Pasatiempo, April 12, 2013 by The New Mexican

The New Mexicanâ&#x20AC;&#x2122;s Weekly Magazine of Arts, Entertainment & Culture April 12, 2013

presents:

James Beard

Celebrity Chef Dinner

Martin Rios

$175 per person (including tax and gratuity) Wednesday, April 17 • 6pm -7pm Meet the Chefs Reception Thursday, April 18 • 6:30 pm Seven Course Chef’s Dinner & Canapes

Join us for

Kevin Nashan

Kitchen Angels Night

Kevin Binkley

Thursday, April 18

Frank Bonanno

Join us for an exciting evening featuring six James Beard semi-ﬁnalists, hosted by Restaurant Martín. The dinner includes a seven-course meal, each course prepared by a different chef, expertly paired with appropriate wines. To reserve please call Jennifer or Danielle at 505-820-0919

526 Galisteo Street • 820.0919 www.restaurantmartin.com

Bruce Auden

Bowman Brown

$4 LUNCH GIFT CERTIFICATE Present certificate Tues. - Sat., 11:30 - 2:30 through May One certificate per person 548 Agua Fria, Santa Fe • 982-8608 www.ristrarestaurant.com

Organic Mattress. where the santa feans eat…

Non toxic bedding. Extreme comfort. Fresh energy for the bedroom.

lunch / dinner / sunday brunch New! Happy Hour Special: Our ‘Classic’ appetizers – 50% off

Wines-by-the-glass, ‘Well’ cocktails & House Margarita - $5.00 each (4 – 6 p.m. Mon. thru Fri.)

FULL BAR ● FREE WI-FI ● HDTV

505 • 984 • 1788 please visit our website www.santacafe.com

231 washington ave santa fe 2

PASATIEMPO I April 12 - 18, 2013

Great bed collection www.

s e q uoiasantafe

.com

201 Galisteo St, Santa Fe, NM 87501 Tel 505 982 7000

Espanola Valley Humane Society & North Shore Animal League America’s

ADOPTION EVENT:

WALMART

3251 Cerrillos Drive Santa Fe, NM 87507 505-470-1278

Thurs, April 18 1pm - 6pm

World’s largest cooperative life-saving adoption event stops here! Save a life today and adopt a new best friend!

Tour For Life 2013 will be visiting 53 cities in 27 states, plus Washington, D.C. For tour adoption event details visit AnimalLeague.org

www.evalleyshelter.org/

JOIN THE FUN: Microchip Clinic, Vaccination Clinic, Heartworm Testing Clinic

Presenting Sponsor:

Host Shelter:

The Lensic & the Spanish Colonial Arts Society present

T h e 1 3 th A n n ua l

Nuestra Música April 19, 7 pm An evening of stories, songs, and laughter celebrating the rich musical heritage of New Mexico

Photo: Kate Russell

Featuring

La Familia Vigil with Cipriano Vigil Roberto Mondragon Frank McCulloch y Sus Amigos Trio Jalapeño with Antonia Apodaca Los Coloniales dancers!

Trio Jalapeño

$10 / Free for Seniors Tickets: 505-988-1234 www.TicketsSantaFe.org S E R V I C E C H A R G E S A P P LY AT A L L P O I N T S O F P U R C H A S E

t h e l e n s i c i s a n o n p r o f it, m e m b e r- s u p p o rt e d o rga n i zat i o n

PASATIEMPOMAGAZINE.COM

Get ready, pardner! pardner

Opening this weekend

Members Sneak Peek Saturday, April 13, 6:30—8 pm Be among the ﬁrst to see this original exhibition. Enjoy food from Cowgirl BBQ, beer and wine, and music by the Free Range Ramblers. Western attire encouraged. (Memberships available at the door.)

Grand Opening Sunday, April 14, 1—5 pm Take a tour, hear guest curator B. Byron Price on “The Making of a Cowboy Hero” at 2 pm, enjoy refreshments, plus music by Bill Hearne, 3—5 pm. Free with admission (Sundays free to NM residents).

Cowboys Real and Imagined is g e n e r o u s l y s u p p o r t e d b y t h e B r i n d l e F o u n d a t i o n ; B u r n e t t F o u n d a t i o n ; R o o s t e r a n d J e a n C o w d e n F a m i l y , C o w d e n R a n c h ; J a n e a n d C h a r l i e G a i l l a r d ; A l b e r t a n d E t h e l H e r z s t e i n C h a r i t a b l e Foundation, Houston; Candace Good Jacobson in memory of Thomas Jeﬀerson Good III; Moise Livestock Company; Newman’s Own Foundation; New Mexico Cattle Growers’ Association; New Mexico Humanities Council; Palace Guard; Eugenia Cowden Pettit and Michael Pettit; 98.1 FM Radio Free Santa Fe; and the many contributors to the Director’s Leadership, Annual Education, and Exhibitions Development Funds.

PASATIEMPO I April 12 - 18, 2013

4th Annual

10 FREE

BOOST

SEMINARS Your Business

10K

Date: Saturday April 20, 2013 Time: 8:30am

Sponsored by:

• Financial Planning & Money Management Wednesday, 04/24/13 - 6:00pm-8:00pm

For more information or to register call:

• Practical Accounting: Organizing & Using Financial Information

Paula Morgan at 505-428-7925

Thursday, 04/25/13 - 6:00pm-8:00pm

• Effiectively Marketing Your Business Tuesday, 04/30/13 - 6:00pm-8:00pm

To obtain registration form please call

Mail form and entry fee to:

Santo Niño Regional Catholic School at 505-424-1766 or

Santo Niño Regional Catholic School Angel Run 23 College Ave Santa Fe, NM 87508

• Legal Structures for Your Business Wednesday, 05/01/13 - 6:00pm-8:00pm

Visit our website at www.santoninoregional.org

Phone: 505-428-7925 E-mail: paulam@santonino.k12.nm.us

Proceeds will benefit the operations of Santo Niño Regional Catholic School.

TO REGISTER: Call 424-1140 or SCORESEMINARS@HOTMAIL.COM

Santa Fe Business Incubator, 3900 Paseo del Sol (Off Airport Blvd.) • santafescore.org

@santafescore

Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room • Bedroom • Entertainment • Lighting • Accessories

Featuring Attractive Hand Crafted Southwestern Lighting

Great selection of Hand-Forged Iron Lamps, Unique Batik and Rawhide Lamp Shades. Reasonable prices every day of the year! Please come in, you’ll be pleasantly surprised.

A beAutiful spring trend is rose gold. come in And view our rose gold And dAre to bAthe in the wArmth of spring.

SANTA FE COUNTRY FURNITURE 525 Airport Road • 660-4003 • Corner of Airport Rd. & Center Dr.



Monday - Saturday

•

233 Canyon Road, Suite 1 • Santa Fe • new MexiCo • 505.820.6304 • Map #xx TO FIND US ON GOOGLE MAPS USE: 273 AIRPORT RD.

9-5

•

Closed Sundays

• IPHONE SEARCH USE: “LOC: +35.638542, -106.024098”

PASATIEMPOMAGAZINE.COM

THE SANTA FE NEW MEXICAN

April 12 - 18, 2013

www.pasatiempomagazine.com

On the cOver 32 boy howdy Books, movies, and television have transformed cowboys — rough-riding working-class folks who rarely wore six-guns in real life — into frontier superheroes capable of righting wrongs on the range while warbling corny campfire songs. The New Mexico History Museum’s exhibition Cowboys Real and Imagined follows the metamorphosis of the cowboy from his humble origins to his status as pop-culture icon. The show, which opens Sunday, April 14, features nearly 1,000 artifacts. Take your spurs off at the door. On our cover is Two young cowboys, Lee Austin on right, a photo taken circa 1922-1935 by Morrison, from the Tex Austin Collection; courtesy Palace of the Governors Photo Archives (NMHM/DCA), Negative No. 200092.

bOOks

mOving images

18 in Other Words Sex and the Citadel 20 natalie goldberg To koan a phrase

48 Pasa Pics 52 Violeta Went to Heaven

mUsic and PerFOrmance 22 24 26 28 31 36 42 44 46 63

calendar

heaven and earth Angel Olsen Parthenia Viol de gamboys and girls terrell’s tune-Up The Black Angels Pasa tempos CD Reviews Onstage this Week The Melodians Yodeling Follow the lederhosen road yet taken Tracy Grammer the trocks More than meets the eye tony Furtado Pick, strum, and slide sound Waves How the grunge stole Seattle

56 Pasa Week

and 15 mixed media 17 star codes 54 restaurant review

art 40 abstract landscapes Harry Greene

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. Fax: 505-820-0803. e-mail: pasa@sfnewmexican.com PasatiemPO editOr — kristina melcher 986-3044, kmelcher@sfnewmexican.com

dancers of les ballets trockadero de monte carlo; photo by sascha rene vaughan

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art director — marcella sandoval 986-3025, msandoval@sfnewmexican.com

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assistant editor — madeleine nicklin 986-3096, mnicklin@sfnewmexican.com

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chief copy editor/Website editor — Jeff acker 986-3014, jcacker@sfnewmexican.com

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associate art director — lori Johnson 986-3046, ljohnson@sfnewmexican.com

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calendar editor — Pamela beach 986-3019, pambeach@sfnewmexican.com

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staFF Writers michael abatemarco 986-3048, mabatemarco@sfnewmexican.com rob deWalt 986-3039, rdewalt@sfnewmexican.com James m. keller 986-3079, jkeller@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com

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cOntribUtOrs laurel gladden, robert ker, bill kohlhaase, Jennifer levin, david masello, susan meadows, robert nott, adele Oliveira, Jonathan richards, heather roan-robbins, michael Wade simpson, roger snodgrass, 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 986-3007

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marketing directOr Monica Taylor 995-3824

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art dePartment directOr Scott Fowler 995-3836

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graPhic designers Rick Artiaga, Dale Deforest, Elspeth Hilbert

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advertising sales mike Flores 995-3840 stephanie green 995-3820 margaret henkels 995-3820 cristina iverson 995-3830 rob newlin 995-3841 Wendy Ortega 995-3892 art trujillo 995-3852

Rob Dean editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

Kick UP

Your Heels to the sounds of SOULSTICE Santa Fe’s most popular dance band!

APRIL 20TH 8:00-10:30pm DANCE PARTY Farmers’ Market Pavilion $30 | Students $20

A Happiness Happening in collaboration with HappinessSantaFe.org April 15 Learn about Lifesongs: An Intergenerational Community Celebration of Happiness and the Human Journey through Music, Dance and Story April 17 Why Slowing Down Matters: Finding Happiness in the Here and Now April 19 The Tao of Disorientation: Finding the Happiness in Life's Upheavals

Please visit our website for more information Tickets: ticketssantafe.org or, 505.988.1234 Information: 505.820.3188 A fundraiser for the Santa Fe Girls’ School Santa Fe Girls’ School is a 501 © 3 tax exempt 85-0450769

PASATIEMPOMAGAZINE.COM

PREVIEW

This Unusual Sale

NOW!

Santa Fe Farmers’ Market Institute

WEDNESDAY NIGHT M

The Light Bulb Conspiracy

Once upon a time.... products were made to last. This is the story of how deliberate shortening of product lifespan inﬂuences consumer demand.

April 17 7:00 pm

at Santa Fe Farmers’ Market Pavilion

Simply Amish™

Place: Santa Fe Farmers’ Market Pavilion Admissions: General Admission: $12, Institute Members, Seniors & Students over 18: $10, Under 18 and Santa Fe Farmers’ Market Vendors: Free

505.983.7726

www.farmersmarketinstitute.org

20% 10% OFF OFF

Beneﬁcial Farms CSA Crumpackers Café & Bakeshop Intergalactic Bread and Space Sauces

ANY SPECIAL ORDER

Jacona Farm La Fonda on the Plaza Lakind Dental Group Dan Merians and MorganStanley

Red Mesa Meats Refugio Verde Romero Farms South Mountain Dairy

Small or Large.And it’s not necessary to order sets. Small or Large. And it’s not necessary to order sets. Preview now, then order during these two weeks only: SALE ENDS APRIL Aug. 29th through Sept.27TH! 10th.

Simply Amish™

CLEAR STANDARD OF EXCELLENCE

Simply Amish® Rich, solid hardwoods. Hand-finished excellence, inside and out. It’s the skill of genuine Amish craftsmen, passed down from one generation to the next. Made in America’s heartland by the Amish.

b o t w i n

e y e s

www.simplyamish.com

e y e

g r o u p

o p t i c s s a n ta

f e

Cartier, Chanel, Chrome Hearts, Anglo American, Anne et Valentin, Beausoleil Lunettes, Dolce & Gabbana, Etnia Barcelona, Ronit Furst, Gotti, i.c!berlin, Lindberg Denmark, Oliver Peoples, RetroSpecs, Loree Rodkin, Theo, 2.5 Eyephorics…

/FURNITURE

1735 Central • Los Alamos • 662-2864 • facebook.com/CBFoxLA 8

PASATIEMPO I April 12 - 18, 2013

Dr . M a r k bot w i n Dr . Jon ath a n bot w i n Dr . J e r e M y bot w i n

Optometric Physicians

444 St Michaels Drive

5 0 5 . 9 5 4 . 4 4 4 2 BotwinEyeGroup.com

contemporar y jewelr y www.eidosjewelr y.com • 992.0020

995-8114 • www.thereellife.com

16 y e a r s i n s a n ta f e

982-3298 • www.pandorasantafe.com

Sho Locapl

FREE PARKING

548 Agua Fria | 982-8608 | RistraRestaurant.com

500 Montezuma Avenue • www.sanbusco.com Bodhi Bazaar • Chapare • Cost Plus World Market • Dell Fox Jewelry • Eidos Contemporary Jewelry • El Tesoro Café • Get It Together • Kioti • Mercedes Isabel Velarde Fine Jewelry And Art • On Your Feet • On Your Little Feet • Pandora’s • Play Pranzo Italian Grill/Alto • Raaga Restaurant • Ristra Restaurant • Rock Paper Scissor SalonSpa • Santa Fe Pens • SoulfulSilks • Teca Tu – A Paws-Worthy Emporium • The Reel Life • Wink Salon

PASATIEMPOMAGAZINE.COM

PAYNE’S NURSERIES

Payne’s South 715 St. Michael’s 988-9626 Payne’s North 304 Camino Alire 988-8011 Spring Hours

Mon - Sat 9 to 5:30 Sun 10 to 4 Payne’s Organic Soil Yard 6037 Agua Fria 424-0336 Mon - Fri 8 to 4 Sat 8 to Noon

SPRING WORKSHOPS Fun, interesting & informative talks absolutely FREE! All participants receive a 20% discount card to use the day of the workshop. All remaining workshops will be at our SOUTH store on St. Michaels’s Dr. Workshops start at 11:00 AM.

The Case of the Recurring Wodaabe A lecture by Corinne Kratz (Emory University)

Thurs., April 18, 6:30 pm, NM History Museum Auditorium (Washington Ave. entrance) • No reservations or advanced tickets Free for SAR members • $10 for nonmembers • 954-7203 • sarweb.org

Sponsored by William H. Donner Foundation and The Donner Fund of the Pikes Peak Community Foundation Lecture series sponsored by Lannan Foundation, Thornburg Investment Management, and Betty and Luke Vortman Endowment Fund

Fabian Chavez

April 13 Fabian Chavez: Tree Selection, Planting and Care April 20 TJ Jones: Growing Vegetables in Containers

TJ Jones

clip & save

April 27 Lynn Payne: America’s Favorite Flower, The Rose

Payne’s Discount Coupon

✄

Lynn Payne

25% Off 4 lb. & 15 lb. bags Black Gold All Purpose Fertilizer

www.paynes.com

Good at either St. Michael’s Dr. or Camino Alire location while supplies last. Coupon must be presented at time of purchase. Limit one coupon per customer, please. Cannot be combined with any other coupon or offer. Good through 4/26/13

Santa Fe Community Orchestra

Earth Chronicles Project, The Artist's Process: New Mexico An Exhibition, Film Screening, and Poetry Workshop

Film Screening, Q&A, and Exhibition Opening With Fran Hardy and Bob Demboski Monday, April 15, 6pm SFAI Exhibition, M-F, April 16 - May 17, 9am – 5pm SFAI Poetry Workshop, with Lauren Camp Thursday, May 9, 6 :30 – 8:30pm SFAI

Oliver Prezant, Music Director 2012-2013 Concert Season

Spring Concert

Featuring winners of the SFCO’s Concerto Competition

Mozart: Violin Concerto No. 3 in G, K. 216 Doug Bellrichard, soloist

Honegger: Concerto da Camera

Marylinda Gutierrez, flute & Gerald Fried, English horn

Beethoven: Symphony No. 7 in A, Op. 92 Sunday

April 14th

2:30 pm

St. Francis Auditorium, 107 W. Palace Ave. Free admission Donations appreciated AFTER the concert: Make the date extra special AND support the SFCO!!!

Dine at

San Francisco Street Bar & Grill

Artists and Writers in Residence April Open Studio Thursday, April 25, 5:30pm SFAI WWW. S F A I .OR G, 5 0 5 4 2 4 - 5 0 5 0 , I NF O@ S F AI. ORG SANTA FE ART INSTITUTE, 1600 ST.MICHAELS DRIVE, SANTA FE NM 87505 | SANTA FE ART INSTITUTE PROMOTES ART AS A POSITIVE SOCIAL FORCE THROUGH RESIDENCIES, LECTURES STUDIO WORKSHOPS, EXHIBITIONS, COMMUNITY ART ACTIONS, AND EDUCATIONAL OUTREACH FOR ADULTS AND YOUNG PEOPLE. SFAI IS AN ENVIRONMENT WHERE CREATIVITY, INNOVATION, AND CHALLENGING IDEAS THRIVE. PARTIALLY FUNDED BY CITY OF SANTA FE ARTS COMMISION AND 1% LODGER’S TAX AND BY NEW MEXICO ARTS, A DIVISION OF DEPARTMENT OF CULTURAL AFFAIRS

PASATIEMPO I April 12 - 18, 2013

Present your concert program and the restaurant will donate 15% of your food cost to the SFCO. RESERVATIONS ADVISED: 982-2044 50 E. San Francisco Street, Santa Fe SFCO projects are made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, the National Endowment for the Arts; the Santa Fe Arts Commission, and the 1% Lodger’s Tax.

desert academy We congratulate the 27 members of the Class of 2013 on their college acceptances. Amherst Brown (3) Carnegie-Mellon Dartmouth Middlebury (3) Northeastern (2) Occidental (2) Wesleyan

• • • • • • • •

Barnard Carleton Colorado College (2) George Washington NYU Oberlin Vassar Williams (2)

School of the Art Institute of Chicago University of Chicago Washington University in St. Louis (2)

( International Baccalaureate World School

And 55 AdditionAl schools

( College PreParatory grades 6-12 Now at 7300 Old Santa Fe Trail www.desertacademy.org

PASATIEMPOMAGAZINE.COM

Thursday, April 25, 2013. 7:30PM

Lensic Performing Arts Center, Santa Fe | 211 West San Francisco St. Featuring an all star line-up of Grammy award winning artists— Dee Dee Bridgewater, vocals; Christian McBride, bass & Musical Director; Chris Potter, saxophone; Ambrose Akinmusire, trumpet; Benny Green, piano; and Lewis Nash, drums Sponsored by the Santa Fe Jazz Foundation; Brownstein Hyatt Farber Schreck, LLP; and Bumble Bee’s Baja Grill; with additional support from Nicholas Potter Bookseller

Tickets $20-$55. Outpost 505.268.0044; Lensic 505.988.1234; or TicketsSantaFe.org

NDI NEW MEXICO at The Dance Barns Our Summer Programs provide a well-rounded experience in the performing arts, including high-quality technical training and performance opportunities for ages 3-18.

(505) 795-7088 www.dancebarns.com

Wednesday, April 17 · 2:00 PM “Your Textile Treasures: Basic Care and Feeding” Talk by Rebecca Tinkham Hewett, Textile Conservator

1140 Alto Street | Santa Fe, NM 87501

By museum admission New Mexico senior residents with I.D. free on Wednesdays Youth 16 and under and MNMF members always free

On Museum Hill in Santa Fe InternationalFolkArt.org 505 476-1200

PASATIEMPO I April 12 - 18, 2013

Tuition assistance available !

Call NOW TO rEgIsTEr!

ASPEN SANTA FE BALLET

SEASON PRESENTING SPONSOR

LES BALLETS TROCKADERO DE MONTE CARLO

PROMOTIONS

APRIL 15 | 7:30pm

The Lensic, Santa Fe’s Performing Arts Center

Generously underwritten by Bill Thornton

“With one foot in farce and the other in classical ballet, their dedicated tootsies shoehorned into size 10 pointe-shoes, the Trocks return with a fabulous new program, a lorry load of costume changes and lashings of diva attitude.”

WIN

1 OF 3

– Daily Telegraph

DODGE CHARGER

April 1 - 27

DODGE CHARGER GivEAwAys will bE HElD On APRil 13, 20 & 27.

Qualifier drawings on Saturdays, APRIL 13, 20 & 27 at 6 pm, 7 pm, 8 pm, 9 pm and 10 pm. At 10:30pm, all qualifiers choose an envelope and win the prize amount inside, while one lucky winner will find the key to their brand new Dodge Charger! Groups of 10 or more receive discounts of up to 40%! Call 505-983-5591 for more information.

Tickets: 505-988-1234 aspensantafeballet.com

CORPORATE SPONSORS 

PREFERRED HOTEL PARTNER 

Player receives one entry for every 30 points earned on their Lightning Rewards card, April 1 through April 27, 2013. Drawings will be simulcast at Cities of Gold. Management reserves all rights.

OFFICIAL AND EXCLUSIVE AIRLINE OF ASPEN SANTA FE BALLET GOVERNMENT / FOUNDATIONS 

Melville Hankins

BUSINESS PARTNER 

Family Foundation

Investment Management

MEDIA SPONSORS 

Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers Tax, and made possible in part by New Mexico Arts, a Division of the Department of Cultural Affairs, and the National Endowment for the Arts.

BuFFalOThunderReSORT.com

8 7 7 - T h u n d er

PASATIEMPOMAGAZINE.COM

Theater Grottesco and The Center for Contemporary Arts

20 $ 10

present

EVENTUA

Food and Drink

a series of cutting edge performances THIS WEEKEND ONLY

LISA FAY / JEFF GLASSMAN DUO

depth of a moment: in four parts

for

Friday & Saturday

•

7pm / Sunday

•

4pm

TICKETS ON SALE NOW FOR :

Sandglass Theater

april 18 - 21

Faustwork Mask Theatre

april 25 - 28

Cole Bee Wilson

may 3

CHERYL

may 4

At CCA’s Munoz–Waxman Gallery

1050 Old Pecos Trail, Santa Fe, NM 87505 Tickets & Information: com

eTaos.

Splurg

505.474.8400

or visit www.theatergrottesco.org Ticket Prices: $10-$25. Pay-What-You-Wish-Thursdays

Exclusively available at SplurgeTaos.com

To receive this offer, visit SplurgeTaos.com before midnight Wednesday, April 17 and purchase the Splurge certificate, which can be redeemed for the above offer. This advertisement is not a Splurge certificate.

CONTEMPORARY NATIVE ARTISTS

SUNDAY LECTURE SERIES presented in conjunction with the exhibition What’s New in New: Recent Acquisitions

• APRIL 14, 2 p.m. | Contemporary Pottery with Jody Naranjo (Santa Clara Pueblo), Russell Sanchez (San Ildefonso Pueblo), and John Yellowbird Samora (Taos Pueblo)

This project is made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, and the National Endowment for the Arts; the city of Santa Fe Arts Commission and the 1% Lodgers Tax; and The McCune Charitable Foundation. D-Generation: An Exaltation of Larks is funded in part by the NEFA National Theater Project with lead funding from the Andrew W. Mellon Foundation and the NEA.

Winemaker dinner series F e at u r i n g t h e c r e at i o n s o f C h e f K a’a i n o a R av e y

c a l l 5 0 5 . 8 1 9 . 2 0 5 6 f o r r e s e r vat i o n s

APRIL 18 Th

BIG JAMMY ZINFANDELS

MAY 16 TH

SUPER CABERNETS

JUNE 20

Savignon blancs & pinot grigio

$75 PER PERSON

5 course dinner wines paired with each course

• MAY 5, 2 p.m. | Diverse Arts with Ross Chaney (Osage/Cherokee) and Cliff Fragua (Jémez Pueblo) Lectures are held in the MIAC Kathryn O’Keeffe Theater; seating is limited. Free with museum admission. NM residents with ID are free on Sundays. For Information please call 505-476-1250.

PICTURED: JODY NARANJO (SANTA CLARA PUEBLO), FAMILY HONORING (DETAIL), 2005. FRIENDS OF INDIAN ART PURCHASE FUND, 56958. PHOTOGRAPH BY RICARDO MARTINEZ

Museum of Indian Arts & Culture

Museum Hill off Old Santa Fe Trail | (505) 476-1250 | indianartsandculture.org |

PASATIEMPO I April 12 - 18, 2013

30 BUFFALO THUNDER TRAIL • SANTA FE, NM • 877-THUNDER

MIXED MEDIA

Mariscos Costa Azul • Plaza Café Southside • Piccolino • Piccolino Eldorado • Pizzeria Espiritu • Pranzo Italian Grill

Andiamo! • Asian Restaurant • Café Café • Café Fina • Café Castro, Inc. • Café Pasqual’s • Cowgirl BBQ • Counter Culture

clo

sin

JAPANESE TAPAS & SUSHI

Crumpacker’s Café • El Me´son • Galisteo Bistro • India House • India Palace •Jambo Café

sushi

igh

Downtown next to Lensic on Burro Alley

Across from Regal Cinema 14

992-0304

438-6222

Variety of Japanese Tapas and $2 Draft Beer all day, everyday

comfort.food 326 S. Guadalupe • 988-7008 • www.ziadiner.com

Locavores, ceLebrate

burger Week

Teresa Norton, Kitchen Angels’ director of food services, shops at the Food Depot and prepares and packages meals for homebound participants.

apriL 15-21

Heavenly dining

at Joe’s

Any 2-topping beef* burger (reg. 12.97) for an unbelievable

$7.99

471-3800 joesdining.com Rodeo Rd at Zia Open 7 days a week 7:30am - 9:00pm

*NM beef raised and finished on grass and grass alone sustainable, delicious and far superior nutritionally.

