, and figures based on fictional and historical characters with wood carvings, dioramas, and embroidery. His work is influenced by folk art and antique toys. The Art of Jerome Kuhl: A Pop-Up Show opens with a reception at 5:30 p.m. on Saturday, March 1, at Antiques and Interiors on Grant (136 Grant Ave). Call 505-983-0075.

Paul Pascarella: Dance (triptych), 2013, acrylic, oil stick, and collage on panel. Paul Pascarella uses paint, collage, and found objects in his compositions, capturing the dynamic energy of natural forces such as wind gusts and storms. New Moon West, an exhibition of recent gestural abstractions by the New Mexico-based artist, opens with a reception at 5 p.m. on Friday, Feb. 28, at David Richard Gallery (544 S. Guadalupe St., 505-983-9555). Tickets, $100, for an in-gallery dinner with Pascarella at 6 p.m. on Saturday, March 22, are available by calling the gallery. Proceeds benefit Santa Fe Gallery Association’s Art Matters program.

DeeAnne Wagner: Tour Bus, steel, paint, and feathers. Red Dot Gallery (826 Canyon Road) presents Concept, Curves, and Whimsy, an exhibition of work by Cary Cluett, Tom Osgood, and DeeAnne Wagner. Cluett makes minimalist wall sculptures that play with light and shadow. Osgood’s curvilinear polychrome steel sculptures are based on gestural doodles. Wagner’s mixed-media enameled steel and paper sculptures reference common, everyday objects. The opening reception is on Friday, Feb. 28, at 5 p.m. The artists give a gallery talk at 1:30 p.m. on Saturday, March 1. Call 505-820-7338

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