CO W MI ED NG NE N SD EX AY T

For more than 20 years, the Kitchen Angels organization has served free, nutritious meals to Santa Fe’s homebound critically ill and elderly citizens, many of whom depend on the kindness of the community to live out the remainder of their days with comfort and dignity. Since 1992, hundreds of volunteers have gathered on a daily basis to ensure that those most in need are protected from hunger, and Kitchen Angels is committed to making sure that no one falls through the cracks. Beyond that, Kitchen Angels provides vital emotional support to the homebound, many of whom would suffer in isolation without the organization’s dedication to community outreach. Besides asking for donations and volunteers outright, Kitchen Angels involves Santa Fe in its ongoing fundraising task through a popular program called Angels Night Out. Each year for the past 14 years, restaurants have partnered with Kitchen Angels for an evening of food, fun, and giving. The 15th Angels Night Out takes place on Thursday, April 18, and 25 restaurants have signed up to help keep Kitchen Angels’ heaven-sent wheels turning. Here’s how it works: make a reservation for dinner at one of the participating restaurants. Show up. Eat heartily. In return, each restaurant will donate 25 percent of your bill that evening (minus alcohol sales) to Kitchen Angels. Visit www.kitchenangels.org for a list of Angels Night Out restaurants, and call the restaurants directly for reservations. If you can’t make it out on April 18, donations can still be made online at the organization’s website. Dedicated volunteers are always welcome. — Rob DeWalt

$ 99

2 Locations

The Ranch House • Ristra • Second Street Brewery at the Railyard •Tomme •Vinaigrette

File photo

Late Night Special

SONGS & STORIES BY THE LEGENDARY

IAN TYSON

IN CONCERT with Special Guest

TOM RUSSEL

Internationally Renowned Singer-Songwriter, Recording Artist and Winner of Numerous Honours and Awards Classic hits include Four Strong Winds (voted Canada’s #1 Song of the 20th Century) Someday Soon & Navajo Rug

Lensic Performing Arts Center • Wed. April 17, 2013 – 7:30pm Tickets at The Lensic Box Office 505-988-1234

www.ticketssantafe.org/tsf/event_calendar/detail/1831 • Presented by 107.5 Outlaw Country

PASATIEMPOMAGAZINE.COM

De Bella Collectibles Your Personal Jeweler

The ﬁnish is in the detail Contact Joe De Bella, Graduate Gemologist at 505.231.5357 or joseph.debella505@gmail.com

Grand Opening Thursday, April 18, 6-8 p.m.

Greer Garson Theatre Presents Once On This island Apr. 19–21, 26–28, 2013

Book & lyrics by Lynn Ahrens. Music by Stephen Flaherty

Directed by Gail Springer

2 Upscale resale to benefit the Santa Fe Animal Shelter! Join us at 541 W. Cordova Road (right next to Wells Fargo Bank) for refreshments, unique treasures, books, clothes and great deals! Bring a donation and get 10 percent off your purchase. Dogs will be available for adoption! 780-8975 16

PASATIEMPO I April 12 - 18, 2013

Madison and Madelyn welcome you to our new resale store!

Set in a Caribbean fantasy world, this whirlwind musical tells the story of a peasant girl who rescues and falls in love with a wealthy boy from the other side of her island. Fantastical gods who rule the island guide the young girl on a quest to test the strength of her love against the powerful forces of prejudice, hatred and death. Once on This Island garnered eight Tony nominations for its Broadway run, including Best Musical, Book and Score.

NOTE: Fri. & Sat. performances: 7pm | Sun. Matinees: 2pm FOR TICKETS call the Tickets Santa Fe Box Office: 505-988-1234 or www.ticketssantafe.org

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STAR CODES Heather Roan Robbins

Bulbs break ground and tree sap rises; what is in motion will build momentum this week. Trouble deepens, fights get down to the nitty-gritty, and new connections grow roots. If we don’t have a good place to direct this energy, it can spin around in us as anxiety or depression. If we don’t like what’s happening, make a considered effort to change it, because Venus enters earthy Taurus on Monday and strengthens whatever is now in motion. A spring-cleaning desire hits us across the board. The mood is out with the old, in with fresh new answers as Mercury joins the sun, Venus, Mars, and Uranus in audacious, assertive Aries, and as Saturn challenges Uranus. We may choose to discard old habits so that we can venture forward on a new and healthier road. Some of us will find this exhilarating; others may feel discombobulated. The Aries lineup encourages us to feel the fear and do things anyway. Not everything now in motion will take flight right away; some transformations may stand down this week as Pluto retrogrades for the summer. We may need to reorganize how power and resources are distributed before we launch forward again in the fall. The weekend begins with fresh honesty as Mercury enters Aries; we have to add kindness and tactfulness. Venus enters Taurus on Monday to ground work and add a more romantic if territorial note. Venus approaches a creative, peace-loving sextile to Neptune over the week, which helps balance a concurrent urgent accident-prone Sun-Mars conjunction. The sparks fly in new relationships and international politics. Let’s vote for good outcomes with our imagination and our actions. Friday, April 12: The mood is determined and strong with a few lurking insecurities. Old issues can trip us up this morning; invest energy into what matters, and don’t feed the weeds. Connect with important contacts. The midafternoon grows prickly — choose responses carefully. Extend comfort and connection tonight. Saturday, April 13: There is easy repartee with many interruptions under a verbal Gemini moon. Keep the present in mind rather than run off after ghosts. Tonight, if sleep is difficult, engage in inspired spontaneity.

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Sunday, April 14: Intuitive flashes may become sudden impulses; check the facts first. Offer good-hearted truths to cut through recent clutter, but control overly optimistic harebrained moves as the moon and Jupiter conjunct. Tonight, let the burble of words flow and look for the deep meanings.

Annette Alvarez

Monday, April 15: Make connections early — the outgoing mood grows more private later on. People run a defensive edge later as the moon enters Cancer. Venus enters settled, earthy Taurus and offers emotional ballast later on. We need heart-to-heart honesty tonight.

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Tuesday, April 16: Momentum pushes us forward, but a lack of people skills could trip us up as defensive Mars semisquares Chiron. Pulled between work and personal issues, we may feel dissatisfied with both, but honesty and empathy can open the logjam. Evening wafts wistfully as the moon opposes Pluto.

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Wednesday, April 17: The mood calls for bravery, accomplishment, and healthy boundaries, not just rowdy pugnacity, though it will settle for that as the sun conjuncts action-packed Mars. Carefully engage an urge to take action. Get physical and work this impulse out. Thursday, April 18: Stay out of the path of cranky people as the moon squares Mars and then enters Leo. Renewed generosity can simplify our mood midday, but emotions overflow as Venus sextiles Neptune. Engage in romantic gestures but reel in expectations. Turn this sensitive impulse into aesthetic appreciation — notice the brave crocus and be inspired. ◀

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In Other wOrds Sex and the Citadel: Intimate Life in a Changing Arab World by Shereen El Feki, Pantheon Books, 346 pages “If you really want to know a people, start by looking inside their bedrooms,” Shereen El Feki writes in the introduction to Sex and the Citadel. To judge this book by its cover, you’d expect a lighthearted approach to a provocative subject. The title cleverly plays on the steamy HBO sitcom Sex and the City, and the dust jacket offers a slyly ribald visual pun on the crescent moon and star of Islam. If you have fatwas, prepare to hurl them now. Once inside the book, you’ll still find plenty of humor, but it’s harnessed to an impressively researched work of sociology. El Feki, a scientist, journalist, and academic, has traveled far and delved deep through the Arab world for half a decade trying to get a handle on the customs, laws, attitudes, hang-ups, and religious dicta that shape the sex lives of the region in general, and Egypt and Cairo in particular. Through this understanding, she intends to shine a broad light on what makes the region tick, politically and socially. There was a time when the West saw the Arab world as a hotbed of sexual license. El Feki describes Gustave Flaubert’s trip to Egypt in 1849, the year before he began work on Madame Bovary. Flaubert wasn’t much moved by Arab culture or commerce. It was sex, readily available, of all kinds and with both genders, that had his attention. “Flaubert proceeded to [work] his way up the Nile,” El Feki writes. (The word she uses isn’t work, though it ends with the same letter.) But now, she observes, the shoe is on the other foot. It is the Arab world that seems buttoned up tight on sex while the West is seen as the promiscuous playground of flesh and the devil. A rise in Islamic fundamentalism, fed by decades of dictatorship and repression, has brought a smothering curtain down over sexual attitudes in Egypt and throughout the Muslim world. But with the revolution in information technology, and “as political upheaval convulses the region,” the author wonders, “is a sexual shake-up next in line?” To find out, El Feki sought out people from all walks of life. She talked to prostitutes, pimps, mullahs, sheiks, cross-dressers, gays, lesbians, transgendered people, philosophers, students, politicians, writers, activists, sex therapists, cab drivers, drug dealers, gigolos, scientists, wives, husbands, teenagers, old people, and a whole lot more. The sociosexual phenomena she reports on are fascinating — sometimes disturbing, sometimes delightful. She covers topics from a brisk trade in contraband Chinese artificial hymens to restore virginity for the wedding night to an anecdotal suspicion that sexual dysfunction in Egyptian males may be the product of a nefarious WesternIsraeli plot: gossip has it that “there are secret agents all over Cairo wearing special belts that emit some sort of spray or beam to neuter Egyptian men, thereby weakening the nation and reducing population growth.” And then there’s the intriguing “missing-vagina syndrome, in which a husband cannot find his wife’s relevant parts,” a condition attributed to “mischievous jinn, or spirits, summoned by someone with a grudge” to put a person sexually out of business. We learn about various kinds of unofficial marriage that Egyptians can access to dodge the Islamic proscription against pre- and extramarital relations. A mut’a is a short-term “pleasure marriage” allowed in Shiite (but not Sunni) Islam, with a contract, a built-in provision for termination, and “intimacy generally part of the package.” An ’urfi is a less formal, unrecorded form of union that also comes with sex benefits. A “summer marriage” allows a man of means to buy the sexual services of a young woman for a short, contractually specified vacation union, with a skimpy cover of religious authority. El Feki, the daughter of an Egyptian father and a Welsh mother, brings the perspective of her Arab heritage and Western upbringing to the fiendishly complicated subject matter. She paints a picture of a culture shackled by rigidly conservative fundamentalism, of a male population laboring under insecurities and a female population oppressed by paternalistic and sometimes sadistic restrictions. But she questions the scriptural authority that dictates this situation, and she talks to scholars, both secular and religious, who paint a very different picture of attitudes toward sex in earlier Islamic periods. “It is through their interpretations of Islam,” she writes, “that many Muslims are boxing themselves and their religion in.” The book would have benefited from a glossary. Many Arabic words are defined when they are introduced but can be elusive when encountered many pages on. A list of italicized terms would have made the journey through the sexual maze of the Islamic world more easily negotiable. It’s a serious topic, and El Feki has done a gargantuan and gutsy job of research. She treats her subject with respect but also with a lively irreverence, which is the appropriate tone for a book about sexual customs and foibles. Toward the end, as she becomes increasingly intent on shoring up her thesis, the book grows more serious and loses a bit of the light touch that makes the bulk of it so readable. But she’s fearless, calling a spade a spade and wading into neighborhoods, both physical and topical, where angels might well fear to tread. — Jonathan Richards 18

PASATIEMPO I April 12-18, 2013

book reviews

SubtextS A winning state: New Mexico poets New Mexico is a hotbed of creativity, especially the poetic kind. A ridiculous number of poets were born and bred in or later relocated to the state — and many of them are winning national awards for their writing, often shining a spotlight on New Mexico traditions and terrain. Poet and fiction writer Benjamin Alire Sáenz, originally from Old Picacho, New Mexico — and currently chairman of the creative-writing department at the University of Texas at El Paso — won this year’s PEN/ Faulkner Award for Fiction for his story collection Everything Begins and Ends at the Kentucky Club (published by Cinco Puntos Press). The first Hispanic writer to win the award since it was established in 1981, Sáenz has also received an American Book Award and numerous awards for his poetry, including a Lannan Foundation Poetry Fellowship. Sáenz reads from his poetry at Collected Works Bookstore (202 Galisteo St., 988-4226) at 4 p.m. on Sunday, April 14, alongside locally renowned poet Miriam Sagan, author of more than 20 books and director of the Santa Fe Community College creative-writing program. Their reading is part of the Muse Times Two poetry series, a project of Lore of the Land, Inc. Arthur Sze, a former poet laureate of Santa Fe and author of eight books of poetry, was named the winner of this year’s Jackson Poetry Prize from the nonprofit Poets & Writers. The annual $50,000 prize, established seven years ago, is given to “an American poet of exceptional talent who deserves wider recognition.” Sze is a professor emeritus at the Institute of American Indian Arts and a recipient of a Lannan Literary Award, a Guggenheim Fellowship, and two creative-writing fellowships from the National Endowment for the Arts, among other honors. He is currently a chancellor of the Academy of American Poets. — Jennifer Levin

Benjamin Alire Sáenz

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The River Swimmer by Jim Harrison, Grove Press, 198 pages In this era of long and longer novels, the novella might seem endangered. Not if Jim Harrison can help it. Among his nearly 20 works of fiction, Harrison has written a half dozen collections of short long stories — or are they long short stories? — usually three to a volume and contrasting in tone, temper, and theme: one serious, one comical, one quasi-metaphysical. His latest volume is different. The River Swimmer contains only two tales. The stories are interrelated in that both address the importance of place. Both are centered in Michigan, the setting of many of Harrison’s tales. The tone of the stories is also similar — serious and consequential — even though the title story has elements of magical reality while its companion, “The Land of Unlikeness,” is a hard reconsideration of what’s real. Taken separately, each is a small masterpiece. Considered together, they demonstrate a small turn in Harrison’s approach and a further refinement in a favorite theme: what it means — physically, mentally, and spiritually — to be a man. In most hands, novellas sacrifice something — character development, setting detail, or plot complications — to come in at 100 pages or less. This is seldom true in Harrison’s work. Characters are fully developed, setting plays a central role. Plot? Consider one of his earliest efforts, “Legends of the Fall,” made famous by the 1994 film adaptation featuring Brad Pitt and Anthony Hopkins. Its action swings between Europe, America’s East Coast, and Montana, with World War I as a backdrop. And that’s not the only ground it covers. The story examines innocence, both individual and cultural, as well as love, devotion, and the relationship between fathers and sons, all in about 80 pages. The plots in The River Swimmer aren’t quite as grand. In “The Land of Unlikeness,” Clive, a 60-year-old Ivy League art professor who has given up painting for criticism, returns to the family farm to care for his mother while his sister takes her first trip to Europe, a continent Clive has seen some 30 times. At home, he revisits his youth, including his high school flame, Laurette, who awakens feelings that Harrison describes with words like twitching. The visit also awakens something else: actual joy in seeing and making art, something he hasn’t felt since he gave up such things as washing his own car 40 years earlier. The second story concerns an awakening as well, this time in a 17-year-old who is more comfortable in the water than on dry ground. Thad travels by swimming, going great distances in northern Michigan rivers. After suffering a beating inflicted by a girlfriend’s father, and nearly drowning the man in return, Thad decides to swim to Chicago. No small feat. Coping with that strange — at least to him — metropolis leaves him even more confused, especially as he adds girlfriend number two to his life. But something more fantastic has changed his worldview. After the beating, Thad arrives in a lagoon that harbors water babies, the spirits of infants who died during their short time on earth. These symbols of lost youth seem to swim between both tales. Harrison crafts these stories in his usual a-life-examined way. The writing is peppered with wry observation, both on the masculine puzzle (“He recalled his father warning him not to become too soft but then felt he wouldn’t become too soft if everyone else was too hard”) and on things in general (“rosemary, currently America’s most overused herb”). Mostly what these wonderful stories do is bring so much to so little. Size, measured in pages, doesn’t matter to Harrison. — Bill Kohlhaase

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HOPPER: A JOURNEY INTO THE AMERICAN DREAM

IT’S OUR GARDEN:THE GARDEN AT ACEQUIA MADRE ELEMENTARY

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Rob DeWalt I The New Mexican

Natalie Goldberg on Zen and the art of writing

PERHAPS THE STERNEST AND MOST PRESSING PIECE OF ADVICE one writer can give to another during times of perceived creative drought is: There is no such thing as writer’s block; there is only the writer blocking the writing. So, you know, shut up and write. It’s a lesson that author, painter, and Zen practitioner Natalie Goldberg has been giving her students for decades during her small, silent, intensive workshops, the most recent incarnation of which is “The True Secret of Writing,” a “sit, walk, write” retreat that is held at the historic Mabel Dodge Luhan House in Taos when it’s offered in Northern New Mexico. It may not seem as gentle a lesson as “keep your hand moving,” which Goldberg urges her students to do in her 1986 book Writing Down the Bones: Freeing the Writer Within. But it’s one that often bears repeating when negativity and ego come knocking at any scribe’s subconscious. On Tuesday, April 16, to celebrate the release of Goldberg’s new book, The True Secret of Writing: Connecting Life With Language (Atria Books), Collected Works Bookstore presents Goldberg in conversation with author Joan Halifax Roshi, the founder of Upaya Zen Center in Santa Fe and the center’s abbot and head teacher. The practice of writing for writing’s sake, Goldberg offers, is its own reward, but it is also a large part of how we simply practice being alive. Even for those not invested in the practice of meditation, Goldberg’s observations — and guidance on how to conduct a sit, walk, write workshop on your own (with as few as two people) — are inspiring. Readers will be eager to find a café or a quiet room and get down to the business of knowing their writing, and by doing so knowing themselves more deeply.

Pasatiempo: Why did you decide to put this book out now? Natalie Goldberg: I had been teaching for 12 years, doing these silent retreats, and it felt very right to do the book. I was taking a year off from teaching, and I just felt that the idea was in full bloom at the time and that I had come far enough, that I knew how to create a practice and share it with the world. It’s what I was aiming for, to bring everything at my back forward — Zen practice, writing, everything — so that everyone could practice it and share it. Also, I’m 65, and that’s very sobering. I am not going to live forever. The director at the Mabel Dodge Luhan House, whom I taught with for 20 years, is now retired. I thought, OK, put it all down on paper now, while you’re still kicking. About six months before I finished the book, I found an outline for it that I had written 10 years earlier. I originally didn’t know I wanted to write this book, but I was aiming to put out what I knew about Zen. Up until now, believe it or not, I couldn’t quite encapsulate it in words. Pasa: It’s interesting that the subtitle of the book is Connecting Life With Language. On more than one occasion within its pages, you seem surprised to find yourself thinking about, and writing about, death, whether it concerns you, a friend, a student, or someone else. Goldberg: In some ways I always wanted to connect life with language, and I also wanted writing to feed my life. I’ve never wanted to just put something great on the page and then go commit suicide or go get drunk and wallow. I wanted what I put on the page to not only feed my readers but hopefully come back to nurture me too. ... Death is always kind of abstract when you’re young; you don’t really get it. At least my generation didn’t. I think younger generations are getting a better understanding of death because so many people around them are dying — of old age, of cancer, of violence. Things are more mortal for them, it seems, and death, as a part of life, is also a part of being connected to language and words. Pasa: Have you discovered a generational gap in how people view writing and sitting as complementary or symbiotic practices? Goldberg: First of all, I want to make it clear that meditation can support writing, but writing is also its own full Zen activity. I consider it equal to sitting, because during that time of writing, you really grow an intimacy with yourself and your mind, and simultaneously with the world around you. Writing is also a way of clearing the mind. You write down everything, and you’re in a sense, then, empty. I don’t find that much of a difference between generations and how they view the practice, except possibly in their approach. Everyone asks me, “You handwrite, Natalie, but can I do

PASATIEMPO I April 12-18, 2013

this practice if I use a computer and, really, if I just use my two thumbs on a keyboard?” And I say definitely. You’re using different physical material, and a slightly different bend of the mind comes out. Not better or worse, just different. Pasa: Some studies say that handwriting, especially cursive handwriting, increases brain activity more than typing does. There are still journalists and other writers who prefer to handwrite while taking notes and transcribing interviews before going to the keyboard. Goldberg: Certainly for me, handwriting was the first way I learned to write. But a lot of people are beginning their familiarity with writing by typing now, and they’re creating a different route in the nervous system, a different neural pathway. If that neural path is different, then how are their minds different, and how does that affect how one clears the mind? On the book tour, when I discussed meditation, no one batted an eye. Even if they don’t do it, meditation is a much more familiar world than when Writing Down the Bones came out in 1986. Back then most people had little familiarity with it. And knew cursive. Pasa: How do some writers feel when you tell them, upon entering the silent practice, that they must let go of that novel they’ve been working on for a bit? Goldberg: Many students protest that proposition at first. And I’ll say to them, if you let go of it, you’ll get through it in a bigger, much more efficient way. Don’t get frozen with it. Let writing do writing, and let it take you where you need to go rather than trying to control it. Often what happens is we freeze with a novel and torture ourselves with the first three sentences of the first paragraph, and three hours later we haven’t gotten any further. If you take the writing on as practice, it’s no longer a chore, it’s an exploration, an invitation to dig deeper into places, characters, and your own motivations. It’s “a priori writing.” It builds a strong spine and builds confidence in your own mind and an understanding of how the mind works. Now, wouldn’t those be good tools to have when entering into a novel? Pasa: You also write that “a writer can become an opinionated old grouch unable to bear humanity.” Novelists aside, how can a practice like this help, say, a journalist — one who isn’t yet completely cynical about the profession? Goldberg: Again, this practice leads to efficiency, being able to get out of the way of the right words and, hopefully, learning how not to be so damn precious in your writing. It’s a skill journalists need anyway; don’t you think? ◀

details ▼ Natalie Goldberg in conversation with Joan Halifax Roshi; Goldberg reads from her new book, The True Secret of Writing: Connecting Life With Language ▼ 6 p.m. Tuesday, April 16

Mary Feidt

▼ Collected Works Bookstore, 202 Galisteo St., 988-4226

PASATIEMPOMAGAZINE.COM

ANGEL OLSEN STRETCHES THE LIMITS

Robert Ker I For The New Mexican

ome voices are drifters. They materialize from no particular time or place, reflect the trouble and turmoil of a restless soul, fill your heart with love, break your heart with loss, and mosey on down the road, leaving nothing but a dust trail and the kind of grainy recollection that flits between a dream and a memory. Angel Olsen possesses such a voice. Her singing, like Karen Dalton’s or Bob Dylan’s in the 1960s, doesn’t betray her age. It sounds far away yet intimate. She named her latest album Half Way Home, and the title suits its content; the phrase implies being in a state of limbo, but with direction and a destination in mind. On Saturday, April 13, Olsen settles down for a performance at High Mayhem Studio. She’ll play a set of music that isn’t quite folk and isn’t quite indie rock, although she has garnered praise from both of those circles. Her music’s peculiar bending of those genres, along with blues and country, into a emotionally raw storytelling vehicle lends it some resemblance to what Greil Marcus called “the old, weird America.” It’s fitting that she grew up in St. Louis, a city up the river from the birthplace of the blues and downriver from Chicago’s rich, roots-based indie-rock heritage. “My parents listened to a lot of country music on the radio,” Olsen told Pasatiempo. “I liked the Everly Brothers, the Righteous Brothers — you know, the oldies station. ... I think a lot of my influences come from older music.” Half Way Home does in fact seem haunted by Phil Spector and the distantsounding melodies of early pop records, with songs like “Free” and “The Waiting” shaking off the acoustic-guitar coffehouse cobwebs and engaging in soulful, reverb-drenched boogie. This is a big step for an artist who began her career as a solo folkie. “I’ve been [playing by myself] forever,” she said, “and I just wanted to make music with people, and I wanted to see what I could come 22

PASATIEMPO I April 12-18, 2013

up with. When I made Half Way Home, it changed the way I heard my music.” Olsen plays in Santa Fe with a bassist, a drummer, and a cellist. “I started writing songs on guitar when I was 15 or 16, and it wasn’t very good at all. I knew like three chords. I taught myself, so it was this new experience. I tried to sing while playing piano and I couldn’t do it, so the guitar was the next natural step. When I was younger and just learning to write songs ... I was forcing my voice to do this thing in this one particular character. And then it occurred to me that it was OK to be experimental and to try to express my voice in different ways. You don’t have to keep one character.” Nowadays, Olsen’s singing contains a full ensemble cast; she’s capable of swooping down to an otherworldly baritone or soaring upward like a released dove. She’ll sometimes slip into talking blues or let her syllables linger and flutter into the ether. The power and range of her voice are the most striking aspects of her music and are among the elements that sparked fellow troubadour Will Oldham to invite her to record and tour with him — a big break for her, both in terms of introducing her to a wider audience and lending her creative inspiration. “Just watching how Oldham leads a group of people has helped me at least have an idea how to do that, because now — it’s a very exciting process, but it’s difficult when you’re doing it for the first time — I’m having to teach a bunch of people my songs. It’s a totally different process for me, even though I’ve been playing music for years. He’s played with many different people, but he’s also played solo quite a bit, and he’s gone through many different phases of making music. [It was beneficial] to be around that group of people and see the way he interacts with them and see how even when something isn’t totally going the way it was planned or practiced, it can be really awesome.” Olsen shares with Oldham a fascination with death and a deep appreciation for the fleeting nature of life. “Lonely Universe,” the longest and arguably most harrowing song on Half Way Home, deals with the death of an older relative as

DAVID MITCHELL with Tom Barbash

WEDNESDAY 24 APRIL AT 7PM LENSIC PERFORMING ARTS CENTER

motivation for living a fuller life. “It’s only your life,” she sings. “It’s only going by.” In her songs, life is a mostly lonely — though not necessarily unhappy — endeavor that involves constant evolution of self. “When did the time become something I feel? And now as I disappear someone else becomes real,” she sings on the single “Tiniest Seed.” Few people are able to express such ideas so pointedly. The lyric could also be a mantra for someone who drifts from one project to the next, who sings of being unsettled, and who even shifts the very timbre of her voice from line to line. She told a story about sitting on an airplane next to an 80-year-old woman who teaches college courses and writes books. She exclaimed to Olsen, “I just don’t know what to do with my life!” The overwhelming optimism and freedom in this anecdote was not lost on Olsen. “I’ve always wanted to be involved in theater,” Olsen said. “But I reached out to music instead. And now I feel like I’m at this point where I’m creating a lot of things with friends — filmmaker friends or writers or artists that are around me in my life. I want to be able to make things with them, and I think, Oh I don’t have the schooling to do these things. But I’m of the opinion that even if you go to school your entire life, you can still suck at something — because it really takes just knowing yourself and knowing how you interact with other people and being in control of that and knowing how to express something well to make a good piece of art.” ◀

If any readers have doubted that David Mitchell is phenomenally talented and capable of vaulting wonders on the page, they have been heretofore silent. Mitchell is almost universally acknowledged as the real deal. His best-known book Cloud Atlas is one of those how-the-holy-hell-did-he-do-it? modern classics that no doubt is — and should be — read by any student of contemporary fiction . . . [The Thousand Autumns of Jacob de Zoet] confirms Mitchell as one of the more fascinating and fearless writers alive. – Dave Eggers, The New York Times Book Review David Mitchell’s novels include The Thousand Autumns of Jacob de Zoet, a historical epic about a Dutch accountant’s adventures in feudal Japan, and Number9Dream, described as “an intoxicating ride through Tokyo’s dark underworlds and the even more mysterious landscapes of our collective dreams.” Mitchell’s celebrated Cloud Atlas, which erases the boundaries of genre and language with six interconnected stories that take the reader from the 19th century in the remote South Pacific to a post-apocalyptic distant future, was described as a “Nabokovian delight in word play” by The Washington Times.

details ▼ Angel Olsen with Villages and The Catahoula Curse ▼ 8 p.m. Saturday, April 13 ▼ High Mayhem Studio, 2811 Siler Lane, www.highmayhem.org ▼ $10; Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org)

PASATIEMPOMAGAZINE.COM

James M. Keller I The New Mexican

BEGUILING VIOLS Parthenia gives a concert of Elizabethan and Jacobean words and music

David Rodgers

mong the musical instruments that pass across this city’s stages, the viola da gamba qualifies as an infrequent and exotic visitor. On Friday, April 12, however, concertgoers will have the opportunity to hear not just one viola da gamba but four of them, when the viol consort Parthenia appears at St. John’s College in When Music and Sweet Poetry Agree, a celebration of English words and music from the Elizabethan and Jacobean eras. Joining them will be mezzo-soprano Jacqueline Horner-Kwiatek, who has performed here as a member of the women’s vocal group Anonymous 4, and actor Paul Hecht, widely applauded through a long career on stage, in television, and as a sonorous reader of audiobooks. The viola da gamba, or just “viol” for short, enjoyed its heyday from the mid16th through the early-18th centuries, although modern practitioners, including the members of Parthenia, have met with success in encouraging contemporary composers to expand the repertoire. Lawrence Lipnik, who co-founded Parthenia in New York City in 1989, explained in an interview with Pasatiempo that fullfledged viols appeared in Italy in the 16th century, at the court of Isabella d’Este in Mantua. “The earliest viols that came into being,” he said, “were guitarlike instruments fitted with a raised, curved bridge that enabled them to be bowed.” Whereas plucked string instruments like guitars and lutes were held sideways, 24

PASATIEMPO I April 12-18, 2013

viols were positioned upright, supported by the player’s legs; viola da gamba means, literally, “viola of the leg.” Lipnik continued: “The tenor viol and the lute seem very similar, with both having six strings, fretted and tuned in fourths. The earliest examples of viols were very thin and delicate, with no sound-post, but the instrument evolved considerably through the 16th century. The first time you ever see a viol in England is in a study for a painting of Sir Thomas More’s family.” The original of that depiction, painted in 1527 by Hans Holbein (during the time of Henry VIII), was consumed in a fire in the 18th century, but by then it had fortunately been reproduced in copies. Numerous Renaissance artists would include a viola da gamba as a prop in their paintings, perhaps most famously Jan Vermeer, who portrayed it on four occasions, in every case in the company of a keyboard instrument. That leads toward an explanation of Parthenia’s name, which the group took from a collection of music published in London in about 1624 under the title Parthenia In-Violata or Mayden-Musicke for the Virginalls and Bass-Viol. The virginals (or virginal — both connote a singular noun) was a keyboard instrument popular at the time, and an early treatise explained that it was so named “because, like a virgin, it sounds with a gentle and undisturbed voice.” The idea fit in nicely with that of the partheneia of ancient Greece, a dancing chorus of

youths, mostly girls, usually virgins. “Parthenia became one of the metaphors for Queen Elizabeth, creating her whole image as something virginal and unearthly,” Lipnik said. The linking of the viol with the virginals inevitably led to an increase in the viol’s prestige, and playing the viol became a mark of culture. “He plays o’ the viol-de-gamboys, and speaks three or four languages word for word without book, and hath all the good gifts of nature,” proclaims Sir Toby Belch admiringly of Sir Andrew Aguecheek, in Shakespeare’s Twelfth Night. Viols may have originated in Italy and flourished all around Europe, but it was in England that they became supremely popular as ensemble instruments. Parthenia is formulated along the lines of the so-called “consort of viols” cultivated in Elizabethan and Jacobean England. The group normally plays on a combination of treble viol, two tenor viols, and bass viol. In Thomas Middleton’s comedy A Trick to Catch the Old One, published in 1608, the usurer Onesiphorus Hoard describes his marriageable niece with a lusty double-entendre characteristic of the time: “She now remains at London with my brother, her second uncle, to learn fashions, practise music. The voice between her lips and the viol between her legs, she’ll be fit for a consort very speedily.” English composers produced a large repertoire for consort of viols. Parthenia’s program includes pieces by no fewer than 10 composers, some represented by multiple works. A few of the pieces the audience will hear were conceived as purely instrumental numbers — fantasies by William Byrd and John Jenkins, dances by Anthony Holborne — but the rest represent the intersection of vocal and instrumental composition. The group’s printed program states, “In the Elizabethan world, poetry and music were inseparable; poetry was conceived as song and music took its forms and phrasing from poetry.” This happened in a literal sense. A crucial moment in the history of the consort of viols is spelled out in the “Epistle to the Reader” that Byrd placed at the front of his 1588 collection Psalms, Sonnets and Songs of Sadness and Pietie: “If thou delight in music of great compass, here are divers songs being originally made for instruments to express the harmony, and one voice to pronounce the ditty.” Indeed they were “originally made.” Byrd’s collection marked the birth of the consort song, in which a solo singer is accompanied by a consort of viols. Whereas the Italians had cultivated the art of the madrigal, a polyphonic piece for a small group of singers, Byrd’s were the first pieces in which all but one of the vocal lines were explicitly assigned to instruments. From that point forward, English composers would also produce reams of madrigals in addition to consort songs, but they characteristically noted that their madrigals might be performed by a combination of voices and viols. From this crossroad of genres come many of the pieces featured on this program, including selections by the madrigalist Francis Pilkington and the lutenist-songwriter John Dowland. “Viol consorts emerged in England at time when poetry was also coming into its own,” Lipnik observed. That coincidence led Parthenia to construct this program in which consort songs and instrumentally conceived violconsort music alternate with recited poetry. The group hooked up with Hecht several years ago through a mutual connection, a singer who had collaborated with Parthenia in a contemporary piece and with whom Hecht had worked in a Purcell masque. Hecht, who was nominated for a Tony Award as Best Featured Actor for his portrayal of The Player in the 1968 Broadway production of Tom Stoppard’s Rosencrantz and Guildenstern Are Dead, is a devoted music lover, and he shared the ensemble’s interest in how music and poetry were joined at the hip in centuries past. A friendship was born, and he has now performed in several collaborations with Parthenia, in every case exploring the shared rhetoric of music and poetry. “In this program,” said Lipnik, “music and poetry weave together to create an abstract metaphysical reality. Readings from Shakespeare and Donne are interspersed between musical numbers, almost like cabaret.” ◀

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details ▼ Parthenia presents When Music and Sweet Poetry Agree, with mezzo-soprano Jacqueline Horner-Kwiatek and actor Paul Hecht ▼ 7:30 p.m. Friday, April 12 ▼ Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca ▼ No charge (no tickets necessary); 984-6000

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TERRELL’S TUNE-UP Steve Terrell

Celestial chromaesthesia Once again The Black Angels prove that a band can play psychedelic music without sounding campy or even all that retro. Granted, on its new album, Indigo Meadow, the Austin band certainly employs some sonic tricks from the psychedelic era: lots of reverb, lots of fuzz, some Mideastern/ East Indian-sounding guitar licks and melody lines here and there, creepy electric organ — and in a couple of places you’ll hear that electric jug sound pioneered by the Angels’ Texas forebears, The 13th Floor Elevators. The band’s music is strong enough that it doesn’t seem defined by these musical embellishments. It’s fresh and powerful. It seems like a logical progression from the psychedelia of yore, not some cute re-creation — even though the band does have a song with the unfortunate title “I Hear Colors.” Like the group’s previous album, Phosphene Dream, on which the Angels moved away from 16-minute astral odysseys, Indigo Meadow puts more emphasis on melody and has shorter and punchier tunes than those found in the band’s early work. Indeed, the longest song here is shorter than the shortest song on the Angels’ 2008 album Directions to See a Ghost. But if anything, Indigo Meadow seems heavier and more hard-rocking than Phosphene Dream. For instance, the fuzz-drenched guitar riff that starts off “Evil Things” could aptly be described as “Led Sabbath.” On the title song, Stephanie Bailey’s thunder drums and a tense, repetitive guitar riff — almost suggesting the soundtrack of the shower scene in Psycho — set the mood before singer Alex Maas begins what isn’t exactly a tender tune of love:

The Black Angels’ music is fresh and powerful. It seems like a logical progression from the psychedelia of yore, not some cute re-creation. “Lay your hands across my chest, girl/You’ve been a problem since the moment I met ya/You always cause a real friction/Put your pale hands on my face, my love.” Fractured romantic tension is one of the underlying themes of Indigo Meadow. True, the hopped-up, electro-poppy “You’re Mine” sounds like the singer has a bad case of schoolboy puppy love, but other songs show the darker side of love. On “Holland,” one of the more mellow tunes on the album, Maas sings, “I’d rather die than to be with you tonight.” In the refrain of “Love Me Forever,” as Maas repeats the song’s title, it sounds more like a command of a megalomaniac than the plea of a lover. And an undercurrent of misogyny seems to creep into one of band’s attempts at a timely topical tune, “Don’t Play With Guns.” This is the Black Angels, so it’s not going to be your typical protest number. It’s about a young woman who manipulates people to “kill for fun” for her. “Now Angie she was a demon/She had six arms and Lucifer eyes/She always had this glow.” Some of the best songs here are those on which the Angels seem to be having fun. “The Day” sounds like some forgotten Yardbirds tune. “Twisted Light” is nice and trippy, showing off Bailey’s heavy-fisted drums. And even though I made fun of the title, “I Hear Colors” (subtitled Chromaesthesia) is a wild stomper with crazy organ (it would make Ray Manzarek proud) and a theremin exploring the colors of sound. I’ve always felt that psychedelic rock withered too soon back in the late ’60s. Attempts at a revival in subsequent decades have fallen flat, usually devolving into fey self-parody. But The Black Angels are one of the few bands that didn’t forget the “rock” part of psychedelic rock. Long may they fly. Feed your head at www.theblackangels.com. Also recommended: In the Ley Lines by Dengue Fever. This is being billed as Dengue Fever’s lost album. It features five alternative mixes of previously released Dengue tunes, plus another five recorded live in Peter Gabriel’s studio four years ago. This collection wasn’t actually “lost.” It just wasn’t widely circulated, available only for subscribers to the

▼

PASATIEMPO I April 12-18, 2013

Bowers & Wilkins Society of Sound, a service for audiophiles set up by a British company that manufactures stereo and home-theater speakers. Although I’m familiar with almost all of the songs on the CD, I’m glad the album is available for us plebeians. The live tracks are especially full of the kind of the wild energy that you expect in a Dengue Fever show. (The band played in Santa Fe at least three times in recent years. I’ve caught them twice and would go again.) A little Dengue 101 for the newcomers: the group was the brainchild of Zac and Ethan Holtzman, California brothers who were huge fans of late ’60s/early ’70s Cambodian rock ’n’ roll. This was a crazy sound that was heavily influenced by American surf, psychedelic, garage, and soul music. Cambodian rock was basically destroyed — as was much of Cambodian civilization — by the evil Khmer Rouge regime in the late ’70s. The Holtzman boys and their pals got down the instrumental component of this brand of rock, but Dengue Fever didn’t really blossom until it hired Cambodian-born singer Chhom Nimol, from a family well known in Cambodian music circles. The band’s first three studio albums are well represented. (The fourth, Cannibal Courtship, was released after Ley Lines was recorded.) There are rousing versions of “New Year’s Eve” and “Hold My Hips” from the group’s 2003 self-titled debut album, a nice spooky rendition of “One Thousand Tears of a Tarantula,” which was a highlight of Dengue’s breakthrough album Escape From Dragon House, and two duets with Nimol and Zac Holtzman that first appeared on the third album, Venus on Earth. These are “Tiger Phone Card” and “Sober Driver,” which sounds slinkier and sexier here than it did in its original form. While all the songs on this lost album have appeared elsewhere before, a couple may be new to casual fans because they were available only on deluxe versions of Dengue albums. “The Province” is one of those slow, pretty mysterioso tunes the band does so well. But I prefer “Doo Wop (Today I Learnt to Drink),” a rocking little tune originally done by Cambodian star Ros Serey Sothea. She disappeared during the reign of Pol Pot, but thanks to Nimol, her song lives on. Check out www.denguefevermusic.com. ◀

Sponsored by Lannan Foundation • Madeline Miller, photo by Nina Subi

SAR School for Advanced Research

Writers Reading/Reading Writers • NMHM Auditorium Tuesday, April 16, 2013, 6:30 pm—Madeline Miller

Excavating Achilles: Following Homer’s Hero Through the Ages Author Madeline Miller reads from her 2012 Orange Prize-winning novel, The Song of Achilles, and explores the stories that are at the heart of its creation. Swift-footed and ill-fated, Achilles has proven to be one of Homer’s most enduring creations. Miller traces his development from ancient Mycenaean times through today, revealing how she constructed her own version of the great hero in her novel and how she reconstructed Homer’s poetic world. “The Song of Achilles is at once a scholar’s homage to The Iliad and a startlingly original work of art by an incredibly talented new novelist. Madeline Miller has given us her own fresh take on the Trojan War and its heroes. The result is a book I could not put down.” —Ann Patchett, author of Bel Canto and State of Wonder Free for SAR members • $10 for nonmembers (No advanced tickets or reservations) • Signed copies of The Song of Achilles will be for sale at the event. For more information, visit miller.sarweb.org or contact the membership ofﬁce at (505) 954-7203.

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PASA TEMPOS

album reviews

lUiZa Borac Yelena eckemoff Piano Music of Dinu Trio Glass Song (l&H) Lipatti (avie) In 1950, when the Although Russia-born pianist Yelena Romanian pianist Dinu Lipatti died Eckemoff was trained in classical music and of Hodgkin’s disease at the age of studied jazz, rock, world music, and electronic 33, the world mourned a beloved music, Glass Song is her fifth acoustic trio figure acclaimed for his interpretaalbum in three years; all five feature original tions of Bach and Chopin. He was Eckemoff compositions. In the Glass Song liner notes, she also a composer of considerable breadth, as we learn augments each tune with poetic stanzas, such as this snippet from this generous two-CD selection of his scores, played about the wonderfully moody title track: “Ethereal beauty of the with devoted zeal and technical finesse by his compatriot Glass Kingdom is so hypnotic that once you enter, it makes you Luiza Borac on a rich-toned Bechstein. Lipatti studied comwish to lose yourself in there forever.” The opener, “Melting Ice,” is position with Nadia Boulanger, and his early works display the by turns cool, delicate, improvisationally jazzy, staid, and romantic. In Stravinskian tendencies one expects from her pupils. His Concertino the intro to “Cloud Break,” bassist Arild Andersen improvises, thrumming in Classical Style, from 1936, is a charming example in which native richly and grandly over a three-note unison pulse from the piano and Peter veneration for Bach is refracted through a modernist prism; for this Erskine’s cymbals. The main part of the song is a multidimensional display, selection, Borac is ably supported by the Academy of St. Martin in the three players weaving in and out and taking turns in bright engagement. the Fields. In 1932, on the eve of his 15th birthday, the prodigiously Here and there is undeniably juicy creativity, the three not avoiding talented Lipatti produced a full-scale Piano Sonata in D Minor angularity or volume, but they also sustain an aura of peace. From that reveals Lisztian undertones. Two of his nocturnes (1939) the title of “Dripping Icicles,” we would expect to experience and his five-movement Fantaisie for Piano (1940) display chilling, cave-like placidities. Instead, Eckemoff and her considerable harmonic complexity, the nocturnes perhaps cohorts approach jollity; the pianist further demonstrates taking Ravel as a starting point. Lipatti never achieved Old-school OMD fans the great variety of expression she has at her fingertips; and a distinct ongoing fingerprint as a composer, but the the music swings. Each of Glass Song’s 10 tracks is pretty, will swoon over ‘Stay With Me’ individual works hold interest as stand-alone moments. powerful, and eminently listenable. — Paul Weideman When all is said and done, he will doubtless be rememand ‘Helen of Troy,’ while ‘Atomic bered more through his interpretations, a point Borac orcHeSTral manoeUVreS in THe Dark English makes by including a handful of his Bach transcripElectric (BmG/100% records) OMD’s self-titled debut Ranch’ and ‘Our System’ show off tions, by turns witty and elegant. — James M. Keller album, released in 1980, is a touchstone for anyone old enough to remember the genesis of twee meets brooding some great new tricks from these DUTcH UncleS Out of Touch in the Wild (memphis British synth pop. Early follow-up albums, such as 1981’s industries) Dutch Uncles is the latest band to emerge acclaimed hit-maker Architecture & Morality, solidified from the rich pop-music wellspring of Manchester, legendary synth-pop dogs. England (coming via nearby Marple), and it adds complex OMD’s place on the saintly mantel of electronic music (as new flavors to the infectious dance-rock the city is often did the treacly single “If You Leave” from the 1986 John noted for. Just as London’s Hot Chip streamlined Balearic Hughes film Pretty in Pink). After disbanding in the mid-’90s, house music into sleek, soulful pop songs, Dutch Uncles applies OMD core members Andy McCluskey and Paul Humphreys that same treatment to prog and math-rock. The band’s piano and continued to make music separately but re-formed OMD a decade later. In 2010 longtime fans were given the disappointing History of Modern, strings stutter; notes from marimbas and xylophones knot up into tight the first OMD album in 14 years: a hodge-podge affair so lacking in identity little loops; coldly analytical drumming is placed alongside Africaninfluenced bass lines; and silky vocals lie across an array of melodies. In and polish that it could have spelled the end of the Liverpudlian duo’s fact, Duncan Wallis’ voice may sound too effortlessly pretty for some run. Fast-forward to April 9 and the release of English Electric, though, of these roiling, tumultuous compositions. A voice that better evokes and feast your ears on what is perhaps the crowning achievement of conflict might have more appropriately suited the material — the OMD’s career. Simple melodies and vocal harmonies remain intact way David Byrne threw his singing into the polyrhythmic fray but glide across a fresh wave of electronic experimentation. Think and grappled with instrumentation. Dutch Uncles writes some Erasure’s delayed digital backbeats and echo-y intros blended quality songs, however. “Fester” is about being filled to burstwith a minimalist Kraftwerk-ian sensibility, especially on the reworked track “Kissing the Machine,” ing with emotion, and its melodywhich was originally featured on the 1993 stuffed composition explodes in album Esperanto by Elektric Music (aka exa grand climax. “Godboy” uses a Kraftwerk member Karl Bartos). Old-school string section against manic, postOMD fans will swoon over “Stay With Me” punk rhythms to conjure a sense and “Helen of Troy,” while “Atomic Ranch” of drama. Surprisingly, this is not and “Our System” show off some great exhausting music. It goes down new tricks from these legendeasy — so easy that it doesn’t ary synth-pop dogs. leave much aftertaste. — Rob DeWalt — Robert Ker

PASATIEMPO I April 12-18, 2013

Santa Fe

Spring Classic Weekend

Santa Fe Pro Musica Orchestra Thomas O’Connor, conductor Chad Hoopes, violin Dina Vainshtein, piano

1st Prize at the Young Artists Division of the Yehudi Menuhin International Violin Competition

Recital

Friday, April 12 at 7:30pm Brahms Sonata No. 2 in A Major, Op. 100 Bach Sonata No. 1 in G Minor, BWV 1001 Prokofiev Five Melodies, Op. 35b Tchaikovsky Three Pieces “Souvenir d’un lieu cher,” Op. 42 Ravel Tzigane

Concerto

Plays the 1713 Stradivari “Cooper” violin

Saturday, April 13 at 6pm Sunday, April 14 at 3pm Tchaikovsky Violin Concerto in D Major, Op. 35 Beethoven Symphony No. 3 in E-Flat Major, Op. 55 “Eroica”

Meet the Music Introduction: Saturday and Sunday one hour before each performance. Tickets: $20, $35, $45, $65. | Santa Fe Pro Musica Box Office: 505.988.4640 (ext.1000), 800.960.6680 Tickets Santa Fe at the Lensic: 505.988.1234 | For complete season concert listing visit www.santafepromusica.com The 2012-2013 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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Demonstrations All Month: April 5th & 6th - Franklin Peters - Acoma Pueblo April 12th - Carolyn Concho - Acoma Pueblo April 13th - Preston & Debra Duwyenie - Hopi & Santa Clara April 19th & 20th - Jean Sahmie - Hopi Pueblo April 26th - Johnathan Naranjo - Santa Clara Pueblo April 27th - Thomas Tenorio - Santo Domingo Pueblo

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PASATIEMPO I April 12 - 18, 2013

It’s About Time 14,000 years of art in new mexico

107 W. Palace Ave. on the Plaza in Santa Fe NMArtMuseum.org 505-476-5072 Funded by New Mexico Humanities Council, Newman’s Own Foundation, and the Museum of New Mexico Foundation. above: Peter Hurd, Portrait of Gerald Maar (detail), 1952. Egg tempera on gesso. Collection of the New Mexico Museum of Art. Gift of Thomas F. Ryan, 1993.

ON STAGE I ride an old paint: Cowboy songfest

At 7:30 p.m. Wednesday, April 17, Santa Fe gets a double whammy of musical storytelling when Ian Tyson and Tom Russell take the stage at the Lensic Performing Arts Center (211 W. San Francisco St.). Russell, an accomplished visual artist who exhibits Ian Tyson Tom Russell his paintings in a special wing of The Rainbow Man, is also a master of the cowboy singer-songwriter tradition. His songs traverse country, folk, blues, and rock, painting a colorful mosaic of the people and landscapes of the West. Tyson, a former working cowboy and something of a Canadian hero for his contributions to the folk revival of ’60s and ’70s (his 1963 song “Four Strong Winds” was chosen by CBC Radio One as the greatest Canadian song of all time in 2005), has inspired artists such as Bob Dylan, The Band, Neil Young, Johnny Cash, and Judy Collins. Tickets, $20 to $45, are available by calling 988-1234 and from www.ticketssantafe.org. — RDW

Talking ‘bout D-Generation

In conjunction with Theater Grottesco’s 30th-anniversary programming at the Center for Contemporary Arts’ Muñoz Waxman Gallery (1050 Old Pecos Trail), Vermont’s Sandglass Theater brings its newest multimedia puppet performance piece, D-Generation: An Exaltation of Larks, to Santa Fe. Described by producers as “a piece that reflects both the stigma and the emergence, the despair and the joy, that is equally present and possible, in both the person with dementia and in their caregivers and family members,”

THIS WEEK

Golden jubilee: The Melodians

Jamaican legends The Melodians celebrate 50 years of making roc steady magic this year, and Tony Brevett and Trevor McNaughton, the only remaining original members of the band, hate to celebrate alone. They’ve taken the show on the road, spreading rocksteady love throughout the U.S. and Europe. Here’s why the band name may sound familiar: The Melodians’ song “Rivers of Babylon” landed on the soundtrack to the 1972 film The Harder They Come, starring reggae great Jimmy Cliff. And UB40 fans won’t forget the U.K. ensemble’s cover of The Melodians’ “Sweet Sensation,” which appears on the 1983 album Labour of Love. Catch the band, along with Zambezi Sound System and DJ Cutter, at 8:30 p.m. Thursday, April 18, at Santa Fe Sol Stage & Grill (37 Fire Place). Doors open at 7. Tickets ($20; $25 at the door) are available at www.solofsantafe.com. — RDW

Early bloomer: Chad Hoopes

Lisa-Marie Mazzucco

the work is based on stories collected at healthcare facilities that treat certain cognitive disorders. Theater Grottesco first brought Sandglass to Santa Fe in 2009 to perform at Wise Fool Studio, and local performances of D-Generation mark the start of Sandglass’ national tour. Performances are at 7 p.m. Thursday to Saturday, April 18 to 20, and at 4 p.m. Sunday, April 21. Tickets ($25, $10 for students; Thursday is pay what you wish) are available from www.theatergrottesco.org and by calling 474-8400. — RDW

By the time he walks across the stage to collect his diploma at a Cleveland high school later this year, 18-year-old violinist Chad Hoopes will have performed concertos with dozens of symphony orchestras in North America and Europe, played still more recitals on his 1713 Stradivarius, and been featured in a television commercial promoting the Cleveland Indians and an Ohio sports network. At 7:30 p.m. on Friday, April 12, he is joined by pianist Dina Vainshtein for a recital at the Lensic Performing Arts Center (211 W. San Francisco St.). The performance includes Brahms’ Violin Sonata No. 2 and works by Bach, Prokofiev, Tchaikovsky, and Ravel (his Tzigane). On the following two days — at 6 p.m. Saturday, April 13, and at 3 p.m. Sunday, April 14 — Hoopes joins conductor Thomas O’Connor and the Santa Fe Pro Musica Orchestra at the Lensic to perform Tchaikovsky’s Violin Concerto and Beethoven’s Symphony No. 3, the mighty Eroica. For tickets ($20 to $65, discounts available), call 988-1234 or visit www.ticketssantafe.org. — JMK

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Top, Western artist Charles M. Russell as depicted on a cigar-box label; New Mexico History Museum Left, Tom Mix, circa 1919. Library of Congress LC USZ62-92336; publicity photograph for Mix’s film Mr. Logan, U.S.A.

• Robert Nott I The New Mexican

Opposite page, unidentified cowboy on bucking horse, circa 1922-1934. Tex Austin Collection; Palace of the Governors Photo Archives (NMHM/DCA), Negative No. 200061

An exhibition of mystic and bona fide cowboys

isible in many photos of Barack Obama’s office is a cowboy — Frederic Remington’s sculpture The Bronco Buster, situated on a small table near the presidential desk. “That,” said B. Byron Price, director of the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma, “is a fair indication of the stature of the cowboy today.” According to Price, the cowboy — and the cowgirl for that matter — is still out there: riding the range, roping steer, and moving cattle to market, even if by pickup truck or railroad car. Price is guest curator of the New Mexico History Museum’s exhibition Cowboys Real and Imagined, which opens Sunday, April 14, and runs for 11 months. Price delivers an opening-day lecture at the museum. The cowboy has long been an integral character in the mythology of both the American West and the United States as a whole. In the late-19th and early-20th century, cinema, radio, advertising, and publications — primarily dime novels and later comics — hijacked the working-class cowboy and turned him into a gun-toting superhero capable of righting wrongs on the range while warbling corny tunes or engaging in John Wayne-type acts of valor.

PASATIEMPO I April 12-18, 2013

That image is still strong. A current T-Mobile commercial plays up the cowboy myth with a bunch of mean-looking hombres riding into a dusty trail town hellbent on causing trouble — until one of them displays true cowboy independence by breaking away from the rest in an effort to provide better mobile phone service. Cowboys Real and Imagined features nearly 1,000 artifacts, including historical clothing, tools, saddles, blacksmith accouterments, chuck wagons, windmills, water tanks, and sombreros. The show also has more than 200 photographs, tintypes, and artistic renderings of the cowboy way of life. It follows the evolution of the old cowhand from his humble, hardworking roots to his status as a pop-culture hero. The exhibition makes room for radio commercials and musical jingles, advertising imagery (the Marlboro Man was a cowboy, remember), gaudy rodeo attire, and movie posters. “The cowboy has undergone a metamorphosis of image, and that is the theme of this show,” Price said by phone from his office in Oklahoma. “The show covers the origins of the cowboy hero and how he has been utilized for every purpose from politics to advertising. continued on Page 34

Officers of the Rough Riders, Tampa, Florida, 1898. Palace of the Governors Photo Archives (NMHM/DCA), Negative No. 152654; Opposite page inset, beaver sombrero displayed in Cowboys Real and Imagined, courtesy Museum of International Folk Art

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Cowboys Real and Imagined, continued from Page 32 Right, unidentified cowgirl, circa 1922-1934, Palace of the Governors Photo Archives (NMHM/DCA), Negative No. 200060 Below, Navajo (Diné) riders, circa 1930, possibly by J.R. Willis; Palace of the Governors Photo Archives (NMHM/DCA), Negative No. 098187 Bottom, cowboys dancing, circa 1908-1912, photo by Erwin E. Smith; Amon Carter Museum of American Art, LC-S6-058

PASATIEMPO I April 12-18, 2013

“It looks at how the cowboy represents cultural traits that always had two sides — the less-than-savory side that grew out of the dime novels and the earliest portrayals of the cowboy in literature. That reputation was resurrected and transformed by several folks, including President Theodore Roosevelt, Frederic Remington, [author] Owen Wister, and William F. Cody — Buffalo Bill — who cast the cowboy in a variety of positive lights and redeemed the ... violent, uncouth images ... in press reports — including The Santa Fe New Mexican. Those negative portrayals were transformed in the hands of these very skillful patrician Easterners — except for Cody — into a more heroic view of American masculinity and Americans in general.” Remington (1861-1909) was a New York-born artist whose works generally depicted life in the West as rugged, dangerous, and honorable and that often featured the cowboy and his horse as the main protagonists. Wister (1860-1938) was a Pennsylvania-born author whose most famous work is the 1902 novel The Virginian, about a morally upstanding ranch foreman whose sense of right never fails him as he faces cattle rustlers and betrayal by his best friend. New York native Roosevelt admired the cowboy and fashioned his famous Rough Riders cavalry unit after the cowboy image during the Spanish-American War. All three Easterners championed the cowboy as the embodiment of American independence, confidence, and morality. Buffalo Bill, of course, theatricalized that image in his popular Wild West shows, which began in the 1880s and ran into the early 20th century. The cowboy was always a superman in these shows, easily routing bandits and hostile Indians as he saved the damsel in distress, usually in a grand spectacle of horsemanship, stage combat, and gunfire. Not long afterward, cinema embraced and exaggerated the cowboy image. Actor and rodeo star Tom Mix made a number of short silent Westerns, many shot in New Mexico, featuring the cowboy as the always-intelligent, good-humored star of the hour, every hour. “Certainly the movies hammered home the image to a great degree and helped solidify it in the 20th century,” Price said. “Buffalo Bill got it started, but films gave the image a real hold onto the culture.” While the cowboy myth was gaining momentum, the Industrial Revolution was gearing up. “All of this coincided with the rise of America in world affairs,” Price said. “The power really came from the fact that everybody from workers — and the cowboy was first and foremost a worker — to people in the high strata of society could find something to like in the cowboy. If you put on the garb — and this holds today — you can participate in the myth. “And that’s the beauty of the myth. It’s one of the reasons it has such broad appeal. You have the working person and the heroic cowboy actor all rolled into one.” Interestingly and quite appropriately, few of the photographic images of cowboys in the exhibition show them wearing six-guns — a literary and cinematic contrivance. “There were actually laws that prohibited cowboys from carrying sidearms; cattle outfits prohibited it,” Price said. “There was very little reason for cowboys to carry sidearms on the job. Many did have them in their bedrolls … but the vast majority went about their business unarmed. Price noted that the West was populated by Mexican cowboys (vaqueros), African American cowboys, Native American cowboys, British cowboys, and guys from New York and other points east who had migrated out this-away. Women played a role too. “Women were very much doing the work of men from the beginning, although there were cultural restrictions that were imposed on women in the concept of what they were supposed to do and be in the 19th century. It was

probably harder for women to adopt that sort of role and still operate in polite society, if you will.” One of those women was Fern Sawyer (1917-1993), a New Mexico cowgirl and rodeo star who was renowned for her flashy attire, including, some say, items fashioned by Frederick’s of Hollywood. “She was the whole package,” Price noted. (One of Sawyer’s cherry red outfits is included in the exhibition.) The show focuses on New Mexico’s cowboy tradition, which Price said “can stand with any of them. It’s still a strong tradition that is constantly changing.” Incidentally, Price does admire a few film Westerns — mostly from the past 50 years — that paint a somewhat realistic view of the cowboy way of life, including 1962’s Lonely Are the Brave (shot in New Mexico), 1968’s Will Penny, and 1972’s The Cowboys, which stars John Ford and was also shot in New Mexico. Asked if most people still think of Wayne when the term cowboy comes up, Price laughed and said, “Absolutely.” But he said that Wayne quickly learned how to handle a horse and a gun (albeit a prop one) on screen. “Just watch him ride in The Searchers [1956]. He knew what he was doing.” Price acknowledged that trying to throw a lasso over the definition of cowboy is pretty difficult. But he said people worldwide are still

fascinated by the image, so somewhere along the way, somebody must have done something right when it came to perpetuating that image. But ultimately, was the myth-making good or bad for the cowboy and the nation? “It is what it is,” Price said. “It’s neither good or bad in itself. But it gave an identity to a nation that was struggling to find an identity.” And he’s not too worried about potential extinction for the cowboy way of life. “We still have working cowboys who work for wages,” he said. Cowboy poet Baxter Black said, ‘They’re out there. You just can’t see them from the highway.’ I’m pretty positive they’re always going to be out there.” ◀

details ▼ Cowboys Real and Imagined ▼ Opening reception 1-5 p.m. Sunday, April 14; 2 p.m. guest curator B. Byron Price speaks about the exhibition ▼ New Mexico History Museum, 113 Lincoln Ave.; through March 16, 2014 ▼ By museum admission (Sundays no charge to N.M. residents), 476-5200; visit www.nmhistorymuseum.org for a schedule of related events

Ellie Powell riding Smokum, 2006, Rodeo de Santa Fe; courtesy Natalie Baca; right, Cowboy and Cowgirl, Cimarron, New Mexico, circa 1911, photo by Edward Troutman, Palace of the Governors Photo Archives (NMHM/DCA), Negative No. 149784; right, Spanish spurs displayed in Cowboys Real and Imagined; courtesy Museum of International Folk Art

PASATIEMPOMAGAZINE.COM

James M. Keller I The New Mexican

AUTHOR BART PLANTENGA ON VIRTUOSO VOCALISTS

YOU MAY THINK YOU DON’T KNOW MUCH ABOUT YODELING,

but until you start working your way through Bart Plantenga’s latest book, Yodel in Hi-Fi, you are likely to underestimate the sheer magnitude of your ignorance — even assuming that you have already read his first tome on the subject, Yodel-Ay-Ee-Oooo, which you probably did when it appeared in 2003. Yodel-Ay-Ee-Oooo was subtitled The Secret History of Yodeling Around the World, and since the Utne Reader hailed it as “one of the most complete studies of any subject ever,” you most likely reached its last page and figured the topic was pretty much exhausted. That’s what Plantenga thought, too. But his book had been out not even a day, he said, when an acquaintance approached him on a subway platform to alert him to a oncefamous yodeler named Olivio Santoro, hitherto unknown to the author. “I knew my completism had not been completed and every subsequent day brought me a new yodeler, shoving me toward yet another reason to write Yodel in Hi-Fi,” Plantenga explains in his preface, by way of justification. And so, the very first yodeler profile in Yodel in Hi-Fi is appropriately about Olivio Santoro (b. 1928), “the guitar-playing ‘Boy Yodeler’ [who] hosted his own syndicated Mutual radio show in the late 1930s, the Hartz Pet Food Half Hour, a variety show that featured Santoro’s yodeling and other acts, like singing canaries, between pet food commercials.” He published a pamphlet on yodeling that offered this sage advice: “When you’re happy, yodel! When you’re sad, yodel and get happy!” “But then,” Plantenga writes, “World War II broke out, and along with it came heightened security and increased paranoia. His show was canceled in 1943, purportedly because some thought he might well be secretly communicating with Nazi sympathizers — via his yodeling!” He drifted off into obscurity, where one hopes he derived consolation from his art. antoro’s is one of dozens of thumbnail biographies that pepper Yodel in Hi-Fi. This book, too, has a subtitle, as all serious studies must: in this case, From Kitsch Folk to Contemporary Electronica, which speaks to the catholicity of Plantenga’s embrace. As he puts it, the book “includes the theoretical, the genesis from ululation to howl to holler and yodel, the out-of-Africa evolution of yodeling (and mankind itself), black yodeling from Africa to North America and elsewhere, U.S. yodeling, the religious and political sides of yodeling, cinematic yodeling, and Swiss yodeling, which many believe is the only genuine yodeling (but we know better).” Plantenga works through all that with an awareness of enthnomusicological principles that directs his thinking and listening, and then, blessedly, he passes it on to his readers shorn of the jargon that might render it all but incomprehensible to people less committed than he is. Indeed, the marvel of his book, rich in bite-sized lists and timelines, is that it is defiantly and proudly unacademic. Plantenga is not a professor; he’s a Dutch radio DJ who, over the years, has included a surprising amount of yodeling in his playlists. What really excites him about yodeling is hearing it, sharing it, noting the variety of how it is accomplished, discovering how practitioners invest it with a personal stamp, and finding that it is a living phenomenon rather than just a historic relic. He delights in discovering the individuality expressed through this ululation, this rapid alternation of vocal registers born of a twitch of the epiglottis. He is a man obsessed with this sound, which he describes as “unique and yet universal, marginal yet ubiquitous.”He seems to encounter yodeling practically wherever he roams, but here’s the tragedy of it all: he is unable to yodel. Probably a certain amount of irony is part of the bargain for anyone who chooses to devote his life to studying and promoting yodeling, but this does seem a cruel fate. Off he goes nonetheless, undaunted by his personal handicap, braving the wilds of America’s dairyland to

HOW TO YODEL hard palate soft palate

While yodeling is a strange and mystifying art that amazes those who hear it, you can learn to yodel. ... With a little practice you can then amaze your friends with genuine Swiss, Alpine, Western, and all other yodels.

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The two Secrets of Yodelling 1 Instead of words, you use sound, like“oo” “ay” “ee” “ah ”etc. 2 Instead of a“tune,” you just skip back and forth from“chest tones”to your“falsetto voice”... or, in plain words, from your“regular voice”to a“high voice.”

oro-pharynx mandible

posterior wall of pharynx

hyoid bone

laryngo pharynx thyroid cartilage

true vocal fold

Folks, yodelling is fun! Long before people knew any words, they expressed their happiness by yodelling. When you’re happy, yodel! When you’re sad, yodel and get happy! Come on, everybody ... yodel along with me!

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Let’s try it! The best way to learn yodelling is to begin with words that sound like yodelling. Let’s begin with my own name, O-Livi-O. Say it out loud: “O-LI-VEE-O.” Hear that? You’re beginning to yodel already! Repeat“O-LI-VEE-O”several times, so you get used to it. NOW ... instead of just SAYING“O-LI-VEE-O,” SING it, by raising your voice when you come to“VEE.” Like this: O-LI-VEE-O. Now you are really yodelling!

peer at the vocal mechanics of Ernie Jaggi at the New Glarus Hotel, “with its American, Swiss, and Wisconsin flags flying outside,” or casting a not uncritical eye on the pluses and minuses of the Eidgenössischer Jodler Verband (Swiss Yodeler Federation) festival across the sea in the motherland. Such interesting people he unearths, in person or through research. Possibly you had forgotten about Peter Hinnen (b. 1941), who, following a meteoric rise from his position as house yodeler in the Kindli Restaurant in Zurich, “confirmed his global status as the Jodelkönig, entering the Guinness Book of World Records by yodeling twenty-two tones in a single second.” Where could one go from there? “After his furious, youthful brush with worldwide fame,” Plantenga discloses, “he withdrew to a more humble existence as a nurse, making only periodic, modest comebacks.” Although Plantenga admits to a “tendency to champion the less fortunate, the infamous, the unphotogenic,” he does alight on a number of yodelers who are more generally famous. For example, Mary Schneider, the Australian artiste whose CD Yodelling the Classics presented Mozart’s Eine kleine Nachtmusik as Mozart never imagined it, along with epiglotically enriched interpretations of the Skater’s Waltz, the Brahms Lullaby, and Semper Fidelis. (“At the Berlin opera house, some years back, she leaped out of a cake dressed in a gold dress while yodeling and then repeated it on German TV.”) Or Johnny Weissmuller, who is portrayed in Cuba in 1959 “driving a car full of friends to a celebrity golf tournament in Havana when they’re ambushed by Fidel Castro’s rebels”; he “stands up, beats his chest, and belts out his famous Tarzan yodel,” thereby transforming the stunned rebels into fawning continued on Page 39

Like so many others, UteWassermann, a German extended vocalist, communicates with birds, fauna, and ETs in outer space, utilizing a broad palette of voices and overdubs that include throat clearing, birdcalls, throat tremolo, frog burps, operatic bravura, tongue-wagging, crackles, harmonics, and yodels that harken back to primal roots but also a distant future already inhabited by Greetje Bijma and Meredith Monk and company. — Bart Plantenga

All you need to do to learn more yodels is to do exactly like we did with my name,“OLIVIO.” Try it with my friend’s name:“Rodeo Ray.” Say“Ro-deo-Ray.” Now sing it by raising your voice when you come to“de”and“ray.” Like this: Ro-de-o-ray That’s “double”or“fancy”yodelling. See ... you’re already an expert! Now try these Yodels Do just what you did with“O-LIVI-O”and“RODEO RAY.” First, SAY the sentence over several times, then“sing” it by raising your voice at the part that has a line under it. 1 I doodle all a day away. 3 Rodeo Ray rode to Rollay today. I doo-dle all a day a-way. Rodeo Ray rode to Rol-lay to-day. 2 Who raided all de raided hay? 4 I know Lee, a lady. Who ray-ded all de ray-ded hay? I know Lee, a lay-dee. ... Make your own Yodels Make a yodel with your own name in it! Then when you call to your friends, they will know who is calling. It will be your own private “theme yodel,” just like I have my “theme yodel” on the radio. It’s easy. Just begin with your name, then add yodelling sounds to it to suit yourself. ... Start with BILLY then add YO-BILLY-YO-LO-HO and“sing”it this way: YO-BILL-LEE-YO-LO-HO ... Start with BETTY then add OLEO BETTY ETTY ETTY AY and“sing”it O-LEE-O-BET-TY ETTY ETTY AY — from How to Yodel by Olivio Santoro, 1941

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A breath of fresh air: Lynda and Jools Topp, stars of The Topp Twins: Untouchable Girls, are lesbian twin-sister yodelers from New Zealand.

Screen stars Johnny Weissmuller and Maureen O’Sullivan

Peter Hinnen (b. 1941), following a meteoric rise from his position as house yodeler in the Kindli Restaurant in Zurich, “confirmed his global status as the Jodelkönig, entering the Guinness Book of World Records by yodeling twenty-two tones in a single second.” — Bart Plantenga

In 1970’s Seduction of a Nerd — sometimes called “The Citizen Kane of Yodeling Porn” — Wally Cox offers “noble, tremulous yodeling on three tunes,” according to Plantenga.

PASATIEMPO I April 12-18, 2013

Bart Plantenga seems to encounter yodeling practically wherever he roams, but here’s the tragedy of it all: he is unable to yodel. Probably a certain amount of irony is part of the bargain for anyone who chooses to devote his life to studying and promoting yodeling, but this does seem a cruel fate. Wally Cox

Unterm Dirndl wird (They Yodel ge gejodelt Under Those Dirndls) and Beim Jodeln juckt die Lederhose (Yodeling Makes Your (Yodeling Lederhosen Itch).

Yodeling, continued from Page 37 fans. Or Wally (Mr. Peepers) Cox, longtime best friend of Marlon Brando; Cox apparently offers “noble, tremulous yodeling on three tunes” in the 1970 film Seduction of a Nerd, which, Plantenga writes, “is sometimes called ‘The Citizen Kane of Yodeling Porn.” Indeed, the author seems to be in a position to judge these things, as he devotes several pages to films of a highly specialized sexual propensity, such as Unterm Dirndl wird gejodelt (They Yodel Under Those Dirndls) and Beim Jodeln juckt die Lederhose (Yodeling Makes Your Lederhosen Itch). One can only be amazed by the amount of yodeling that is going on without some of us noticing it. Yodeling uncool? Plantenga thinks not. Performance artists in New York and Berlin seem unable to do without it. It’s hard to argue when he puts it this way: “Like so many others, Ute Wassermann, a German extended vocalist, communicates with birds, fauna, and ETs in outer space, utilizing a broad palette of voices and overdubs that include throat clearing, birdcalls, throat tremolo, frog burps, operatic bravura, tongue-wagging, crackles, harmonics, and yodels that harken back to primal roots but also a distant future already inhabited by Greetje Bijma and Meredith Monk and company.” here seems to be no landmass where yodeling is not alive and flourishing apart from Antarctica. We in Santa Fe are promised a taste in the show Cowboys: Real and Imagined, opening on Sunday, April 14, and staying put for 11 months at the New Mexico History Museum; it vows to include a dose of cowboy yodeling in the mix. But who knew about Cliff Ledger, the Yodeling Cowboy of Northern Ireland, or Tex Morton, the “Legendary Aussi-KiwiCowboy”? Not to mention Bobby Klein, the “Lowland Cowboy Yodeler” of Holland, renowned for his memorable galloping yodel “Jodelehi-lehihiti/Jodelehitie-de-li-hi-i-tie, jodelehi-le-hihiti/Joeghie”? An entire chapter is devoted to the yodelers of Asia, including not just the obvious throat singers of Tuva but also greatly unanticipated stars of India (Kishore Kumar, who introduced his jazz-scat-yodel style to Bollywood), South Korea (where some 3,000 yodelers participate in numerous yodeling clubs), and Japan (where, Plantenga is told, seven people currently earn their living as yodelers of Alpine, cowboy, or show-tune style). Some interesting episodes delve into intersections of yodeling and politics. Plantenga traces a line in German history from the Wandervogel, a back-tonature network of proto-hippies who yodeled around campfires during the World War I era, through the 1930s, when the Nazis essentially transferred the group’s membership to the Hitlerjugend, where they encouraged yodeling because it was considered so Germanic. Plantenga finds that yodeling has even played a seminal role in American politics in our own time. In fact, one of the things that inspired him toward writing Yodel in Hi-Fi was that Yodel-Ay-Ee-Oooo was reaching bookstores just as a transformative moment occurred at the Iowa Caucus, on Jan. 19, 2004. It was a yodel manqué produced from the depths of Democratic hopeful Howard Dean, a sound the Boston Globe described as “part growl, part yodel.” Plantenga, being a connoisseur of such things, puts a finer point on it: “It sounded more like a mule being inspected for venereal disease.” Being personally yodel-deprived, Plantenga maybe should not come down so hard on the techniques of others. But still, he muses, “One can only wonder: What if it had been a real yodel?” ◀

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Harry Greene’s

abstracted landscapes favor form and color over detail. His gestural brushwork captures clouds, trees, and distant mountains with deftness. Flat abstract marks come together in compositions that convey a feeling of stillness and serenity. Flashes of color jump out here and there. Many images have architectural components, such as houses that follow the contour of hills and lean slightly one way or the other, old chapels, and Spanish missions weathered by time. “In my earlier work, the architectural subjects are sometimes distressed, deserted, and melancholy,” Greene told Pasatiempo. “When I was in grade school there used to be this old estate with mansions and old buildings, an overgrown landscape, and I used to cut through there on my way to school. That influenced me quite a bit. I’m a little more concerned with color now than I ever have been. It used to be that I was mostly concerned with design and drawing. While those things are important, I think color is right up there with those two. So I’m working in that direction. So far, the reception has been great.”

Michael Abatemarco I The New Mexican

Greene acres An exhibition of Greene’s work opened on April 5 at Manitou Galleries’ downtown location. The show also features work by Fran Larsen. The two artists employ distinctive styles to render similar subjects. Larsen’s work is dominated by vibrant hues that contrast with Greene’s more naturalistic palette. “The architectural subject gives me a point of reference where I can stick in some color that’s still realistic,” Greene said. “I just can’t bring myself to say I’m going to make the tree red or the lake red. I might get there someday, but I’m not saying that’s progress.” Greene’s work recalls that of Fairfield Porter, who continued to engage in representational forms even while his New York contemporaries, such as Jackson Pollock, were steeped in Abstract Expressionism. “Fairfield Porter was out there on Long Island, too, but he was painting the things around him. He was painting his neighborhood. When I got finished with these paintings I said, ‘This kind of looks like Fairfield Porter.’ ” Some of Greene’s work has a similar, impressionistic feel. “I’m not afraid of looking like someone else. But Porter was not a conscious influence. I wasn’t thinking about anybody, really. I was just concerned with what I saw around me. I’m pretty much concerned with light and shadow. That way, I guess, it becomes a little bit more abstract. You’ve got the looser forms of the landscape. You’ve got verticals. You’ve got trees and grasses — those things that float with the wind. Then you have the contrast of the solid rectangular mass of the architectural features.” Greene credits Italian frescoes as an influence after making several trips to Florence to look at the work of Renaissance painters. “I got a pretty good feeling for the frescoes in Florence. I like the surface quality, the matte quality of them. I was fascinated with the technique. I did consider staying in Europe for a while to study the frescoes and learn a little bit about restoration. I came away a little jaded. These guys were commercial artists. They painted the same old story over and over again in the same tired old way. If you study some of the works, like I did in the Uffizi especially, sometimes they made the same foot or the same hand in a number of paintings. It was great stuff, though. The craftsmanship was really terrific. There was a biographer named Selden Rodman. I remember him saying that painting was only craftsmanship after everything was said

PASATIEMPO I April 12-18, 2013

Harry Greene: Hidden Gorge, 2012, acrylic, 18 x 23 inches; opposite page, top, Confluence, 2013, acrylic, 30 x 40 inches; opposite page, bottom, San Juan Rim, 2013, acrylic, 30 x 24 inches

and done. I read that about 20 years ago, and I still roll it over in my mind, because I think it’s a little bit more than that.” Greene’s paintings contrast bright greens and yellows with more subdued earth tones, striking reds and purples. The occasional use of a darker color to outline a form — a stand of trees or a low-lying bush — makes them pop. Shadows weave through compositions in an abstract pattern of light and dark areas. There is nothing allegorical in Greene’s work, only quiet moments that convey a sense of warmth and sunny days in idyllic spring and summer settings. The architectural elements are never quite angular, never entirely straight, but rendered as loose, rough geometric forms: slanting roofs, squat adobe walls. “Sometimes I think to myself it’s not really the subject matter that matters to me. I’m not worried about narrative. It’s just how you get the paint on. I like the gesture, I like

the color, and I like the marks. I think that’s what makes a painting. I don’t care what the subject is. I’ve stepped away from impressionism a little bit. I think an artist has got to follow his instincts. I think he’s obligated to, for better or for worse. That’s part of what it’s all about. So you can’t be afraid to go there if you have this pull.” ◀

details ▼ Harry Greene & Fran Larsen ▼ Exhibit through April 21 ▼ Manitou Galleries, 123 W. Palace Ave., 986-0440

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Bill Kohlhaase I For The New Mexican

Road yet taken Singer Tracy Grammer forges her own path

PASATIEMPO I April 12-18, 2013

inger, violinist, guitarist, and reluctant songwriter Tracy Grammer will forever be associated with Dave Carter, the acclaimed singer-songwriter who in 2002, at the age of 49, died of a heart attack in her arms. Together, Grammer and Carter had become a phenomenon on the folk circuit, performing Carter’s highly symbolic and quasi-mystical music in ways that suggested their deep devotion — not only to the music but also to each other. Though he’s been gone more than 10 years, Carter still inhabits a large part of Grammer’s artistic life. Her most recent album, 2012’s Little Blue Eggs, is a collection of previously unreleased material recorded during the duo’s five-year relationship. “I feel like when I met Dave and started singing his music, I connected with something in myself that I hadn’t had access to before,” Grammer explained in a phone call from her home in Pennsylvania. “Spirituality — I didn’t know what to call it. But it was something deeper, something that resonated so strongly that I knew that I couldn’t stop doing this work and still feel whole. It felt right. It completed the picture.” Grammer, who plays solo at Gig Performance Space on Friday, April 12, still performs much of Carter’s music. His presence is palpable when she sings, probably because the two were so close and because fans associate her voice and violin with his lyrics. And while Grammer has occasionally stepped away from Carter’s legacy, recording songs from others as well as her own material, fans can’t help wonder when she’ll stake out her own territory. “People come up to me and say I should move on. From time to time I get the feeling that I should move on. But the truth is, I didn’t get into music by tooting my own horn. It’s never been about me being a great singer-songwriter. I took a big plunge into what I believed in when I started doing Dave’s music with him. And if I make a life of that now, I’d be OK with it.” Grammer was born in Florida, but her family relocated to Orange County, California, when she was 3. She took up classical violin at 9. “No one ever had to ask me to practice,” she recalled. “I would just get lost with it and play for hours.” Her father played electric and lap steel guitar, and sometimes neighbor kids would come over to watch him play and sing Beatles songs as well as John Denver and Willie Nelson tunes. But she wasn’t exposed to much folk music. “I’m still embarrassed sometimes when people come up to me and start quoting some of these great folk songs. And I have to look at them with this blank stare because I don’t know them.” While studying English literature at the University of California, Berkeley, Grammer was introduced to Curtis Coleman of the New Christy Minstrels. “He was the first person with some musical credentials to listen to me sing and say, You could do this. I was amazed and didn’t believe it, but I was secretly wondering if he was right.” It was 1996 when she first met Carter, after his appearance at a songwriters’ showcase in her then home of Portland, Oregon. They recorded their first album, When I Go, in 1998. Grammer took a largely instrumental role, singing on only one number. Their next two recordings, Tanglewood Tree and Drum Hat Buddha, not only won them accolades as a duo but established their music, all written by Carter, as something new in the world of folk. “When I started out with Dave, he was already taking the music to a completely different place. We didn’t know what we should call it. We thought we might call it Americana chamber music. We both had classical experience. It was country music with a little polish, a little shine. Folk music opened the door for us and let us in. The world embraced us as that [folk artists], so we started making ourselves right at home.” Carter’s lyrics are unique in that he drew from a variety of sources for his imagery. ”Dave was a huge fan of [mythology scholar] Joseph Campbell, and he was always trying to write [into his lyrics] this larger mythological thing

that would resonate at a universal level, that would ring true to everyone’s experience.” The two were asked to join Joan Baez’s spring tour in 2002, both as an opening act and as part of Baez’s backing ensemble. Baez also performed some of Carter’s material. It seemed the Carter-Grammer duo was on its way to big things. The two were often mysterious about their personal relationship, describing it as a “musical marriage.” Grammer has since said they were a romantic couple, though not without their share of complications. Then, after a July morning run, Carter came back complaining of chest pains. He was dead within hours. Grammer takes exception to descriptions of the experience as tragic. “Yes, it was a big surprise to me. I was young. He was the first person that I was so close to to pass away. We were friends, business partners — together 24/7. It was very rough at first. But I don’t see it as a tragedy. It’s just life. There’s no changing it.” What fans didn’t know at the time was that Carter was conflicted about his gender identity and was in the beginning stages of changing his sex. “He shared that revelation with me in 2000. ... That was a struggle. I feel like I mourned him twice. I had this fairy tale of getting married. He said he’d had these feeling since the eighth grade. What do you do with that?” Grammer admitted the information was a shock but said the two were able to continue their relationship. “When I first heard about it, I was fascinated, then upset. I didn’t grow up in a community where I ever heard of such a thing. When he saw how upset I was, he said, Never mind. I love you too much to have something come between us. So we pretended as if nothing happened, and nobody was happy. Then he started to pursue it behind the scenes. At first, I didn’t know he was taking hormones on the Baez tour. In that period we had our sort of reconciliation. I think it was the night before he died that he said to me, You just need to be my friend and stop pushing and let it happen. I was glad we had that talk. We even had a whole plan for the unveiling. He was going to release one more manly ‘Cowboy Dave’ album, and I would introduce myself as a solo artist. Then he would go change and we would come back as an all-girl band, calling ourselves The Butterfly Conservatory. He would be she and that would be that.” Grammer has dealt with Carter’s death by performing tributes and recording his music. But she also covers the works of other songwriters as well as performing a tune or two of her own, notably the title track from her 2004 release The Verdant Mile (written with frequent musical collaborator Jim Henry). Its chorus goes, “And so I walk this verdant mile/Of memory with you/The gentle arms of eden/And the mountains get me through.” Grammer, sounding of two minds when it comes to original music, admitted that songwriting can be difficult for her. “I’m sort of lazy if it doesn’t come in shazam style, a thunderbolt of inspiration, and I have to work at it. It’s hard to sit still and write. To do that you have to focus and think. I’d rather sing great songs written by great writers than something mediocre that I wrote.” She may have stumbled on a way to stay close to Carter’s legacy while cutting a path for herself at the same time. A songwriter acquaintance who saw one of her concerts, complete with all the storytelling it involves, suggested that she turn it into a stage show about her relationship to the songwriter. “I’m attracted by the idea. I could pay tribute to Dave like I want to do and then also do something separate, try some new stuff like people want me to do. On the other hand, Dave’s music connects me to so much of myself. I can’t let it go, but at the same time, I want to move on.” ◀

details ▼ Tracy Grammer ▼ 7:30 p.m. Friday, April 12 ▼ Gig Performance Space, 1808 Second St. ▼ $20 at the door; www.gigsantafe.com

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hat a drag. When the all-male members of Les Ballets Trockadero de Monte Carlo châiné and jeté their way onto the stage at the Lensic Performing Arts Center on Monday, April 15, they will be making their point known to audiences. Or, in their case, en pointe, in which the typically female ballet dancers support their full weight on the tips of their toes. Since the troupe’s founding in New York in 1974, it still remains a surprise — and an uproarious delight — to see the Trocks, as the dancers are affectionately known, in tutus and tiaras, performing all the roles in a classical ballet. Princesses and swans, sylphs and evil stepsisters, witches and queens are all played by men. And for those roles in which men are required, men there are. “Soon after the Stonewall riots in New York [in 1969], there was a lot of drag culture in New York,” explained Tory Dobrin, the troupe’s artistic director, who began as a dancer with the company in 1980 and assumed his present role 20 years ago. “You’d see it in the clubs and bars, in off-Broadway theaters, and especially in productions by Charles Ludlam’s Ridiculous Theatrical Company. All of that coupled with defections by prominent Russian dancing stars like Rudolph Nureyev and Mikhail Baryshnikov made for a dance boom. It seemed like the right time to form a dance company in which drag became one of the motifs.” Les Ballets Trockadero, whose full name recalls the glamor of the Ballets Russes de Monte Carlo, was, and remains, an entirely unexpected dance step in the world of classical ballet. At the troupe’s inception, Dobrin said, there was little, if any, 44

PASATIEMPO I April 12-18, 2013

precedent for its mission. He recalled reading that Nijinsky, the great dancer and choreographer with Diaghilev’s groundbreaking Ballets Russes, was able to perform on pointe, a feat that was unusual for male dancers in the early part of the 20th century. Dobrin also spoke of seeing a production of Nureyev’s Cinderella with the Paris Opera Ballet in which the diabolical stepsisters and stepmother were played by men dancing on pointe. “But what we do really was and still is original territory.” The program in Santa Fe includes some of the troupe’s already iconic pieces. Chopeniana, which uses Chopin nocturnes, valses, preludes, and mazurkas for the music, is billed as “an abstract classical ballet,” with suggestions of Giselle and La Sylphide, two dreamily Romantic ballets. Go for Barocco, a Bach-infused work, which the program notes says harks back to Balanchine’s famous “Middle-Blue-Verging-on Black-and-White Period,” is one of many dances that perfectly exemplify both the comedic and the inherent dancerly skill of the performers. Modern works are also part of the troupe’s repertoire, and one is set to be performed at the Lensic. “In every performance, in every piece, we have the ballet and the comedy,” Dobrin said. In Barocco, audiences will laugh at the frenetic fuguelike frenzy on stage while also suddenly falling silent, in awe, of the dancers’ uncanny technical talent and understanding of their roles. The company is, after all, made up of dancers who have studied at and been members of the best dance institutions in the world — including Dance Theatre of Harlem and the official schools of American Ballet Theatre and the Joffrey Ballet, among others.

TULLE MEN Photos Sascha Rene Vaughan

Les BalletsTrockadero de Monte Carlo

David Masello I For The New Mexican

Indeed, to watch the dancers in their decidedly feminine garb and makeup, wigs and glitter, is to watch a drag spectacle that is meant to be funny and elicit laughter. The tall, rangy, muscular sylphs that need to be picked up by their male leads prove, sometimes, to be too heavy — which causes stumbles and falls. Sudden onstage flirtations might arise between a male princess and his prince. In some pieces, players suddenly switch from feminine roles to male ones and back, and delicate romantic gestures are often clumsily portrayed. “People come for the comedy — we know that and we like that and we are interested in being funny,” Dobrin said. “We have no problem with that at all. The problem would be if the audience didn’t laugh.” Unlike established ballet and modern-dance troupes such as American Ballet Theatre, the Paul Taylor Dance Company, and New York City Ballet, Dobrin said that Les Ballets Trockadero has few official funding sources (New York’s Joyce Theater is a supporter, as is the Harkness Foundation for Dance). However, he said 99 percent of the company’s income is earned. “We have to tour to make a living.” And kick up their heels they do — to date, the company has danced in some 35 countries and 500 cities (Santa Fe being a much-welcomed repeat destination). Surprisingly, there has been very little resistance to the company. “In the early days, we had some picketers show up from right-wing areas of the country, but, otherwise, the response during these nearly 40 years has been very positive.” Dobrin recalled performing in Grenada, Spain, on a stage in a garden. A group

of patrons came down from Madrid expecting to see a performance by what they thought was the more traditional company Les Ballets de Monte Carlo. “The moment they saw us come on stage and realized they were in the wrong place, they very nosily got up and left in the middle of a dance. But most of the women were wearing sequined dresses. And you can’t move very fast in sequins, so it took them awhile to get out of there.” That will not happen in Santa Fe. “We’re meant to entertain everywhere we go,” Dobrin said. “Every performance in every city is about showcasing different kinds of dance, styles, the personalities on stage. In a two-hour show, we do a lot of different kinds of comedy. We want people to walk away saying, ‘I saw a lot of things on that stage.’ ” And for those audience members new to the Trocks, the show will keep them, along with the performers, on their toes. ◀

details ▼ Les Ballets Trockadero de Monte Carlo, mixed repertoire, presented by Aspen Santa Fe Ballet ▼ 7:30 p.m. Monday, April 15 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $25-$72; 988-1234, www.ticketssantafe.org

PASATIEMPOMAGAZINE.COM

Ty Downing

Paul Weideman I The New Mexican

or the past two decades, Tony Furtado has spent a lot of time on the road on the concert trail. Heck, he’s in the middle of a 17-gig loop of the West right now, all during April — including a stop at Garrett’s Desert Inn on Saturday, April 13. That kind of schedule would be grueling if Furtado didn’t love it. And all that stage time might be grueling for audiences if Furtado wasn’t so darn good at playing the guitar and banjo and singing. “When I was a kid, if I wasn’t practicing my banjo, I was sculpting with clay, and I actually went to college as an art major fully intending to be a sculptor,” he said in an interview from his home in Portland, Oregon. “But after I started playing some gigs and feeling what it was like playing on stage and getting the crowd response ... there’s a big difference between that and showing someone a piece of sculpture you’ve worked on for a month and hearing them go, ‘Oh, that’s nice.’ “For me there’s definitely a deep I have more of a free thumb; it’s like a love for strong melodies, wellplayed music, and good lyrics, but free-thinking thumb because of the there’s also something about the energy of being on stage. You’re banjo playing I grew up doing, so playing the music and feeling the I’m able to get more intricate, more audience response, and that has an effect on how I play and what quick little melodies to pop in there. I’m playing. It’s funny to hear about musicians, or see musicians, who do not like to converse with the audience or don’t feel it’s their duty to entertain the audience.” A kick-start moment in his musical career happened a little more than 25 years ago, when he was a student at Cal State, Hayward. He entered the Grand National Banjo Championship in Kansas just for fun, and he won it. After five years of honing his chops, he brought out his debut record, Swamped, on the Rounder label. The album features several of his own compositions alongside traditional folk tunes like “John Henry” and “Golden Eagle Hornpipe,” a medley of Celtic 46

PASATIEMPO I April 12-18, 2013

tunes, and a sprightly cover of Charlie Parker’s bebop gem “Blues for Alice.” Since that time, he has made music with Laurie Lewis, Salamander Crossing, Alison Krauss, The String Cheese Incident, and Billy Ray Cyrus, to name a few. And he’s a big fan of Bonnie Raitt and Ry Cooder. The California-born Furtado boasts really splendid fingerpicking skills, often working up to a great, charging rhythm. “That’s probably because I grew up playing bluegrass banjo, so there’s that on-the-edge kind of playing. The thing about me with bluegrass is that it was something to do, to play the five-string banjo. I wasn’t sitting down and listening to bluegrass, but it was exciting and fun to play. When I started focusing more on playing roots music and blues, the right-hand fingering actually popped into my guitar playing. So what ended up happening was this weird hybrid of Travis style [named for the late country musician Merle Travis] or blues picking with the alternating bass and playing the melody on top, but then I have more of a free thumb; it’s like a free-thinking thumb because of the banjo playing I grew up doing, so I’m able to get more intricate, more quick little melodies to pop in there.” Besides the basic guitar — his baby is a pretty 1944 mahogany-topped Martin — and banjo, Furtado has been known to play mandolin, slide guitar, ukulele, accordion, and slide banjo. When he talked with Pasatiempo, he was getting ready to pack up his van and was thinking about bringing a couple of new instruments: a resophonic guitar equipped with a Bigsby whammy bar and a cello banjo he hoped to have fitted with a pickup before he left Portland. Many guitarists know that a fine new instrument might tickle out some fresh juice from the well of creativity, and that’s a real phenomenon for Furtado. “Totally,” he said. “The cello banjo is like an octave lower than a regular banjo, and it simplifies my approach and makes me think about melodies differently. The second I started playing it, I’m coming up with stuff I’ve never come up with before. I have a little baritone ukulele that I sometimes bring on tour that does the same thing for me.” He often wears a bottleneck on the little finger of his left hand, which gives him the option of playing slide or using his other digits for fingering, holding chords, and damping the strings. The thumb and first two fingers of his right hand are his picking machine. “I studied a tiny bit of classical guitar when I

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Hop springs eternal: sculpture by Tony Furtado

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505-474-4644 was a kid to aid my banjo playing, and that definitely helped with my technique, but it never enticed me to bring the ring finger in to pick.” Classical and flamenco guitarists typically use the thumb and at least three fingers for picking. Furtado employs open guitar tunings, which yield chords when the strings are played open or with a finger across the frets, but doesn’t use the left thumb for fingering. “No, I’ve never felt comfortable with that. Some banjo players do that to get certain patterns going, but I think I get confused when I get the thumb in there. If I’m in standard tuning, I might wrap the thumb around to get the F-sharp note on a D chord, but that’s about it.” He makes his own bottleneck slides from wine-bottle necks and sells them on his website, where he also sells copies of his Tony Furtado’s Guitar Book and two volumes of his Tony Furtado’s Book of Banjo Tunes. He also sculpts meerkats and rabbits. “And elephants. I’m taking three big elephants on tour, because in Carbondale, Colorado, I’m having my first fineart gallery opening, at the White Dog Gallery.” He works in clay, then coats his figures with a material he creates using plaster, acrylic, and metal dust. For Furtado’s 16th album, Live at Mississippi Studios, released about a year ago, he tapped material from two live sets at Portland’s Mississippi Studios performance venue. The show was recorded and mixed by 8 Ball Studio in Portland; filmed by the Portland collective Devious Goldfish; and produced through Kickstarter, an online, community-based funding mechanism. He’s still touring Live at Mississippi Studios, but people in Santa Fe will hear other material as well. “I always dig back. Every show’s different.” ◀

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MOVING IMAGES pasa pics

— compiled by Robert B. Ker

Locklear, and Mike Tyson appear. Not rated. 85 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) TRANCE Director Danny Boyle (Slumdog Millionaire, 127 Hours) continues his genre-hopping ways, this time reteaming with screenwriter John Hodge (Trainspotting) for a mind-bending psychological thriller. James McAvoy plays an art auctioneer who participates in the heist of a Goya painting, attempts to double-cross his partner (Vincent Cassel), and suffers brain damage. He then sees a hypnotherapist (Rosario Dawson) to find out where he hid the painting. Rated R. 101 minutes. Regal DeVargas, Santa Fe. (Not reviewed)

Ryan Gosling in The Place Beyond the Pines, at Regal DeVargas in Santa Fe

opening this week DEVI (THE GODDESS) This is the shortest of Satyajit Ray’s feature films but one that’s densely packed with some of his most haunting imagery and profound ideas. Tensions mount after a rich but provincial Bengali landowner has a vision that his lovely new daughterin-law is a reincarnation of the Hindu goddess Kali. She’s too naive and dutiful to contradict him, especially with her progressive-minded husband away finishing his studies in Calcutta. The seeds are sown for a monumental clash between generations, as the son will soundly reject his father’s religious fanaticism, with tragic consequences. Ray completed Devi, or The Goddess, in 1960, immediately after wrapping The Apu Trilogy. Shows at 6 p.m. Wednesday, April 17, only. Not rated. 93 minutes. In Bengali with subtitles. Center for Contemporary Arts, Santa Fe. (Jon Bowman) 42 Filmmakers have tried for years to bring the story of Jackie Robinson — the first African-American player in Major League Baseball — back to the big screen (Robinson starred in his own biopic in 1950), and the movie is finally sliding into home. The story centers on the brave Robinson (Chadwick Boseman) and shrewd Branch Rickey (Harrison Ford), the 48

PASATIEMPO I April 12-18, 2013

Brooklyn Dodgers’ general manager who signed Robinson in 1945, as they overcome racism and harsh criticism, respectively. Rated PG-13. 88 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with a showing of Verdi’s Il Trovatore from Gran Teatre del Liceu in Barcelona. Fiorenza Cedolins and Vittorio Vitelli star. 11 a.m. Sunday, April 14, only. Not rated. 148 minutes plus one intermissions. The Screen, Santa Fe. (Not reviewed) THE PLACE BEYOND THE PINES The director (Derek Cianfrance) and star (Ryan Gosling) of 2010’s Blue Valentine reunite for this noir-ish story about a stunt motorcyclist (Goslin) who, when it turns out he needs some extra cash, rides his bike to the wrong side of the tracks to take part in bank robberies. It likely doesn’t end well. Bradley Cooper, Eva Mendes, and Ray Liotta costar. Rated R. 140 minutes. Regal DeVargas, Santa Fe. (Not reviewed) SCARY MOVIE 5 If the title of this movie — which comes fresh on the heels of the similar horror-spoof A Haunted House — doesn’t clue you in on exactly what to expect, perhaps the fact that Charlie Sheen gets hit in the groin by a ghost numerous times in the trailer will. Lindsay Lohan, Snoop Dogg, Heather

VIOLETA WENT TO HEAVEN Named best drama in the World Cinema competition at Sundance, this unconventional biography of Chilean folk singer, artist, and social activist Violeta Parra seeks to characterize her life through the prism of her work. The storyline consists of impressionistic vignettes rather than a linear progression. The intent is to distill what Parra was like, not only as an uncompromising artist but also as a tormented soul, wrestling with a host of personal demons as well as her country’s tumultuous politics. Not rated. 110 minutes. In Spanish, French, and Polish with subtitles. The Screen, Santa Fe. (Jon Bowman) See review, Page 52.

now in theaters ADMISSION This is not strictly a rom-com, though it’s romantic and intermittently funny. The plot, obscured in televised promos, is about a woman (Tina Fey) in mid-life coming to terms with the ways in which her childhood affected the choices she made later. Unfortunately, Admission’s tone is unfocused, and Fey isn’t quite able to pull the audience along emotionally. Scenes with her mother, however, played effectively by Lily Tomlin, rise above the eye-rolls that elsewhere suffice to give Fey’s character psychological depth. Rated PG-13. 117 minutes. Regal DeVargas, Santa Fe. ( Jennifer Levin) CAESAR MUST DIE Inside the walls of the high-security wing of Rome’s Rebibbia prison, a production of Shakespeare’s Julius Caesar is being rehearsed and performed under the direction of Fabio Cavalli, who started the prison theater program. The actors are murderers, drug traffickers, Mafiosi, and Camorristi. Between (and sometimes during) rehearsals they are

locked up in cells. The acting is terrific, the visuals are stunning (color for the stage presentation, black and white for the rehearsal process), and the production gets its authority from the back stories of the players as well as the language of the play. 11:20 a.m. Saturday, April 13, only. Not rated. 95 minutes. In Italian with subtitles. The Screen, Santa Fe. (Jonathan Richards) THE CALL Halle Berry plays a 911 operator who hears a woman being attacked at the other end of the phone line. When it happens again, everyone suspects a killer of the serial variety. When it happens a third time, the operator becomes determined to do whatever it takes not to let the young abductee (Abigail Breslin, whose roles have clearly grown much darker since Little Miss Sunshine) die. Rated R. 95 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) THE CROODS Here’s a family film about members of a Neanderthal clan (voiced by Nicolas Cage, Ryan Reynolds, Emma Stone, and others) that just needs to get out of the cave. The land they live in is crumbling, which basically makes this Ice Age with people. Rated PG. 91 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española; Storyteller, Taos. (Not reviewed) EVIL DEAD The 1981 horror flick Evil Dead, about a group of teenagers who stumble upon demons in a remote cabin, is one of the most beloved of cult films. This remake is punishing in the way that all modern horror films are: it’s loud, harshly lit, and relentlessly grim, and it puts its characters through a gauntlet of abuse and self-immolation. The film is a test of endurance, which is not the same thing as being scary — but it’s also not the same thing as being bad. The remake portrays violence, the supernatural, and an over-the-top level of gore — this may be the most fake blood seen on-screen since Kubrick’s elevators in The Shining — in a madcap, almost Looney Tunes way. The charisma of original star Bruce Campbell is missed (he produces, along with Sam Raimi, director of the 1981 film), but the movie does what it intends — particularly in the suspenseful, gross, cathartic climax. Rated R. 91 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) THE GATEKEEPERS The questions that haunt this documentary are desperately basic ones: Do the things we do in the name of protecting our national security work? Do they work on a moral level? Do they work on a practical level? Do they make things better? Or do they make things worse? Israeli cinematographerturned-director Dror Moreh makes a powerful case

that the answer to the first three questions is mostly no. He interviews six former heads of Shin Bet, the Israeli antiterrorism security agency. Each expresses the conviction that the process of brutalizing a hostile occupied enemy is both immoral and counterproductive. The film, which was nominated for an Oscar, has not found favor with official Israel. Friday and Saturday, April 12 and 13, only. Rated PG-13. 97 minutes. In Hebrew with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) G.I. JOE: RETALIATION In this follow-up to 2009’s G.I. Joe: The Rise of the Cobra, a starstudded cast revels so completely in its oiled-up bravado, unrealistic gunplay, and pyrotechnic excess that it’s easy to feel sorry for the film’s characters. The plot places Dwayne “The Rock” Johnson, Bruce Willis, Channing Tatum, RZA, and others in what has to be the stupidest world-domination narrative ever committed to a spring-release action film. A complete lack of dramatic development, an attention-deficitdisorder editing approach, and a bloodless body count that is outgunned by Johnson’s herculean biceps make the $135 million Retaliation a soldier you’ll be glad to leave behind. Rated PG. 110 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. Screens in 2-D only at Storyteller, Taos. (Rob DeWalt) THE HOST This semi-sci-fi film is based on the only nonvampirish novel from Stephenie Meyer of Twilight fame. It takes place on a peaceful future Earth, now ruled by body-snatching aliens called Souls. Melanie Stryder (Saoirse Ronan), a rebel human, is captured and implanted with a Soul named Wanderer, but she fights back and convinces Wanderer to help her find her brother (Chandler Canterbury), her uncle (William Hurt), and the scruffy young man she loves (Max Irons). Writerdirector Andrew Niccol (Gattaca) strips away almost everything suspenseful about the book and delivers instead a slogging drama with an emo soundtrack and a special-effects budget of about $10. Ronan’s talents are wasted trying to look natural while Melanie goofily carries on conversations with Wanderer in voice-over, and the film isn’t even engaging enough to be campily funny. Rated PG-13. 119 minutes. Regal Stadium 14, Santa Fe. (Laurel Gladden) JACK THE GIANT SLAYER Director Bryan Singer, a team of effects wizards, a crack art-direction crew, and an impressive array of actors — including Stanley Tucci, Ian McShane, and Ewan McGregor — try in vain to make audiences forget they’re watching a movie based on “Jack and the Beanstalk.” The film starts promisingly, but as it lurches to the gigantic climactic battle, the script comes apart. Nicholas Hoult as Jack broods too much

Trance

in a role that requires carefree swashbuckling, proving that all work and no play make Jack a dull movie. Rated PG-13. 115 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) JURASSIC PARK 3D Steven Spielberg’s last truly great family adventure was this 1993 blockbuster about a group of scientists and children who get stuck on an island full of real-life dinosaurs. The young kids who flocked to theaters to see the film and were wowed by those velociraptors are now well into their 20s, (hopefully) flush with disposable income and perhaps feeling nostalgic, so the movie is back in theaters — and the special effects still have the power to wow. This time, it’s in 3-D, so that T-rex stomping on the heroes’ jeep is even closer than he appeared 20 years ago. Rated PG-13. 126 minutes. Screens in 3-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. º(Robert Ker) LIKE SOMEONE IN LOVE For his second feature film set outside of his native Iran, Abbas Kiarostami (Certified Copy) went to Japan to make a quiet, conversational movie about love, deception, mistaken identity, continued on Page 50

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and the vague shadow of violence that drifts in the background like a cold mist coiling at the edge of a garden. A young student (Rin Takanashi) working her way through college as a call girl is hired for the evening by an elderly retired professor (Tadashi Okuno). Kiarostami is fascinated by the duality of seeming and being, truth and lies, old and new, East and West. Lives intersect in unpredictable ways, and deceptions and self-deceptions fray at the edges and come undone. And nothing quite prepares you for this quiet film’s startling ending. Not rated. 109 minutes. In Japanese with subtitles. The Screen, Santa Fe. (Jonathan Richards) LORE Based on material found in Rachel Seiffert’s novel The Dark Room, Lore tells the story of a teenage Bavarian girl of the same name who must protect her siblings from Allied troops in Germany after the fall of the Third Reich. When Lore’s Nazi-sympathizing parents are taken into Allied custody for interrogation, Lore and her siblings begin a harrowing trek across Germany to join their grandmother in Hamburg. Screenwriters Cate Shortland (who also directed the film) and Robin Mukherjee approach the material with grace and panache by turning the Nazi-cinema hunter/hunted formula on its head. Saskia Rosendahl delivers a hypnotizing performance as Lore. Not rated. 108 minutes. In German with subtitles. The Screen, Santa Fe; Taos Community Auditorium, 133 Paseo del Pueblo Norte, Taos, 575-758-2052. (Rob DeWalt) NO In 1973, with the CIA’s backing, Gen. Augusto Pinochet ousted Salvador Allende, the democratically elected socialist president of Chile. For the next 15 years, Pinochet ruled the country with an iron fist. But when his term expired, the Chilean constitution required a referendum for voters to decide whether Pinochet would return to office. The choice would be a simple yes or no. Pablo Larraín’s movie, Chile’s entry in this year’s foreign language Oscar category, follows the advertising campaigns that helped settle the future course of the country. The film is a lively mix of social satire and political thriller. Rated R. 115 minutes. In Spanish with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards)

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OLYMPUS HAS FALLEN Director Antoine Fuqua (Training Day) delivers an explosionsand-patriotism movie in the mold of the Die Hard franchise. Scottish actor Gerard Butler plays Mike Banning, the Secret Service agent who alone can save civilization when the White House (code name: Olympus) and the president of the United States (code name: Aaron Eckhart) fall into the hands of North Korean terrorists. Most of the other big names in the cast — including Morgan Freeman, Angela Bassett, and Robert Forster — can only watch helplessly and make wrong decisions from the Situation Room as Banning works heroically to save the world. Rated R. 118 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) ON THE ROAD Youth will be served, but in Walter Salles’ rendering of On the Road, Jack Kerouac’s seminal novel of a generational revolution at midcentury, it’s served a little underdone. Sal Paradise, Kerouac’s alter-ego, is played by Sam Riley as a bit of a dispassionate observer diligently taking notes. Garrett Hedlund as Dean Moriarty (a stand-in for the real-life Neal Cassady) has the handsome, sexually omnivorous charm but not the maniacal danger of the wild and crazy guy who took the Beat Generation on the road. The movie has great music, a lot of beautiful photography, a nicely realized vision of postwar America, some good cameos (as well as some strange casting), and a misfired ending. It’s a movie that should have been made 60 years ago, when its sex, drugs, and wanderlust story had the power to shock and inspire. Rated R. 125 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) OZ THE GREAT AND POWERFUL This flimsy prequel to the 1939 classic opens in black-and-white Kansas, where a seedy magician named Oscar ( James Franco, woefully miscast) breaks women’s hearts between shows. After his hot-air balloon gets caught in a twister, he lands in Oz and meets three witches (Mila Kunis, Rachel Weisz, and Michelle Williams). Local prophecy predicts that a wizard will save the kingdom and become its new ruler. It might be Oscar, but he’s “weak, selfish, slightly egotistical, and a fibber,” so it’s hard to care what happens to him. To distract us from the lack of depth, director Sam Raimi sets everything amid eye-popping CGI landscapes. Rated PG. 127 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española; Storyteller, Taos. (Laurel Gladden) QUARTET At 75, Dustin Hoffman makes his debut as a director with appealing geriatric material. Beecham House is a retirement home for musicians, among them brooding Reg (Tom Courtenay); sweet, daffy Cissy (Pauline

Collins); and lecherous, fun-loving Wilf (Billy Connolly). The arrival of diva Jean (Maggie Smith) completes a foursome who once starred together in a noted production of Verdi’s Rigoletto and sets the stage for an encore performance. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) SIDE EFFECTS Steven Soderbergh claims to be taking a sabbatical from making movies. He’s leaving us with a nifty psychological thriller starring Jude Law as an earnest shrink who prescribes a new drug to a depressed patient (Rooney Mara) and gets caught up in a maelstrom when a murder occurs. Catherine Zeta-Jones is smooth as a professional colleague, and beefy Channing Tatum is agreeable as the husband of Mara’s character. The movie revels in its twists and turns, and most of them work. Rated R. 105 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) SILVER LININGS PLAYBOOK After being released from a mental institution, Pat Solatano (Bradley Cooper) moves in with his parents ( Jacki Weaver and Robert De Niro) and vows to win back his estranged wife. When friends invite him to dinner, he meets Tiffany (Best Actress Oscar winner Jennifer Lawrence), who also has a couple of screws loose. She agrees to help him patch things up with his wife — but only if he will agree to be her partner in a dance competition. The finely honed dialogue, attention to detail, and impressive performances make the movie a near-perfect oddball comedy. Rated R. 122 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) TYLER PERRY’S TEMPTATION: CONFESSIONS OF A MARRIAGE COUNSELOR It’s “physician, heal thyself” in this story of a marriage counselor ( Jurnee Smollett-Bell) who is wooed away from her well-meaning but inattentive husband (Eric West) by a wealthy, fiery, smooth-talking man (Robbie Jones). Girl, that guy is bad news. Rated PG-13. 111 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

other screenings Center for Contemporary Arts 1 p.m. Saturday and Sunday, April 13 and 14: Peaceable Kingdom: The Journey Home. 4 p.m. Sunday, April 14: The Santa Fe Jewish Film Festival presents The Forgotten Refugees. Tipton Hall, Santa Fe University of Art and Design 1600 St. Michael’s Drive, 473-6341 6 p.m. Friday, April 12: Skins. Q & A session with filmmaker Chris Eyre follows. ◀

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1050 Old Pecos Trail, 982-1338, ccasantafe.org Devi (NR) Wed. 6 p.m. The Forgotten Refugees (NR) Sun. 4 p.m. Presented by the Santa Fe Jewish FiIm Festival The Gatekeepers (PG-13) Fri. and Sat. 12:30 p.m. No (R) Fri. and Sat. 2:30 p.m., 5 p.m., 7:30 p.m. Sun. 1:45 p.m., 7 p.m. Mon. and Tue. 2:15 p.m., 4:45 p.m., 7:15 p.m. Wed. 12:15 p.m., 2:45 p.m. Thurs. 2:15 p.m., 4:45 p.m., 7:15 p.m. On the Road (R) Fri. 1 p.m., 3:15 p.m., 5:45 p.m., 8:15 p.m. Sat. and Sun. 3:15 p.m., 5:45 p.m., 8:15 p.m. Mon. 3 p.m., 5:30 p.m., 8 p.m. Tue. 1 p.m., 3:45 p.m. Wed. 1:30 p.m. Thurs. 12:30 p.m., 3 p.m., 5:30 p.m., 8 p.m. Peaceable Kingdom:The Journey Home (NR) Sat. and Sun. 1 p.m. regAl deVArgAS

562 N. Guadalupe St., 988-2775, fandango.com Admission (PG-13) Fri. and Sat. 1:30 p.m., 4:20 p.m., 7:20 p.m., 9:55 p.m. Sun. to Thurs. 1:30 p.m., 4:20 p.m., 7:20 p.m. The Place Beyond the Pines (R) Fri. to Thurs. 1 p.m., 4 p.m., 7 p.m. Quartet (PG-13) Fri. and Sat. 1:50 p.m., 4:40 p.m., 7:40 p.m., 10:05 p.m. Sun. to Thurs. 1:50 p.m., 4:40 p.m., 7:40 p.m. Side Effects (R) Fri. and Sat. 1:40 p.m., 4:30 p.m., 7:30 p.m., 10 p.m. Sun. to Thurs. 1:40 p.m., 4:30 p.m., 7:30 p.m. Silver Linings Playbook (R) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:50 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:10 p.m. Trance (R) Fri. and Sat. 1:10 p.m., 3:50 p.m., 6:50 p.m., 9:45 p.m. Sun. to Thurs. 1:10 p.m., 3:50 p.m., 6:50 p.m. regAl StAdium 14

3474 Zafarano Drive, 424-6296, fandango.com 42 (PG-13) Fri. to Thurs. 1 p.m., 1:30 p.m., 4:30 p.m., 7 p.m., 7:30 p.m., 10:30 p.m. The Call (R) Fri. to Thurs. 4:20 p.m., 10:05 p.m. The Croods 3D (PG) Fri. to Thurs. 1:10 p.m., 4:10 p.m., 7:10 p.m., 9:45 p.m. The Croods (PG) Fri. to Thurs. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:15 p.m. Evil Dead (R) Fri. to Thurs. 1:50 p.m., 4:50 p.m., 7:50 p.m., 10:20 p.m. G.I. Joe: Retaliation 3D (PG-13) Fri. to Thurs. 7:45 p.m., 10:30 p.m. G.I. Joe: Retaliation (PG-13) Fri. to Thurs. 1:20 p.m., 4:20 p.m., 7:05 p.m., 9:50 p.m. The Host (PG-13) Fri. to Thurs. 1:25 p.m., 4:25 p.m., 7:25 p.m., 10:20 p.m. Jack the Giant Slayer (PG-13) Fri. to Thurs. 1:05 p.m. Jurassic Park 3D (PG-13) Fri. to Thurs. 1:15 p.m., 4:15 p.m., 7:15 p.m., 10:15 p.m. Oblivion (PG-13) Thurs. 10 p.m. Olympus Has Fallen (R) Fri. to Thurs. 1:20 p.m., 4:30 p.m., 7:35 p.m., 10:25 p.m. Oz The Great and Powerful 3D (PG) Fri. to Thurs. 1:05 p.m., 4:05 p.m., 7:05 p.m., 10:10 p.m. Oz The Great and Powerful (PG) Fri. to Thurs. 1:35 p.m., 4:35 p.m. Scary Movie 5 (PG-13) Fri. to Thurs. 2 p.m., 4 p.m., 4:40 p.m., 7:20 p.m., 8 p.m., 9:40 p.m., 10:25 p.m. Tyler Perry’s Temptation (PG-13) Fri. to Thurs. 1:45 p.m., 4:55 p.m., 7:55 p.m., 10:35 p.m. the SCreen

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, thescreensf.com Caesar Must Die (NR) Sat. 11:20 a.m. Like Someone in Love (NR) Fri. and Sat. 5:30 p.m. Sun. to Thurs. 4:45 p.m.

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15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087 42 (PG-13) Fri. 4:30 p.m., 7:10 p.m., 9:55 p.m. Sat. 1:50 p.m., 4:30 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:50 p.m., 4:30 p.m., 7:10 p.m. Mon. to Thurs. 4:30 p.m., 7:10 p.m. The Croods (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Evil Dead (R) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:25 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:25 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. G.I. Joe: Retaliation 3D (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:30 p.m. Mon. to Thurs. 4:50 p.m., 7:30 p.m. G.I. Joe: Retaliation (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:30 p.m. Mon. to Thurs. 4:50 p.m., 7:30 p.m. Jurassic Park 3D (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. Olympus Has Fallen (R) Fri. 4:40 p.m., 7:15 p.m., 9:45 p.m. Sat. and Sun. 2:05 p.m., 4:40 p.m., 7:15 p.m. Mon. to Thurs. 4:40 p.m., 7:15 p.m. Oz The Great and Powerful (PG) Fri. 4:40 p.m., 7:25 p.m. Sat. and Sun. 1:55 p.m., 4:40 p.m., 7:25 p.m. Mon. to Thurs. 6:55 p.m. Scary Movie 5 (PG-13) Fri. 4:55 p.m., 7:35 p.m., 9:40 p.m. Sat. 2:15 p.m., 4:55 p.m., 7:35 p.m., 9:40 p.m. Sun. 2:15 p.m., 4:55 p.m., 7:35 p.m. Mon. to Thurs. 4:55 p.m., 7:35 p.m. Tyler Perry’s Temptation (PG-13) Fri. 4:25 p.m., 6:55 p.m., 9:25 p.m. Sat. 1:45 p.m., 4:25 p.m., 6:55 p.m., 9:25 p.m. Sun. 1:45 p.m., 4:25 p.m., 6:55 p.m. Mon. to Thurs. 4:25 p.m., 6:55 p.m.

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110 Old Talpa Canon Road, 575-751-4245 42 (PG-13) Fri. 4:30 p.m., 7:10 p.m., 9:50 p.m. Sat. 1:50 p.m., 4:30 p.m., 7:10 p.m., 9:50 p.m. Sun. 1:50 p.m., 4:30 p.m., 7:10 p.m. Mon. to Thurs. 4:30 p.m., 7:10 p.m. The Croods (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Evil Dead (R) Fri. 4:35 p.m., 7:05 p.m., 9:40 p.m. Sat. 2:25 p.m., 4:35 p.m., 7:05 p.m., 9:40 p.m. Sun. 2:25 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. G.I. Joe: Retaliation (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:30 p.m. Mon. to Thurs. 4:50 p.m., 7:30 p.m. Jurassic Park 3D (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. Oz The Great and Powerful (PG) Fri. 4:40 p.m., 7:25 p.m. Sat. and Sun. 1:55 p.m., 4:40 p.m., 7:25 p.m. Mon. to Thurs. 6:55 p.m. Scary Movie 5 (PG-13) Fri. 4:55 p.m., 7:35 p.m., 9:45 p.m. Sat. 2:15 p.m., 4:55 p.m., 7:35 p.m., 9:45 p.m. Sun. 2:15 p.m., 4:55 p.m., 7:35 p.m. Mon. to Thurs. 4:55 p.m., 7:35 p.m. ARTWORK ©2013 THE WEINSTEIN COMPANY.ALL RIGHTS RESERVED,

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Sony Pictures Classics and Participant Media present in association with Funny Balloons and Fabula “NO” Gael García Bernal Alfredo Castro Luis Gnecco Antonia Zegers Marcial Tagle Néstor Cantillana Jaime Vadell Pascal Montero Editor Andrea Chignoli Production Designer Estefanía Larraín Line Producer Eduardo Castro Director of Photography Sergio Armstrong Executive Producers Jeff Skoll Jonathan King Screenplay By Pedro Peirano Screenplay Consultant Eliseo Altunaga Based on the Play “Referendum” by Antonio Skármeta Produced By Juan de Dios Larraín Daniel Dreifuss Directed By Pablo Larraín

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MK2 AND AMERICAN ZOETROPE PRESENT A FILM DIRECTED BY WALTER SALLES, SCREENPLAY BY JOSÉ RIVERA, THE FILMMAKING TEAM BEHIND ‘THE MOTORCYCLE DIARIES.’ BASED ON THE NOVEL BY JACK KEROUAC

1:00p Sat & Sun April 13-14 Free Refreshments to be served!

Held over for final shows this weekend: THE GATEKEEPERS

Santa Fe Jewish Film Festival presents: FORGOTTEN REFUGEES

4:00p Sunday, April 4 • Followed by a Skype inerview with Producer Avi Goldwasser Fri April 12

Sat April 13

Sun April 14

12:30p - Gatekeepers 1:00p - On the Road* 2:30p - No 3:15p - On the Road* 5:00p - No 5:45p - On the Road* 7:30p - No 8:15p - On the Road*

12:30p - Gatekeepers 1:00p - Peaceable Kingdom* 2:30p - No 3:15p - On the Road* 5:00p - No 5:45p - On the Road* 7:30p - No 8:15p - On the Road*

1:00p - Peaceable Kingdom* 1:45p - No 3:15p - On the Road* 4:00p - SFJFF: Forgotten Refugees 5:45p - On the Road* 7:00p - No 8:15p - On the Road*

* indicates show will be in The Studio at CCA for $7.50 or $6.00 for CCA Members

Mon April 15 2:15p - No 3:00p - On the Road* 4:45p - No 5:30p - On the Road* 7:15p - No 8:00p - On the Road*

Tues April 16 1:00p - On the Road* 2:15p - No 3:45p - On the Road* 4:45p - No 7:15p - No

Wed April 17

Thurs April 18

12:15 - No 1:30p - On the Road* 2:45p - No 5:30p - Folk/Art/ Cinema opening event: DEVI

12:30p - On the Road* 2:15p - No 3:00p - On the Road* 4:45p - No 5:30p - On the Road* 7:15p - No 8:00p - On the Road*

Concessions Provided by WHOLE FOODS MARKET 52

PASATIEMPO i April 12-18, 2013

Francisca Gavilán

In vida veritas Jon Bowman I For The New Mexican Violeta Went to Heaven, biopic, not rated, in French and Spanish with subtitles, The Screen, 3 chiles Fiery and intense, Violeta Parra embodied a host of contradictions. The Chilean folk singer and artist was thrust onto the global stage as the first Latin American awarded a solo exhibition at the Louvre. Her work resembles that of Frida Kahlo, although Parra’s iconography is distinct, blending folkloric elements with surreal, dreamlike motifs that arise from her own personal tragedies as well as from Chile’s often violent political struggles. Parra, ever the revolutionary activist, struck a chord for social justice in her homeland and fought on behalf of the downtrodden and dispossessed. Yet beneath her tough exterior, she was haunted by deep psychological wounds and an aching sadness that often left her despondent and reeling. Her father taught her to sing and play the guitar. While he earned his own measure of fame for his inventive, satirical compositions, he wrestled with horrific mood swings and bouts of drunkenness. Parra herself could not sustain any lasting relationships. She placed her art ahead of her family, alienating her children and discarding the few men who came to love her. Violeta Went to Heaven offers a kaleidoscopic portrait of Parra, capturing the fractured quality of her life. This isn’t a conventional biopic rendered in straightforward, chronological order so much as a swirling collection of vignettes that seek to define her character. Eliseo Altunaga adapted the script from the memoirs of Ángel Parra, Violeta’s son. She is presented warts and all, her neglect of her children, her stubbornness, and her frequent tirades casting her as something of an ogre — or at least a difficult and uncompromising individual. But these idiosyncrasies gave an edge and shape to her art, notably the throaty folk songs that became her calling cards. Francisca Gavilán delivers a powerhouse performance as Parra, singing all the songs, although Parra’s most famous tune, “Gracias a la Vida” (Thanks to Life), is conspicuously absent. Andrés Wood’s direction takes a cue from the fluid visuals of Latin America’s magical realist classics. For instance, he films through the slats of floorboards to capture a sweaty bout of lovemaking involving Parra and her much younger boyfriend. Violeta Went to Heaven was Chile’s official 2012 submission to the Oscars for best foreign language film. Some of its conceits don’t work as well as others. The film, like Parra’s life, has its ups and downs. Still, when it clicks, which is more frequently than not, it can be a soaring experience. ◀

Spring Irrigation Workshops Saturday April 13, 1:30 - 2:30pm

Basic Principles of Drip Irrigation plus

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505.983.5264 | TheFirebird.com

ViOLEta wENt tO HEaVEN: FRi & Sat at 1:00 aND 7:45; SUN at 2:15; MON tHRU tHURS at 2:30 aND 7:00

rYAN GOSLING BrAdLeY COOPER eVA MENDES ANd rAY LIOTTA LikE SOMEONE iN LOVE: FRi & Sat at 5:30; SUN tHRU tHURS at 4:45

“ONEOfTHEBESTfILMSOfTHEYEAR!” “HHHHH!”

THE PLACE

LORE: HELD OVER: FRi aND Sat at 3:15; SUN at 7:00

BEYOND

THE PINES

“AHELLOfARIDE!HOLDONTIGHT!” “HHHH!ATHRILLTOWATCH!” from the director of ‘BLuE vALENTINE’

STARTS TODAY IN THEATRES EvERYWHERE CheCk loCal listings for theatre loCations and showtimes MOBILE USERS: For Showtimes – Text PINES with your ZIP CODE to 43KIX (43549). Msg & data rates may apply. Text HELP for info/STOP to cancel.

CaESaR MUSt DiE: Sat at 11:20 aM

IL TRAVATORE (Liceu) Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®

D I G I T A L

S U R R O U N D •E X

SUNDAY 11:00AM

SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com

Bargain Matinees Monday through Friday (First Show ONLY) All Seats $7.50 PASATIEMPOMAGAZINE.COM

RESTAURANT REVIEW Susan Meadows I For The New Mexican

Scent of a gourmand Vivre 304 Johnson St, 983-3800 Dinner 5:30-10 p.m. Tuesdays-Saturdays; closed Sundays & Mondays Noise level: lively Vegetarian options Lengthy wine list Patio dining in season Wheelchair-accessible Strict fragrance-free policy Credit cards, no checks

•

The Short Order In January, Eric Stapelman and Nelli Maltezos reopened the recently closed and much-lauded Trattoria Nostrani as Vivre — a return to Maltezos’ French cooking roots and a more casual, wallet-friendly venue in which to sample Stapelman’s excellent wine selections and Maltezos’ magical precision in the kitchen. Not everything is up to this nationally recognized team’s incredibly high standards, but there are plenty of reasons to return. The cozy, well-lit dining rooms keep the focus on what’s on the table and in your glass. If, like 18th-century French aristocrats, you absolutely must cloak yourself in scent, it’s better to go elsewhere — this is a fragrance-free establishment. Recommended: asparagus vinaigrette with crème fraîche mousse, country pâté, duck rillettes, braised pork belly, diver scallops in rosé reduction, chocolate and banana galette, and grapefruit with honey-vanilla sauce.

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 April 12-18, 2013

For mourners of Trattoria Nostrani, which closed last December after nine years, the good news is that in January the establishment reopened as Vivre, an iconoclastic French restaurant. It’s a more casual, less expensive reincarnation of Trattoria’s French predecessor, Rociada (1999 to 2004). Collaborators on all three, Nelli Maltezos and Eric Stapelman have partnered since the ’90s, finding their first groove in New York City at Stapelman’s lauded Zucca. (Stapelman is renowned for his wine lists, which have garnered multiple awards.) The precision and ethereal flavors of Maltezos’ cooking put Trattoria Nostrani on Gourmet’s Top 50 American Restaurants list. At Vivre, you can opt for the serious oenophile list or choose from a list of 20 wines by the glass, 25 bottles for under $35, and another 25 for under $50, all carefully selected. And while there are still dishes to inspire swooning, your credit card won’t be denied at the final addition, as the French say. The atmosphere is warm wine bar/bistro in a 19th-century adobe with mirrors and cushy tangerine banquettes. The fragrance-free policy causes inordinate grousing, while rumors of Stapelman’s temper abound. However, I’ve never seen him comport himself other than as a gracious and generous host, and you’ll get polite reminders to avoid wearing fragrances on the website, when making reservations, and from a posting on the door. Chef’s choice, I say. In the end, it’s the cooking that counts. Classic Provençal brandade — normally a mash of potatoes, salt cod, garlic, and olive oil — is served here as potato and cod croquettes “à la Grenobloise,” which I assume refers to the pool of butter on the plate, as there are cows aplenty in the fertile valleys of the Alps near Grenoble. The server called it a butter sauce, but I tasted only butter soaking into each of the two large croquettes. The Swiss chard ravioli was exquisite, but a too-sharp mustard sauce ultimately affected the pleasure. A muchanticipated dessert, a white-chocolate mousse “cake” with passion-fruit sauce, tasted off, possibly from the use of a kitchen torch on the weirdly charred underlying cookie. The server offered to ask the chef’s opinion, and though he neither reported back nor offered a replacement, he did deduct the charge. Better country pâté or duck rillettes will be hard to find on this side of the Atlantic — or in many places along the other side. A frisée salad with lardons and goat cheese had plenty of smoky pork bits; the fresh, delectable goat cheese cleverly imitated the classic poached egg in the middle of a nest of rather tough frisée. An artful tableau of smoky grilled asparagus, sublime crème fraîche mousse, and pea tendrils, all highlighted by the salty pop of golden trout roe, is reason enough for a visit to Vivre.

The same is true of the pork belly balanced on barley over a deep red wine sauce and the sop-it-up rosé-wine reduction with scallops. A crusty chunk of excellent baguette ensures that not a drop of these ambrosial sauces goes to waste. A trio of differently flavored crème brûlée custards, though true to flavor (lemon was my favorite), didn’t achieve crème brûlée perfection. The chocolate banana galette with vanilla cream sauce was a reimagined banana split in a French-country crust. Fresh grapefruit chunks in a honey- and vanilla-infused sauce were a light and lyrical way to end the meal. Each glass of wine — we tried red and white Burgundies, a red Bordeaux, and a Lirac — demonstrated Stapelman’s devotion to both quality and value. The blackshirted servers reminded me of members of a soccer team, dancing nimbly around one other in the intimate dining rooms and bar. The crowd is part out-of-towners (L.A. seems to figure heavily) and part loyal locals. Stapelman’s and Maltezos’ French may be a little rusty, but fluency is returning quickly. And the price is definitely right. ◀

Check, please

Dinner for two at Vivre: Duck rillettes .................................................. $ 11.00 Frisée salad with goat cheese .......................... $ 9.00 Pork belly ........................................................ $ 20.00 Brandade à la Grenobloise ............................... $ 16.00 Chocolate and banana galette ......................... $ 10.00 Crème brûlée trio ........................................... $ 10.00 Glass, Bichot red Burgundy ............................ $ 12.00 Glass, Lirac ..................................................... $ 12.00 Decaf espresso ................................................ $ 4.00 TOTAL ............................................................ $104.00 (before tax and tip) Dinner for two, another visit: Asparagus with crème fraîche mousse ............ $ 10.00 Country pâté ................................................... $ 10.00 Diver scallops with champagne sauce ............. $ 21.00 Swiss chard ravioli .......................................... $ 16.00 Side of green beans ......................................... $ 5.00 Grapefruit with honey-vanilla sauce ............... $ 2.25 Glass, Vézelay white Burgundy ....................... $ 11.00 Glass, Château Blouin red Bordeaux .............. $ 9.00 TOTAL ............................................................ $ 84.25

See more Restaurant Reviews @ www.pasatiempomagazine.com

Springtime for Santa Fe

less 20% for locals thru April 15th jrltd.com You are cordially invited to take an exclusive, intimate look at the Allstate Exclusive Agent business opportunity! Control your own income, quality of life and independence. Our team helps people like you take their career to the next level by owning their own business with the support of a nationally recognized Fortune 100 brand. Please join Allstate Sales Manager Karen McCann for dinner and conversation about running your own Allstate Agency.

Monday, April 15, 5:30 p.m. The Ranch House 2571 Cristo Road (near Kohl’s) Santa Fe, NM 87507

Allstate is looking for driven, motivated individuals who are ambitious to succeed and own their own business. RSVP is required, so reserve your place by calling 480-9277325 or emailing michelle.weakley@allstate.com For more information about the Allstate Agent Opportunity, visit http://www.allstate.com/careers/agent-opportunity.aspx

TCHAIKOVSKY Polonaise from Eugene Onegin MOZART Concerto for Two Pianos DVOŘÁK Symphony No. 7 ORIOL SANS Guest Conductor

114 East Palace Avenue Santa Fe 87501 505 988 1147 designs@jrltd.com

the

anta fe

ymphony ...bringing great music to life

FEATURING THE ANDERSON-ROE DUO The appearance of the Anderson-Roe Duo is underwritten by Harriet & Karl Schreiner.

“The most dynamic duo of this generation...explosive creativity ...refreshing...exhuberant.” —San Francisco Classical Voice

SUNDAY

ApriL 21 4:00 PM

Free preview talk an hour before the concert.

At the

Lensic $20 — $70

Half priced tickets for children 6 - 14 with adult purchase.

Call

983-1414 santafesymphony.org

The 2012–2013 season is funded in part by the Santa Fe Arts Commission and the 1% Lodger’s Tax, New Mexico Arts, a division of the Office of Cultural Affairs, and the National Endowment for the Arts.

SPONSORED IN PART BY

PASATIEMPOMAGAZINE.COM

pasa week

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

12 Friday gallery/museum openings

arroyo gallery 200 Canyon Rd., 988-1002. Selections: Interpretations of Nature, paintings by Pedro Surroca, reception 5-7 p.m., through April 28. Counter Culture 930 Baca St., for information call 690-5166. Paintings by Elizabeth Hahn, through May 2. eight modern 231 Delgado St., 995-0231. Dogs Are Forever, mixed-media work by Nancy Youdelman, reception 5-7 p.m., through May 18. museum of Contemporary native arts 108 Cathedral Pl., 983-8900. Golden, annual Institute of American Indian Arts student exhibit, through May 12. nüart gallery 670 Canyon Rd., 988-3888. Everything That Rises, new paintings by Claire B. Cotts, reception 5-7 p.m., through April 28. rotunda gallery State Capitol, Old Santa Fe Trail and Paseo de Peralta, 986-4589. New Mexico: Unfolding, group show of mixed-media fiber art, reception 4-6 p.m., through Aug. 16. Volume Hair salon 933-D Baca St., 983-1638. Emergence, mixed-media paintings by Karen Dew, reception 6-8 p.m., through June.

ClassiCal musiC

parthenia New York City-based early-music string quartet, joined by mezzo-soprano Jacqueline Horner-Kwiatek and actor Paul Hecht, 7:30 p.m., Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge, 984-6000 (see story, Page 24). santa Fe pro musica Violinist Chad Hoopes in recital accompanied by pianist Dina Vainshtein, music of Brahms, Bach, and Prokofiev, 7:30 p.m., the Lensic, $20-$65, 988-1234, ticketssantafe.org, or 988-4640, Ext. 1002. TgiF piano trio and quartet recital Music of Schumann and Rebecca Clarke, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544, Ext.16.

in ConCerT

Commissioner’s Gallery showcases photographs by Woody Galloway, at the New Mexico Land Office, 310 Old Santa Fe Trail

Depth of a Moment: In Four Parts Center for Contemporary Art and Theater Grottesco’s Eventua series continues with a 7 p.m. performance-art piece by Lisa Fay and Jeff Glassman, Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, students $10, encores Saturday-Sunday, April 13-14. Visit theatergrottesco.org or call 474-8400 for series schedule.

books/Talks

Tracy grammer Singer/songwriter, 7:30 p.m., Gig Performance Space, 1808 Second St., $20 at the door, gigsantafe.com (see story, Page 42).

THeaTer/danCe

Buried Child Ironweed Productions and Santa Fe Playhouse present Sam Shepard’s drama, 7:30 p.m., 142 De Vargas St., $20, discounts available, santafeplayhouse.org, 988-4262, final weekend.

Pasa’s Little Black Book......... 57 Exhibitionism...................... 58 At the Galleries.................... 59 Libraries.............................. 59 Museums & Art Spaces........ 59 In the Wings....................... 60

PASATIEMPO I April 12-18, 2013

karl may in america — enthusiasm or disappointment? German studies professor emeritus Peter Karl Pabisch discusses the author in conjunction with the New Mexico History Museum exhibit Tall Tales of the Wild West: The Stories of Karl May, 6 p.m., museum auditorium, 113 Lincoln Ave., no charge, 476-5200. my Favorite poem project Readings by New Mexicans including Mayor David Coss, Santa Fe Poet Laureate Jon Davis, novelist Michael McGarrity, artist Tony Abeyta, and others, 6 p.m.,

Elsewhere............................ 62 People Who Need People..... 63 Under 21............................. 63 Pasa Kids............................ 63 Sound Waves...................... 63

reception follows, Institute of American Indian Arts, 83 Avan Nu Po Rd., no charge, 424-2300, iaia.edu.

nigHTliFe

(See Page 57 for addresses) Café Café Los Primos Trio, traditional Latin beats, 6-9 p.m., no cover. ¡Chispa! at el mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30-10:30 p.m., no cover. Cowgirl bbQ Happy Hours with Americana musician Jonathan Fleig, 5-7:30 p.m.; local Americana band Boris & The Salt Licks, 8:30 p.m.; no cover. el Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. Hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover.

la Fiesta lounge at la Fonda Soulstatic, funk and R & B, 8-11 p.m., no cover. la posada de santa Fe resort and spa Nacha Mendez Trio, pan-Latin music, 6:30-9:30 p.m., no cover. The legal Tender Connie Long & Fast Patsy, Janis Joplin meets Patsy Cline, 6-9 p.m., no cover. The palace restaurant & saloon Busy & The Crazy 88, 9:30 p.m., call for cover. revolution bakery Friday Night Jazz Trio, guitarist Tony Cesarano, percussionist Peter Amahl, and bassist Lenny Tischler, 6-9 p.m., call for cover. second street brewery Hot Honey, singer/songwriters Lucy Barna, Paige Barton, and Lori Ottino, 6-9 p.m., no cover. second street brewery at the railyard Catahoula Curse, Southern gothic, 7-10 p.m., no cover. Vanessie Zenobia and Jay Boy Adams, with Mister Sister, R & B, 7:30 p.m.-close, call for 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 820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter.

13 Saturday

theater/dance

santa Fe pro musica Violinist Chad Hoopes in concert with SFPM Orchestra, music of Beethoven and Tchaikovsky, 6 p.m., the Lensic, $20-$65, ticketssantafe.org, 988-1234 or 988-4640, Ext. 1002, encore Sunday, April 14.

Buried Child Ironweed Productions and Santa Fe Playhouse present Sam Shepard’s drama, 7:30 p.m., 142 De Vargas St., $20, discounts available, santafeplayhouse.org, 988-4262, final weekend. Depth of a Moment: In Four Parts Center for Contemporary Art and Theater Grottesco’s Eventua series continues with a 7 p.m. performance-art piece by Lisa Fay and Jeff Glassman, Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, students $10, encore Sunday, April 14. Series schedule available online at theatergrottesco.org or call 474-8400.

in concert

books/talks

gallery/museum openings

Jane sauer gallery 652 Canyon Rd., 995-8513. Out of the Blue: Evocative Landscapes, work by fiber artist Judith Content, through April.

classical music

angel olsen Singer/songwriter, Villages opens, 7:30 p.m., High Mayhem Emerging Arts, 2811 Siler Lane, 438-2047, $10, 988-1234, ticketssantafe.org (see story, Page 22). santa Fe Women’s ensemble Free concert of songs from around the world, 2 p.m., Santa Fe Public Library, Southside Branch Community Room, 6599 Jaguar Dr., 955-2820. songwriters’ showcase Johny Broomdust, Lisa Carman, Paula Rhae McDonald, and others perform in support of cancer research, 4-6 p.m., Little Bird at Loretto, 211 Old Santa Fe Trail, donations appreciated, 820-7413. tony Furtado Indie folk-rock singer/songwriter, 7:30 p.m., Garrett’s Desert Inn, 311 Old Santa Fe Trail, $15 in advance, brownpapertickets.com, $20 at the door, 982-1851 (see story, Page 46).

barbara spencer Foster The New Mexico author signs copies of Santa Fe Woman, Montana Lawman, and Freemont Ellis, Last of Los Cinco Pintores, 3-7 p.m., Hastings, 542 N. Guadalupe St., 984-2857.

outdoors

Wildlife detectives Join trackers Jimmy Manello and Henry Miller as they decipher animal tracks on a hike through Cerrillos Hills State Park, 11 a.m., 16 miles south of Santa Fe off NM 14, parking area one half-mile north of the village of Cerrillos, $5 per vehicle, 474-0196.

events

the Flea at el museo 8 a.m.-3 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through April. indigenous healing/teachings of the high andes Workshop series led by Diane Berman, 9 a.m.-noon, Santa Fe

Center for Spiritual Living, 505 Camino de los Marquez, call 424-0207 to register, donations welcome, final session April 20. raptors revisited The Santa Fe Raptor Center’s second fundraising event offering photographs taken with birds of prey to help with rehabilitation costs, 11 a.m.-2 p.m., Teca Tu Pet Emporium, 500 Montezuma Ave., Sanbusco Center, by donation, call the center for details, 699-0455. santa Fe artists market 8 a.m.-1 p.m. Saturdays at the Railyard park across from the Farmers Market through November, 310-1555. santa Fe Farmers market 8 a.m.-1 p.m.; gardening lecture/slide presentation and plant sale, 2:30 p.m., 1607 Paseo de Peralta, 983-4098. santa Fe rodeo royalty gala Dinner and dance; music by country singer Clay Mac; also, a silent auction; cocktails 5 p.m., dinner 6 p.m., dance and auction follow, Fraternal Order of Eagles, 833 Early St., $50, 490-3008. shamanic workshop Led by Valentine McKay-Riddell in conjunction with the exhibit Journeys: Intimate & Infinite, 3-5 p.m., La Tienda Exhibit Space, 7 Caliente Rd., Eldorado, call 780-8245 for information, no charge. tewa corn-planting ceremony Public participation encouraged, 3 p.m., Garrett’s Desert Inn, 311 Old Santa Fe Trail, no charge, visit pinkladytours.com or call 699-4147 for details.

nightliFe

(See addresses below) café café Los Primos Trio, traditional Latin songs, 6-9 p.m., no cover.

cowgirl bbQ Sweetwater String Band, 2-5 p.m.; Baracutanga, Latin-folk fusion band, 8:30 p.m.-close; no cover. el cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. la casa sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Soulstatic, funk and R & B, 8-11 p.m., no cover. la posada de santa Fe resort and spa Jazz vocalist Whitney and guitarist Pat Malone, 6-9 p.m., no cover. the legal tender Cathy Faber’s Swingin’ Country Band, 6-9 p.m., no cover. the mine shaft tavern The Strange, rock and funk, 8 p.m., call for cover. pranzo italian grill Pianist David Geist and vocalist Julie Trujillo, 6-9 p.m., call for cover. second street brewery Americana band Boris & The Salt Licks, 6-9 p.m., no cover. second street brewery at the railyard Neil Young tribute band Drastic Andrew & The Cinnamon Girls, 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.-close, no cover. vanessie JEM, Jay Cawley, Ellie Dendahl, and Michael Umphrey, guitars and vocals, 7:30 p.m.-close, call for cover.

pasa week

d Wine bar 315 restaurant an 986-9190 il, Tra Fe a nt 315 Old Sa shop betterday coffee lano Center , So 905 W. Alameda St. nch resort & spa bishop’s lodge ra ., 983-6377 Rd e 1297 Bishops Lodg café café 6-1391 500 Sandoval St., 46 ón ¡chispa! at el mes 983-6756 e., Av ton ing 213 Wash uthside cleopatra café so 4-5644 47 ., Dr o 3482 Zafaran cowgirl bbQ , 982-2565 319 S. Guadalupe St. o dinner for tw , 820-2075 106 N. Guadalupe St. at the pink the dragon room a Fe Trail, nt Sa d Ol 6 40 adobe 983-7712 lton el cañon at the hi 811 8-2 98 , St. al ov nd Sa 0 10 spa eldorado hotel & St., 988-4455 o isc nc Fra n Sa . 309 W el Farol 3-9912 808 Canyon Rd., 98 ill gr & r ba o el pase 2-2848 208 Galisteo St., 99

Pasa’s little black book evangelo’s o St., 982-9014 200 W. San Francisc hotel santa Fe ta, 982-1200 1501 Paseo de Peral la boca 2-3433 72 W. Marcy St., 98 ina nt la casa sena ca 8-9232 98 e., Av e lac 125 E. Pa at la Fonda la Fiesta lounge , 982-5511 St. o isc nc 100 E. San Fra a Fe resort nt sa de da la posa e Ave., 986-0000 lac Pa and spa 330 E. at the the legal tender eum us m d oa ilr ra y m la 466-1650 151 Old Lamy Trail, g arts center lensic performin St., 988-1234 o isc nc 211 W. San Fra sports bar & grill om ro er the lock 3-5259 47 ., 2841 Cerrillos Rd e lodge th at lodge lounge Francis Dr., St. N. 0 75 Fe a nt at sa 992-5800 rider bar low ’n’ slow low ó ay at hotel chim e., 988-4900 125 Washington Av the matador o St., 984-5050 116 W. San Francisc

the mine shaft tavern 2846 NM 14, Madrid, 473-0743 molly’s kitchen & lounge 1611 Calle Lorca, 983-7577 museum hill café 710 Camino Lejo, Milner Plaza, 984-8900 music room at garrett’s desert inn 311 Old Santa Fe Trail, 982-1851 the palace restaurant & saloon 142 W. Palace Ave, 428-0690 the pantry restaurant 1820 Cerrillos Rd., 986-0022 pranzo italian grill 540 Montezuma Ave., 984-2645 pyramid café 505 W. Cordova Rd., 989-1378 revolution bakery 1291 San Felipe Ave., 988-2100 rouge cat 101 W. Marcy St., 983-6603 san Francisco street bar & grill 50 E. San Francisco St., 982-2044 santa Fe community convention center 201 W. Marcy St., 955-6705 santa Fe sol stage & grill 37 Fire Pl., solofsantafe.com

continued on Page 61

second street brewer y 1814 Second St., 982-3030 second street brewer y at the railyard Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 989-3278 secreto lounge at hotel st. Francis 210 Don Gaspar Ave., 983-5700 the starlight lounge RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781 stats sports bar & nightlife 135 W. Palace Ave., 982-7265 steaksmith at el gancho 104-B Old Las Vegas Highway, 988-3333 sweetwater harvest kitchen 1512-B Pacheco St., 795-7383 taberna la boca 125 Lincoln Ave., Suite 117, 988-7102 thunderbird bar & grill 50 Lincoln Ave., 490-6550 tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 the underground at evangelo’s 200 W. San Francisco St., 577-5893 vanessie 427 W. Water St., 982-9966 Zia diner 326 S. Guadalupe St., 988-7008

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exhibitionism

A peek at what’s showing around town

elizabeth hahn: Blue Hole, 2012, acrylic on panel. Taking inspiration from sleeping animals, dancing figures, and the surreal imagery of dreams, Elizabeth Hahn creates unabashedly quirky and often absurd canvases. Hahn calls her style “rococo a go-go.” An exhibition of Hahn’s paintings opens Friday, April 12, at Counter Culture Café (930 Baca St.). Call Counter Culture at 995-1105 or Hahn at 690-5166.

Anne Kennedy: The Cloak of Semiinvisibility, 2013, acrylic on canvas. Eggman and Walrus (130 W. Palace Ave. second floor) presents the work of artists Susan Begy and Anne Kennedy. Begy’s exhibition Veiled is a selection of works on paper, along with sculptures that incorporate carved alabaster and found objects. Kennedy, a recent graduate of Santa Fe University of Art and Design, infuses her paintings with a provocative, wry sense of humor. Call 660-0048 for hours.

nancy Youdelman: Tuffy Is the [One] I Love (detail), 2013, mixed media with encaustic. In Nancy Youdelman: Dogs Are Forever, the artist combines old snapshots, buttons, pins, organic materials, and other objects into lush mosaics that cover the surfaces of vintage clothing. Youdelman, known since the early 1970s for her feminist art, was inspired in her recent work by a vintage photo of a dog with a little girl’s writing on the back. The show opens with a 5 p.m. reception on Friday, April 12, at Eight Modern (231 Delgado St.). Call 995-0231.

brandee Caoba, Smoke and Mirrors, 2013, mixed media. The Museum of Contemporary Native Arts (108 Cathedral Place) presents Golden, the annual exhibition of B.F.A. work from the Institute of American Indian Arts. The exhibit features selected works by Veronica Ayala, Brandee Caoba, David Pecos, and others. The juried exhibition includes photography, painting, sculpture, installation, printmaking, and jewelry. Golden opens Friday, April 12. Also on view at MoCNA is Thicker Than Water, a show of four artists working in mixed-media photography, and Jason Lujan’s Summer Burial. Call 983-8900.

Claire b. Cotts: Winter Palace, 2013, acrylic on canvas. Nüart Gallery (670 Canyon Road) presents Everything That Rises, an exhibition of paintings by Claire B. Cotts. Cotts invests her layered abstractions with muted tones, patterns, organic forms, and a sense of movement. Everything That Rises opens with a 5 p.m. reception on Friday, April 12. Call 988-3888.

PASATIEMPO I April 12-18, 2013

At the GAlleries Manitou Galleries 123 W. Palace Ave., 986-0440. Harry Greene & Fran Larsen, through April 21 (see story, Page 40). Touching Stone Gallery 539 Old Santa Fe Trail, 988-8072. Tanba Modernism, pottery by Keiichi Shimizu, through April 27.

liBrAries Beaumont and Nancy Newhall Library Marion Center for Photographic Arts, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5052. Open by appointment only. Catherine McElvain Library School for Advanced Research, 660 Garcia St., 954-7200. Open Monday-Friday, call for hours. Chase Art History Library Thaw Art History Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6569. Open Monday-Friday, call for hours. Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 984-6041. Visit stjohnscollege.edu for hours of operation. $20 fee to nonstudents and nonfaculty. Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 476-5090. Open 1-5 p.m. Tuesday-Friday. Laboratory of Anthropology Library Museum of Indian Arts & Culture, 476-1264. Open 1-5 p.m. Monday-Friday, by museum admission. New Mexico State Library 1209 Camino Carlos Rey, 476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. Monday-Friday. Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 467-6825. Rare books and collections of metaphysical materials. Open Monday-Friday, call for hours. Santa Fe Community College Library 6401 Richards Ave., 428-1352. Open MondayFriday, call for hours. Santa Fe Institute 1399 Hyde Park Rd., 984-8800. Open 1-5 p.m. Monday-Friday to current students (call for details). Visit santafe.edu/library for online catalog. Santa Fe Public Library, Main Branch 145 Washington Ave., 955-6780. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday, 1-5 p.m. Sunday. Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 955-4860. Open 10 a.m.-8 p.m. Monday-Wednesday, 10 a.m.6 p.m. Thursday-Saturday. Closed Sunday. Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 955-2810. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday. Closed Sunday. Supreme Court Law Library 237 Don Gaspar Ave., 827-4850. Online catalog available at supremecourtlawlibrary.org. Open 8 a.m.-5 p.m. Monday-Friday.

MuseuMs & Art spAces refer to the daily calendar listings for special events. Museum hours subject to change on holidays and for special events. Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. The Big Hoot, large-scale drawings by Larry Bob Phillips

and David Leigh, opening Thursday, April 18, through May 5, Muñoz Waxman Front Gallery • Revival, multimedia installation by Billy Joe Miller, through Sunday, April 14, Muñoz Waxman Front Gallery • El Otoño Mío es Tu Primavera, installation by Miguel Arzabe, through April 21, Spector Ripps Project Space. Gallery hours available online at ccasantafe.org or by phone, no charge. Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Annie Leibovitz: Pilgrimage, through May 5 • Georgia O’Keeffe and the Faraway: Nature and Image, through May 5. Open 10 a.m.5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Fridays. $12; seniors $10; NM residents $6; students18 and over $10; under 18 no charge; NM residents free 5-7 p.m. first Friday of the month. Museum of Contemporary Native Arts 108 Cathedral Pl., 983-8900. Golden, annual Institute of American Indian Arts student exhibit, through May 12 • Burial, mixed media by Jason Lujan; through May 12. Open 10 a.m.-5 p.m. Monday and Wednesday-Saturday, noon-5 p.m. Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250. What’s New in New: Recent Acquisitions, annual exhibit celebrating the gallery’s namesake, Lloyd Kiva New, through 2013 • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. TuesdaySunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200. Plain Geometry: Amish Quilts, textiles from the museum’s collection and collectors, through Sept.1 • New World Cuisine: The Histories of Chocolate, Mate y Más • Folk Art of the Andes, work from the 19th and 20th centuries • Multiple Visions: A Common Bond, international collection of toys and traditional folk art. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226. Stations of the Cross, group show of works by New Mexico artists, through Sept. 2 • Filigree and Finery: The Art of Spanish Elegance, an exhibit of historic and contemporary jewelry, garments, and objects, through May 27 • Metal and Mud — Iron and Pottery, works by Spanish Market artists, through April • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, Colonial and 19thcentury Mexican art, sculpture, and furniture; also, work by Spanish Market youth artists • The Delgado Room, late Colonial period re-creation. Open 10 a.m.-5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. Cowboys Real and Imagined, artifacts and photographs from the collection, opening Sunday, April 14, through March 16, 2014

Billy Joe Miller’s digital prints are shown in center for contemporary Arts — Muñoz Waxman Front Gallery’s exhibit Revival, closing sunday, April 14.

(see story, Page 32) • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; no charge for school groups; no charge on Wednesdays for NM residents over 60; NM residents no charge on Sundays; free admission 5-8 p.m. Fridays. New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Art on the Edge 2013, Friends of Contemporary Art and Photography’s biennial juried group show includes work by Santa Fe artists Donna Ruff and Greta Young, through Sunday April 14 • Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, through Sept. 15 • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents no charge on Sundays.

Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Creativity Revisited, silver anniversary of the museum’s permanent collection, through July13. Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted. SITE Santa Fe 1606 Paseo de Peralta, 989-1199. State of Mind: New California Art Circa 1970, conceptual and avant-garde works of the late ’60s and ’70s; Linda Mary Montano: Always Creative, interactive performance; Mungo Thomson: Time, People, Money, Crickets, multimedia; through May 19. Open 10 a.m.-5 p.m. Tuesday-Saturday; 10 a.m.-7 p.m. Friday; noon-5 p.m. Sunday. $10; seniors and students $5; Fridays no charge. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. A Certain Fire: Mary Wheelwright Collects the Southwest, 75th anniversary exhibit, through Sunday, April 14. Open 10 a.m.-5 p.m. Monday-Saturday, 1-5 p.m. Sunday. Docent tours 2 p.m. Mondays, Wednesdays, Fridays, and Saturdays.

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In the wings MUSIC

Coro de Cámara The chamber chorus in The American Sound, featuring Barber’s Agnus Dei, 7 p.m. Friday, April 19, Los Alamos; 4 p.m. Sunday, April 21, Church of the Holy Faith, 311 E. Palace Ave., $20, discounts available, corodecamara-nm.org. Nuestra Musica 13th annual celebration of New Mexico music, 7 p.m. Friday, April 19, the Lensic, $10, seniors no charge, ticketssantafe.org, 988-1234. Awna Teixeira Singer/multi-instrumentalist, 7:30 p.m. Friday, April 19, Gig Performance Space, 1808 Second St., $15, brownpapertickets.com.

HAppENINgS

Borromeo String Quartet Music of Stravinsky, Beethoven, and Dvoˇrák, 7 p.m. Saturday, May 4, Duane Smith Auditorium, Los Alamos, $30, 988-1234, ticketssantafe.org. Serenata of Santa Fe The chamber music ensemble in Gate Into Infinity, 6 p.m. Sunday, May 5, Junior Common Room, St. John’s College, 1160 Camino de Cruz Blanca, $20, discounts available, 988-1234, ticketssantafe.org. New Mexico Bach Society John Donald Robb’s Requiem and Gounod’s St. Cecilia Mass, 7 p.m. Thursday, May 23, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$55, 988-1234, ticketssantafe.org. Santa Fe Women’s Ensemble Fiesta de Musica, music of Casals, Victoria, and international folk songs, 3 p.m. Saturday, June 1, First Presbyterian Church of Santa Fe; 3 p.m. Sunday, June 2, Immaculate Heart of Mary Retreat and Conference Center Chapel, $25, discounts available, 954-4922. Emmylou Harris and Rodney Crowell The former bandmates reunite in support of their album, Old Yellow Moon, 7 p.m. Saturday, June 15, The Downs of Santa Fe, $40, ages 14 and under $10, 988-1234, ticketssantafe.org.

THEATER/DANCE

christian mcBride joins the lineup at the monterey Jazz Festival’s 55th anniversary tour April 25, at the Lensic.

Santa Fe Symphony Orchestra April Joy, featuring piano duo Anderson & Roe, music of Mozart and Dvoˇrák, 4 p.m. Sunday, April 21; the orchestra and chorus perform Orff’s Carmina Burana, 4 p.m. Sunday, May 19, featuring soprano Mary Wilson, tenor Sam Shepperson, and baritone Jeremy Kelly; pre-concert lectures 3 p.m.; the Lensic, $20-$70, ticketssantafe.org, 988-1234. Rumelia and Underscore Orkestra Local Balkan-folk trio and Gypsy-jazz/klezmer band, 7:30 p.m. Thursday, April 25, Santa Fe Sol Stage & Grill, $7, holdmyticket.com. Bobby Shew Virtuoso jazz trumpeter, with Jim Ahrend on piano, Andy Zadrozny on bass, and John Trentracosta on drums, 7 p.m. Friday, April 26, KSFR Radio’s Music Café Series, 7 p.m., Museum Hill Café, Milner Plaza, 710 Camino Lejo, $20, 428-1527. The Met Live in HD The 2012-2013 season concludes with Handel’s Giulio Cesare, 10 a.m. and 6 p.m. Saturday, April 27, the Lensic, $22-$28, student discounts available, ticketssantafe.org, 988-1234. Moon River & Me Ken Brown sings the Andy Williams Songbook with the Bert Dalton Trio, 6 p.m. Sunday and Monday, April 28-29, La Casa Sena Cantina, $25, 988-9232.

PASATIEMPO I April 12-18, 2013

Upcoming events

Once on This Island Santa Fe University of Art & Design Documentary Theatre Project students present Lynn Ahrens’ musical, 7 p.m. Friday and Saturday, 2 p.m. Sunday, April 19-28, Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, discounts available, 988-1234, ticketssantafe.org. The Report of My Death Michael Graves in Adam Klasfeld’s docudrama on Mark Twain, 8 p.m. Friday and Saturday, 2 p.m. Sunday, April 19-21, Santa Fe Playhouse, 142 E. DeVargas St., $20, 646-413-3216. Winning the Future Up & Down Theatre Company presents its satirical musical revue, 8 p.m. Friday and Saturday, 4 p.m. Sunday, April 19-21, Teatro Paraguas Studio, 3205 Calle Marie, $10, 424-1601. Louder Than Words Moving People Dance Theatre’s annual spring show, 7 p.m. Friday, 2 and 7 p.m. Saturday, 2 p.m. Sunday, April 26-28, 1583 Pacheco St., $15, discounts available, 438-9180. Womens Voices II Santa Fe Rep presents all-female productions by local playwrights and actors; also, students of Santa Fe University of Art & Design and New Mexico School for the Arts, 7:30 p.m. Thursday, 2 p.m. Saturday and Sunday, May 2, 4-5, Warehouse 21, 1614 Paseo de Peralta, $18, discounts available, 629-6517, sfrep.org. Miss Jairus, A Mystery in Four Tableaux Theaterwork presents Michel de Ghelderode’s play, 7:30 p.m. Thursday-Saturday, 2 p.m. Sunday, June 14-23, James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., 471-1799, mail@theaterwork.com.

Mont St. Michel and Shiprock Santa Fe photographer William Clift’s landscape studies on exhibit April 19, New Mexico Museum of Art, 107 W. Palace Ave., 476-5072. American Sign Language, Deaf Culture & You Educational event offering an art exhibit, ASL instruction, activities for kids, museum tour, and informational booths, 10 a.m.-3 p.m. Saturday, April 20, New Mexico School for the Deaf, 1060 Cerrillos Rd., no charge, for more information contact Christine Kane, 476-6400. Japanese Cultural Festival Santa Fe Japanese Intercultural Network presents its annual matsuri with a vintage kimono exhibit, fashion show, sale of Japanese crafts, and Japanese food, 10 a.m.-5 p.m. Saturday, April 20, Santa Fe Community Convention Center, $3, children ages 12 and under no charge, proceeds benefit Japan Aid of Santa Fe recovery relief fund, santafejin.org. Dinner Onstage at the Lensic Fundraising gala for the venue; featuring cocktails, wine-paired dinner, live and silent auctions, and singer Sharon McNight and pianist David Geist, 6-11 p.m. Saturday, April 20, contact Laura Acquaviva for ticket information, 988-7050, Ext. 1212, lacquaviva@lensic.org. Kick up Your Heels for girls! Santa Fe Girls’ School fundraiser; VIP reception and auction 7-8 p.m. Saturday, April 20, Farmers Market Shops, $100; dance party 8-10:30 p.m., Farmers Market Pavilion, $30, students $20, 988-1234, ticketssantafe.org, 820-3188. Lannan Foundation events Lannan Literary Series, novelists David Mitchell and Tom Barbash discuss their works, 7 p.m. Wednesday, April 24; In Pursuit of Cultural Freedom Series, Eduardo Galeano and Marie Arana in conversation, 7 p.m. Wednesday, May 15; the Lensic, $6, discounts available, ticketssantafe.org, 988-1234. Eve Ensler The author reads from In the Body of the World: A Memoir, 7:30 p.m. Friday, April 26, the Lensic, $30 includes signed copy, students $15, 988-1234, ticketssantafe.org.

The green gala Annual fundraiser benefitting Earth Care; dinner and dance party with DJ 13 Pieces and MC Kim Shanahan, 7 p.m. Saturday, April 27, Eldorado Hotel & Spa, $75 in advance, earthcarenm.org. Celebrate Wisdom of Many Mothers Appetizer/wine reception, silent auction, and panel discussion moderated by Valerie Plame Wilson, panelists include journalist Anne Goodwin Sides and sculptress Christine McHorse, 4-6:30 p.m. Friday, May 3, Santa Fe Farmers Market Pavilion, $40, 983-5984, manymothers.org. La Tierra Torture Mountain-bike race; 9 a.m. Saturday, 4- and 9.5-mile courses, May 4, La Tierra open space, for fees, prize information and registration visit latierratorture.com. The Sound of Sunset: How to Write About the Edge of Time Local poet Lauren Camp leads a workshop in conjunction with Santa Fe Art Institute’s group show Earth Chronicles Project — The Artist’s Process: New Mexico, 6:30 p.m. Thursday, May 9, $25, 424-5050. Native Treasures Indian Arts Festival Traditional and contemporary works by more than 200 artists, Memorial Day weekend Saturday and Sunday, May 25-26, Santa Fe Community Convention Center, Saturday: early birds $20, general admission $10 (all tickets available at the door), Sunday: no charge, 982-7799, Ext. 3, nativetreasures.org. Santa Fe Opera opening night benefit The opening-night performance of Offenbach’s The Grand Duchess of Gérolstein is preceded by a gala buffet dinner and a talk by Tom Franks, Friday, June 28, Dapples Pavilion, 301 Opera Dr., $80, hosted by the Santa Fe Opera Guild, 629-1410, Ext. 113, guildsofsfo.org. Santa Fe Opera The season opens Friday, June 28, with Offenbach’s The Grand Duchess of Gérolstein; other offerings include the premiere of Theodore Morrison’s Oscar, SFO’s first mounting of Rossini’s La Donna del Lago, and two revivals, Mozart’s The Marriage of Figaro and Verdi’s La Traviata; also, two special concerts honoring Wagner, Britten, and Stravinsky; call 986-5900 or visit santafeopera.org for tickets and details on all SFO events.

piano duo Anderson & Roe perform with the santa Fe symphony on April 21, at the Lensic.

pasa week

continued from Page 57

14 Sunday gallery/museum openings

last gallery on the right 836 Canyon Rd., 757-6250. Black and White, group show, reception noon-9 p.m. new mexico History museum 113 Lincoln Ave., 476-5200. Cowboys Real and Imagined, artifacts and photographs from the collection, reception and opening events 1-5 p.m. through March 16, 2014 (see story, Page 32).

opera in Hd

Il Trovatore The Performance at The Screen series continues with Verdi’s opera at Gran Teatre del Liceu in Barcelona, 11 a.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $20, discounts available, 473-6494.

classical music

santa Fe community orchestra Featuring winners of SFCO’s concerto competition in a program of Mozart and Beethoven, 2:30 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations appreciated, 466-4879, sfco.org. santa Fe pro musica Violinist Chad Hoopes in concert with the SFPM Orchestra, music of Beethoven and Tchaikovsky, 3 p.m., the Lensic, $20-$65, ticketssantafe.org, 988-1234 or 988-4640, Ext. 1002.

tHeater/dance

Buried Child Ironweed Productions and Santa Fe Playhouse present Sam Shepard’s drama, 2 p.m., 142 De Vargas St., $20, discounts available, santafeplayhouse.org, 988-4262, final weekend. Depth of a Moment: In Four Parts Center for Contemporary Art and Theater Grottesco’s Eventua series continues with a 4 p.m. performance-art piece by Lisa Fay and Jeff Glassman, Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, students $10. Visit theatergrottesco.org or call 474-8400 for series schedule.

books/talks

the Happiness initiative JourneySantaFe hosts a talk with Merle Lefkoff, Zélie Pollon, and Marilyn Winter-Tamkinis in celebration of Happiness Santa Fe and Sustainable Happiness Week, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226, visit happinesssantafe.org for full schedule of events. muse times two The poetry series continues with PEN/Faulkner Award-winner Benjamin Sáenz and local poet Miriam Sagan reading from their works, 4 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see Subtexts, Page 18). What’s new contemporary native artists speak series New Mexico potters Jody Naranjo, Russell Sanchez, and John Yellowbird Samora discuss their works in conjunction with the exhibit What’s New in New: Recent Acquisitions exhibit, 2 p.m., O’Keeffe Theater, Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, no charge, 476-1250.

events

bee-ch party Bumble Bee’s Baja Grill celebrates its 10th anniversary with discounted prices, give aways, prizes, entertainment for kids, and live jazz

with Arlen Asher, Bert Dalton, John Gagan, and John Trentacosta, 11 a.m.-8 p.m., 301 Jefferson St., 820-2862. the Flea at el museo 10 a.m.-4 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through April. international folk dances 6:30-8 p.m. weekly, followed by Israeli dances 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, beginners welcome. pueblo of tesuque Flea market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com. railyard artisans market Multi-instrumentalist Gerry Carthy 10 a.m.-1 p.m.; Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 983-4098, railyardartmarket.com, market 10 a.m.-4 p.m. weekly. santa Fe Farmers market 10 a.m.-4 p.m., 1607 Paseo de Peralta, 983-4098. transition network of santa Fe’s first birthday party The chapter hosts a free public event, 2-4 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, thetransitionnetwork.org. validate ticket Here! getting the love and appreciation you deserve Workshop led by author Linda M. Potter, 12:30-3 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $20, 983-5022.

nigHtliFe

(See Page 57 for addresses) café café Guitarist Michael Tait, 6-9 p.m., no cover. cowgirl bbQ Tom Rheam Trio, pop/jazz/Latin, 8 p.m., no cover. el Farol Nacha Mendez and guests, pan-Latin music, 7 p.m.-close, no cover. la casa sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda La Fonda Talent Showcase, any music genre, stand-up comedy, and more welcome, $25 to the winners, 7-10 p.m., no cover. la posada de santa Fe resort and spa Wily Jim, Western swingabilly, 7 p.m., no cover. the mine shaft tavern Americana guitarist Gene Corbin, 3-7 p.m., no cover. vanessie Sunday open mic with pianist David Geist, 5-7 p.m.; Bob Finnie, pop standards piano and vocals, 7 p.m.-close; no cover.

15 Monday gallery/museum openings

santa Fe art institute Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5050. Earth Chronicles Project — The Artist’s Process: New Mexico, group show, through May 17, reception, documentary screening, and Q & A with artist/curator Fran Hardy and filmmaker Bob Demboski 6 p.m., $10, discounts available.

tHeater/dance

les ballets trockadero de monte carlo All-male drag dance troupe that parodies classical ballet, 7:30 p.m., the Lensic, $25-$72, 988-1234, ticketssantafe.org (see story, Page 44).

books/talks

diversity and complexity in u.s. southwest archaeology A Southwest Seminars’ Ancient Sites and Ancient Stories lecture with Scott Ortman, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.

Skybox III, by Mokha Laget, Santa Fe Arts Commission Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St.

knights templar and archaeology Santa Fe Archaeological Society’s monthly lecture series continues with Michael Fuller, 7:30 p.m., Courtyard Marriott, 3347 Cerrillos Rd., no charge, 982-2846 or 455-2444. museum of spanish colonial art lecture Understanding Iconography of 18th- and 19thCentury New Mexico Image Makers, by santero Charles M. Carrillo, 2 p.m., 750 Camino Lejo, Museum Hill, $10, 982-2226.

events

nigHtliFe

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

nigHtliFe

(See Page 57 for addresses) cowgirl bbQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. la casa sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Johnny Bones, R & B, 7:30-11 p.m., no cover. tiny’s The Santa Fe Great Big Jazz Band, 7-9 p.m., no cover. vanessie Singer/songwriter Angela Bivins, 6-7 p.m.; Bob Finnie, pop standards piano and vocals, 7 p.m.-close, no cover.

16 Tuesday gallery/museum openings

santa Fe girls’ school 310 W. Zia Rd., 820-3188. Traditional Southwest-style blanket chest hand-carved by 6th-graders, reception 5:30-6:30 p.m., chest raffle tickets $20, through April 19.

books/talks

natalie goldberg The author reads from and signs copies of The True Secret of Writing: Connecting Life With Language; plus, Goldberg and Joan Halifax Roshi in conversation, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see story, Page 20).

close up: entering the picture Georgia O’Keeffe Museum’s Art & Leadership for Adults writing workshop led by local poet Lauren Camp, 6-8 p.m., Museum Education Annex, 123 Grant Ave., no charge, 946-1039. international folk dances Lesson 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, or 983-3168, beginners welcome. (See Page 57 for addresses) cowgirl bbQ Americana/roots-rock band Big Leg Emma, 8 p.m., no cover. el Farol Canyon Road Blues Jam, with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover. la Fiesta lounge at la Fonda Johnny Bones, R & B, 7:30-11 p.m., no cover. tiny’s Mike Clymer of 505 Bands’ acoustic open-mic night, 7:30 p.m., no cover.

17 Wednesday in concert

ian tyson and tom russell Veteran country singer/songwriters, 7:30 p.m., the Lensic, $20-$45, ticketssantafe.org, 988-1234.

books/talks

clyde tingley’s new deal for new mexico The Brainpower & Brownbag monthly lecture series continues with a talk by Albuquerque author Lucinda Sachs, noon-12:45 p.m., Meem Community Room, Fray Angélico Chávez History Library, 120 Washington Ave., no charge, 476-5090. ecological site descriptions of the guadalupe mountains and ridge land resource unit A talk by ecologist Scott Woodall, 6:30 p.m., Santa Fe Chapter of the Native Plant Society of New Mexico’s lecture series, Morgan Hall, New Mexico State Land Office, 310 Old Santa Fe Trail, no charge, 690-5105. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM

reading by Tanaya Winder follows, The Kosmos, 1715 Fifth St. N.W., chatterchamber.org, $15 at the door, discounts available. Medieval Myths and Monsters UNM’s Institute for Medieval Studies department presents its 28th annual lecture series MondayThursday, April 15-18; the seminar includes six lectures with international speakers and a concert, lectures are held in Room 101, Woodward Hall, the concert features the university’s Early Music Ensemble (5:15 p.m. Thursday, April 18, Keller Hall, UNM Center for the Arts), schedule and details available online at unmevents.unm.edu.

los alamos

Blue Rain Gallery shows works by Dallin Maybee, 130-C Lincoln Ave.

Is Culture a Second Nature? Thoughts on Politics, Religion, and the Middle East Free lecture by former St. John’s College president John Agresto, 3:15 p.m., Junior Common Room, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, 984-6000. Modernist Master: Marsden Hartley The New Mexico Museum of Art docent talks series continues with a discussion of the 20th-century American artist, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5072. Opera Unveiled 2013 Author Desirée Mays speaks and signs copies of her 15th book on the Santa Fe Opera’s season, 5:30 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., $5, call the Santa Fe Opera Guild for more information, 629-1410, Ext. 111. The Thrill of the Chase Local author Forrest Fenn discusses his memoir with authors Michael McGarrity and Douglas Preston, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. Wheelwright Friends Book Club discussion The Lakota Way of Strength: Lessons in Resilience From Bow and Arrow, by Joseph M. Marshall, III, 1:30 p.m., Wheelwright Museum of the American Indian library, 704 Camino Lejo, Museum Hill, no charge, 474-3315.

EvENTS

James Beard Celebrity Chef Tour Restaurant Martín hosts a meet-the-chefs reception 6-7 p.m., 526 Galisteo St., $175 includes a chef’s dinner Thursday, April 18, 820-0919, restaurantmartin.com, proceeds benefit the James Beard Foundation.

NIgHTlIFE

(See Page 57 for addresses) ¡Chispa! at El Mesón Flamenco guitarist Chuscales, 7-9 p.m., no cover. Cowgirl BBQ Singer/songwriter Sky Smeed, country-tinged tunes, 8 p.m., no cover. El Farol Salsa Caliente, 9 p.m., no cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. la Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7 p.m., no cover. The Pantry Restaurant Acoustic guitar and vocals with Gary Vigil, 5:30-8 p.m., no cover. Tiny’s Mike Clymer of 505 Bands’ electric jam, 8:30 p.m., no cover. vanessie Bob Finnie, pop standards piano and vocals, 6:30 p.m.-close, no cover. 62

PASATIEMPO I April 12-18, 2013

18 Thursday gallERy/MUSEUM OPENINgS

Center for Contemporary arts — Muñoz Waxman Front gallery 1050 Old Pecos Trail, 982-1338. The Big Hoot, large-scale drawings by Larry Bob Phillips and David Leigh, through May 5. Santa Fe Community College Media arts gallery 6401 Richards Ave., 428-1517. Figure in Space, archival inkjet prints by Deanne Richards, reception 4-6 p.m., through May 10.

IN CONCERT

The Melodians The Jamaican musicians celebrate their 50th jubilee, 8:30 p.m., doors open at 7 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $20 in advance, $25 at the door, holdmyticket.com.

THEaTER/daNCE

D-Generation: An Exaltation of Larks Center for Contemporary Arts and Theater Grottesco’s Eventua series continues with Sandglass Theater’s play about dementia, 7 p.m., Muñoz Waxman Gallery, 1050 Old Pecos Trail, pay-what-you-wish, call 474-8400 or visit theatergrottesco.org for series schedule.

BOOkS/TalkS

The Case of the Recurring Wodaabe Emory University professor Corinne Kratz discusses the nomadic African ethnic group, 6:30 p.m., New Mexico History Museum auditorium, 113 Lincoln Ave., $10, call the School for Advanced Research for details, 954-7203. HaMakom Continuing Education lecture With Stars in Their Eyes: The Classical Jewish Texts Explore Astrology, the series continues with Rabbi Jack Shlachter, 7 p.m., St. Bede’s Episcopal Church, 1601 St. Francis Dr., $10 suggested donation, students and seniors $5, 992-1905.

EvENTS

angels Night Out Kitchen Angel’s 15th annual fundraiser encouraging the public to dine out today at any of the 25 local restaurants contributing 25-percent of their revenue to the nonprofit organization, kitchenangels.org, 471-7780. James Beard Celebrity Chef Tour Restaurant Martín hosts six James Beard semi-finalist chefs; seven-course chef’s dinner and canapes 6:30 p.m., $175, 820-0919, restaurantmartin.com, proceeds benefit the James Beard Foundation.

NIgHTlIFE

(See Page 57 for addresses) ¡Chispa! at El Mesón Jazz pianist John Rangel, 7-9 p.m., no cover. Cowgirl BBQ Americana duo Todd & The Fox, 8 p.m., no cover.

Evangelo’s Guitarist Little Leroy with Mark Clark on drums and Tone Forrest on bass, 9 p.m.-close, call for cover. la Boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la Fiesta lounge at la Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. la Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio with J.Q. Whitcomb on trumpet, Asher Barreras on bass, and Malone on guitar, 6 p.m., Staab House Salon, no cover. Tiny’s Joe West’s Santa Fe Revue, eclectic folk-rock, 8 p.m., no cover. vanessie Bert Dalton Duo, jazz, 6:30 p.m.-close, call for cover.

▶ Elsewhere albuquErquE Museums/art Spaces

Harwood art Center 1114 Seventh St. N.W., 505-242-6367. That Sound Under the Floor Is the Sea, work by Cedra Wood, through April 25. Original home of the Harwood Girls School (1925-1976). Open 10 a.m.-4 p.m. MondayFriday, no charge. Indian Pueblo Cultural Center 240112th St. N.W., 866-855-7902. Challenging the Notion of Mapping, Zuni map-art paintings, through August. Open 9 a.m.-5 p.m. daily; adults $6; NM residents $4; seniors $5.50. Richard levy gallery 514 Central Ave. S.W., 505-766-9888. Color Matter, abstracts by Xuan Chen; new paintings by Charles Fresquez; through May. South Broadway Cultural Center 1025 Broadway Blvd. S.E., 505-848-1320. Mining the ’90s, works by Jane Abrams, Aaron Karp, and Alan Paine Radebaugh, through April 19. UNM art Museum Center for the Arts Building, 505-277-4001. Speak to Me, annual graduate show, through May 4 • In the Wake of Juarez: Drawings of Alice Leora Briggs • Bound Together: Seeking Pleasure In Books, group show • Martin Stupich: Remnants of First World, inkjet prints, through May 25. Open 10 a.m.4 p.m. Tuesday-Saturday; $5 suggested donation.

Events/Performances

New Mexico Philharmonic Glinka, Tchaikovsky, and Rimsky-Korsakov, 6 p.m. Saturday, April 13, Popejoy Hall Center for the Arts, UNM campus, $19.50-$68.50, unmtickets.com. Sunday Chatter The ensemble performs music of Bach and Haydn, 10:30 a.m. Sunday, April 14, poetry

Museums/art Spaces

Mesa Public library art gallery 2400 Central Ave., 662-8250. Underground of Enchantment, traveling group show of 3-D photographs of New Mexico’s Lechuguilla Cave of Carlsbad Caverns National Park, through May 29. Pajarito Environmental Education Center 3540 Orange St., 662-0460. Natural History of Bats: Masters of the Night Sky, talk that includes live bats by biologist Debbie Buecher, 6 p.m. Wednesday, April 17, $5, families $10. Underground of Enchantment, traveling group show of 3-D photographs of New Mexico’s Lechuguilla Cave of Carlsbad Caverns National Park, through May 29. Exhibits of flora and fauna of the Pajarito Plateau; live amphibians, an herbarium, and butterfly and xeric gardens. Open noon-4 p.m. Tuesday-Friday, 10 a.m.1 p.m. Saturday, no charge.

Events/Performances

Santo Niño Festival of the arts Food booths, music, dance performances, and arts & crafts, Friday, April 12: 5-8 p.m. Convento Gallery, 7-8 p.m. Misión Museum; Saturday, April 13: 9 a.m.-4 p.m. Plaza de Española, 2-2:30 p.m. Misión Museum, $5, children $2, contact Northern New Mexico Regional Art Center for details, 505-500-7126, nnmrac.org.

taos Museums/art Spaces

Harwood Museum of art 238 Ledoux St., 575-758-9826. Red Willow: Portraits of a Town • Eah-Ha-Wa (Eva Mirabal)

Talking Heads

Opera Unveiled 2013 Local author Desirée Mays continues her popular 15-year book series on the Santa Fe Opera’s season with a discussion and book signing 5:30 p.m. Wednesday, April 17, at Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd. Admission is $5. Call the Santa Fe Opera Guild for more information, 629-1410, Ext. 111.

and Jonathan Warm Day Coming • Eli Levin: Social Realism and the Harwood Suite; exhibits celebrating Northern New Mexico, through May 5. Open 10 a.m.-5 p.m. Tuesday-Saturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday. Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 11 a.m.-5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge. La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Open 10 a.m.-5 p.m. Monday-Saturday, noon5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Open 10 a.m.-5 p.m. daily. NM residents $5; non-residents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge with ID. Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. Director’s Choice: 14 Years at the Taos Art Museum, works from the collection, through June. Open 10 a.m.-5 p.m. Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.

▶ People who need people Actors/Filmmakers/Playwrights/ Writers

Santa Fe Independent Film Festival Film submissions sought for the Oct.16-20 festival; regular deadline Wednesday, May 1; late deadline July 1; final deadline Aug.1. Visit santafeindependentfilmfestival.com for rules and guidelines. Santa Fe Playhouse 92nd season Accepting play proposals of all genres for the fall 2013-summer 2014 season from individuals who would like to direct; call 988-4262 or email playhouse@santafeplayhouse.org for proposal packets by Wednesday, April 17. Theaterwork auditions Roles for men and women of all ages open for a June production of Miss Jairus, A Mystery in Four Tableaux, a play by Michel de Ghelderode; email mail@theaterwork.org by Saturday, April 20 to schedule an audition and for more information. Tony Hillerman best first mystery novel contest Publishing contract with St. Martin’s Press and $10,000 advance offered to the winner; only authors of unpublished mysteries set in the Southwest may enter; manuscripts must be received or postmarked by June 1; further guidelines and entry forms available online at wordharvest.com.

Volunteers

Birders Lead ongoing birdwatching walks at Leonora Curtin Wetland Preserve, Ortiz Mountains Educational Preserve, and Santa Fe Botanical Garden at Museum Hill; call 471-9103 or email info@santafebotanicalgarden.org for more information. Early College Charter School Two host families needed for two 16-year-old foreign exchange students attending the master’s program during the 2013 academic year; must have placement by May 15 in order to attend; email Carolyn, santafe43@comcast.net, for details; International Cultural Exchange Services information available online at www.icesusa.org.

Gearing up for Earth Week Earth Care’s fifth annual Day of Service in celebration of Earth Day and Global Youth Service Days takes place 9 a.m.-3 p.m. Thursday, April 25; volunteers are needed to assist with set-up, break-down, general logistics, and support; contact Casey Moir, casey@earthcarenm.org, 978-290-2792. Santa Fe Community Farm Help with the upkeep of the garden that distributes fresh produce to The Food Depot, Kitchen Angels, St. Elizabeth Shelter, and other local charities; the hours are 9 a.m.4 p.m. daily, except Wednesdays and Sundays; email sfcommunityfarm@gmail.com or visit santafecommunityfarm.org for details. Santa Fe Women’s Ensemble Always in need of ushers for concerts; email info@sfwe.org or call 954-4922.

▶ Under 21 Flying Cow Gallery Warehouse 21, 1614 Paseo de Peralta, 989-4423. Group show of works by New Mexico School for the Arts students, through Sunday, April14. St. John’s College Community Seminars Read and discuss seminal works; free to 11th and 12th-grade students. Fakhruddin ’Iraqi’s Divine Flashes, 1-3 p.m. Saturday, April 13; George Eliot’s Scenes of a Clerical Life, 6-8 p.m. Wednesdays through April 24; 1160 Camino de Cruz Blanca, call 984-6117 to register. Surviving the Apocalypse Warehouse 21 metal concert including Amy Bass Cakes, From Sacrifice to Survival, and Amongst the Chaos Is Clarity, 6:30 p.m., $5 at the door, 989-4423. Artisan Santa Fe Budding-Artist Fellowship $100 worth of art supplies every month for a year; open to the first 100 applicants ages 13-17; submit three examples of your work with a statement of intent by Wednesday, May 15, contact Ron Whitmore for details, 954-4180, Ext. 111, ron@artisan-santafe.com. Call for young artists and filmmakers Fifth annual Art to Awaken: enter art in any media (performance, music, dance, spoken word) aimed at making a positive impact on the world; 2013 Youth Creating Change Film Fest, presented by Adelante and Earth Care’s Youth Allies: get your message out in 30-second to five-minute digital files of PSAs, short documentaries, or animated films; deadline for both events is Friday, April 26; for details email youthallies@earthcarenm.org. Youth x Youthfest 2013 Bands, singer/songwriters, and DJs sought for a three-day festival showcasing Santa Fe’s young talent Wednesday-Friday, April 24-26, at Warehouse 21. Call Jonathan Salazar for submission instructions, 470-0983; deadline Sunday, April 21.

▶ Pasa Kids Bee Hive Kids Books Storytime with Jesse Wood (ages 3 and under), 11 a.m. Saturday, April 13, 328 Montezuma Ave., no charge, 780-8051, visit beehivekidsbooks.com for April schedule of events. Santa Fe Art Institute graffiti workshops Free and geared to ages 6-19, 11 a.m.-1 p.m. Saturdays; call 424-5050 to register. Summer Camp Fair Brouse camp displays, collect brochures, and register your children for camp, 10 a.m.-4 p.m. Saturday, April 13, La Tienda Shopping Center, 7 Caliente Rd., Eldorado, 603-8811 or 466-1059. ◀

Back in the Seattle again I called the Emerald City home in 1988. Antique Scream It was a swirling vortex in musical time soon to see a glut of superb rock bands swallowed whole by an unstoppable corporate-grunge epidemic. That year, both Mother Love Bone and Mudhoney began flexing serious muscle at local clubs and bars, hedging their bets on a psych-tinged blues-rock style that took stadium glam-metal to task for its cute-butpredictable vapidity. I left Washington State in 1989, the year Nirvana’s Bleach saw its original release on the Sup Pop imprint. Cobain and company deserve props for launching a select portion of the contemporary Seattle music scene into the Billboard-chart stratosphere. But I never understood the appeal of a debut album that Cobain himself said was dumbed down to please the grungecentric leadership at Sub Pop at that time. No, my allegiance remained with the Mother Love Bones of the world — bands that, while they did play nice with Sub Pop, maintained garage-born rawness. Unfortunately, or fortunately, depending on how you see things, many of the Seattle psych-blues-rock bands of yesteryear remained in the shadows of superstardom but trudged onward, influencing a handful of worthy musicians in the process. Take Antique Scream, a road-hardened band placed firmly in the now along the spacetime-rock-n-roll continuum but based stylistically on the merits of Seattle’s less fame-fortunate bands of the ’70s and ’80s. Antique Scream inherited a great deal of that fleeting psych-rock mojo through osmosis, hard work, and a great deal of careful listening. Lead singer/guitarist Chris Rutledge oozes a sweaty countenance that’s one-third Motörhead/Lemmy Kilmister, one-third The Fugs, and 100 percent drunk Elvis, energizing every live performance to the near breaking point. Rutledge’s fuzzed-out guitars and Bill Fees’ tight punk-jazz percussion à la Fear’s Spit Stix meld into a symphony of controlled chaos. And these guys have a good time with their songwriting and titling. “Hoosier Daddy,” “Fromage et Trois,” and the hallucinogenic “Road Map to Nipple Town” aren’t going to win any retroactive political-correctness awards from the defunct Parents Music Resource Center, but they sure do make for some fist-pumping, head-swimming, beer-swilling jams in the mind-atrophying age of Bieber Fever. Catch Antique Scream with DJ Guttermouth at 9 p.m. Wednesday, April 17, at The Underground at Evangelo’s (200 W. San Francisco St., 577-5893). Cover for the 21-andolder show is $5 at the door. Have an ear schmear over at www.antiquescream.bandcamp.com. Rock of all ages At 6:30 p.m. Saturday, April 13, Warehouse 21 (1614 Paseo de Peralta, www.warehouse21.org) hosts Surviving the Apocalypse — part concert, part dance party, part social experiment in subcultural tolerance. Local EDM mainstays Amy Basscakes and James NMTribe hook up with New Mexico metal bands From Sacrifice to Survival, Amongst the Chaos Is Clarity, and others in a spike- and glowstick-flinging cage fight to the death. OK, that last part’s not true. It’s just a friendly gathering to celebrate diversity within the local music community. And it costs five bucks at the door. Twang thang against cancer From 4 to 6 p.m. Saturday, April 13, Little Bird at Loretto, formerly Kiva Fine Art (211 Old Santa Fe Trail, 820-7413), hosts a folk-country fundraising concert for the American Cancer Society’s Making Strides Against Breast Cancer campaign. April Reese, Johny Broomdust, Jose Antonio Ponce, Howard Hall, Lisa Carman, Paula Rhae McDonald, and special guest Ollie O’Shea perform original songs. All you have to do is show up, enjoy the show, and make a donation. All proceeds benefit the American Cancer Society’s prevention, early-detection, and treatmentassistance programs. No donation is too small or too big. — Rob DeWalt rdewalt@sfnewmexican.com www.pasatiempomagazine.com Twitter: @Flashpan @PasaTweet

A weekly column devoted to music, performances, and aural diversions. Tips on upcoming events are welcome.

PASATIEMPOMAGAZINE.COM

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