Pasatiempo, April 19, 2013

The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture

April 19, 2013

Monterey Jazz Festival on tour Christian McBride dee dee Bridgewater aMBrose akinMusire Chris potter lewis nash Benny green

K I M O N O N I N T H A N N U A L

Performing arts

Shakuhachi flute master Marco Lienhard Smokin’ Bachi Taiko The Way of Tea Martial Arts Traditional Dance

Japanese art, ceramics, crafts and kimono sales

M A T S U R I

Sponsors of Japan Aid of Santa Fe Fund for tsunami relief

Enjoy our popular bento box _ lunch . ikebana . go . seimei

Admission $3.00 12 and under FREE

Admission $3.00 12 and under FREE

Come early Posters to be given to the first 100 guests

Japan e s e C u lt u r a l F e s t i va l April 20 Saturday 1 0 a m - 5 p m Santa Fe Community

See complete program at

Convention Center

santafejin@gmail.com

www.santafejin.org

The C.G. Jung Institute of Santa Fe Presents:

Jung In The World

Lecture & Workshop

Sylvia Brinton Perera, M.A.

Jungian analyst practicing in New York City & Vermont

Lecture: Psyche in Transition – Great Peril and Great Opportunity

Friday, April 26th 7-9pm $10 2 CEUs We are living in a world of chaos and suffering in which we and those around us are often struggling in cauldrons of traumatic emotion, “pitched past pitch of grief,” fear, and rage-filled torment. How are we to live with so much chaos and find ways to contain and creatively transform it?

One peril of our current world lies in the addictions we use to alleviate pain and solace our fragile egos.

Too often we find that they maintain our splitting even as they numb or seem to fill us. Where then is the containment we need to harrow our earliest defenses and process the archetypal emotions that rise as we confront inevitable suffering? We are on the quest for new forms of awareness to enable us to move through traumata into relationship with each other, the Self, the earth, and the multiverse. Using clinical and symbolic material, this talk will illustrate processes of transition as they came alive in analytic work.

Workshop: Rites of the Celtic Wellsprings – An Imaginal Pilgrimage

Saturday, April 27th 9:30am-3:30pm $80 6 CEUs In Ireland and Wales many rituals of the ancient cult of sacred waters survived into modern times. They still have relevance for our contemporary need for transformation of the dark stirrings in our personal and collective world. We will discuss how these processes address the issues raised in the lecture regarding how we may quest for awareness to enable us to move through traumata into relationship with each other, the Self, the earth, and the multiverse. Using lecture, discussion, guided imagination, drawing, movement, and personal journal writing, we will each make our own imaginal journey to the wellspring to explore how the nine-fold stages of the healing rites can attune us to our source. For this workshop bring your memories, a notebook for journaling, your lunch to eat together in silence, and a pebble.

Drawing materials will be supplied.

Both events at Center for Spiritual Living, 505 Camino de los Marquez, Santa Fe For details & workshop pre-registration call Jacqueline Zeller Levine, 989-1545 For expanded program details go to www.santafejung.org

Nature's Art and Functionals.

231 washington ave., santa fe 505  984 • 1788

This Week’s Luncheon Special starts today…takeout available ½ Grilled Italian Salami & Prosciutto Sandwich w/ Provolone Cheese, Roasted Red Peppers & Mixed Olive Tapenade Cup of Soup & Salad of Arugula, Watercress & Baby Artichokes

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PASATIEMPO I April 19 - 25, 2013

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AGAIN: Repetition, Obsession and Meditation in the Lannan Collection Again features artworks where repetition, obsession or meditation, are key elements to the artist’s process, sometimes obvious in the resulting artwork, sometimes not.

Whether what compels each is expressed as a life-long obsession with a subject, such as the bird for Jean-Luc Mylayne, or a repetitive action, as seen in prints by Sol LeWitt and Agnes Martin, or a meditative practice that results in an object like Susan York’s hand-polished solid graphite sculptures, the artists in this exhibition repeat themes, motions, motifs and materials again and again, over and over.

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PASATIEMPO I April 19 - 25, 2013

20 APRIL – 16 JUNE 2013 OPENING RECEPTION: SATURDAY 20 APRIL FROM 5 TO 7PM Lannan Gallery 309 Read Street Tel. 505.954.5149 Gallery Hours: Saturdays and Sundays noon to 5pm (weekends only or by appointment)

Renate Aller Stuart Arends Uta Barth Chuck Close Olafur Eliasson Lawrence Fodor

Martha Hughes Cassandra C. Jones Sol LeWitt David Marshall Agnes Martin Pard Morrison

Jean-Luc Mylayne Jorge Pardo Buzz Spector Roger Walker Susan York

Image: Olafur Eliasson, The Lighthouse Series, 1999, Twenty color photographs, 9½ x 14¼ inches each, Collection Lannan Foundation.

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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. April 20 TJ Jones: Growing Vegetables in Containers

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w w w. m a r c - h o w a r d . c o m PASATIEMPOMAGAZINE.COM

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THE SANTA FE NEW MEXICAN

April 19, 2013

www.pasatiempomagazine.com

On the cOver 32 christian mcbride and the monterey Jazz Festival on tour Way back yonder in 1958 — the same year that Iceland and the United Kingdom were engaged in the first Cod War and Pope Pius XII declared St. Clare of Assisi as the patron saint of television — the first Monterey Jazz Festival brought together Dizzy Gillespie, Billie Holiday, Gerry Mulligan, and other top acts on a California stage. For the festival’s 55th anniversary, a special all-star band tours the country, making a stop at the Lensic Performing Arts Center on Thursday, April 25. On the cover is bassist Christian McBride, the sextet’s musical director.

bOOks

mOving images

16 in Other Words Conservatives vs. Earth 18 Foodopoly Seeds of a new system 20 David mitchell Interweaving worlds

46 Pasa Pics 50 Beyond the Hills 52 Upstream Color

mUsic anD PerFOrmance

calenDar

macanudo mojo Cigar-box guitars Once on This Island Storm stories terrell’s tune-Up The return of Mudhoney Pasa tempos CD Reviews Onstage this Week Signum Quartet nuestra música Sangre de Cristo sounds Pasa reviews The Trocks twain ride The Report of My Death sound Waves Record Store Day

22 24 26 28 31 36 38 40 63

56 Pasa Week

anD 13 mixed media 15 star codes 54 restaurant review

art anD PhOtOgraPhy 42 rock and awe Photography by William Clift

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 ■

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, adele Oliveira, robert nott, Jonathan richards, heather roan-robbins, casey sanchez, 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

© 2013 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

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HURRY! LAST WEEK! TH SALE ENDS APRIL 27

Lensic Presents

Trey McIntyre Project May 3 & 4 7:30 pm $20–$45

Discounts for Lensic members

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DANSKO DAZE AT ONYOUR FEETTHIS SATURDAY, 11 A.M.TO 4 P.M. APRIL 20 REGISTERTO WIN A PAIR OF DANSKOS. RECEIVE A FREE GIFT WITH EVERY DANSKO PURCHASE. DANSKO SALES REP JOHN MORAN WILL BE IN STORETO ANSWERYOUR QUESTIONS. DANSKO DAZE AT ON YOUR FEET SATURDAY, 11 A.M. TO 4 P.M. APRIL 20 REGISTERTO WIN A PAIR OF DANSKOS. RECEIVE A FREE GIFT WITH EVERY DANSKO PURCHASE. DANSKO SALES REP JOHN MORAN WILL BE IN STORETO ANSWERYOUR QUESTIONS. DANSKO DAZE AT ON YOUR FEET SATURDAY, 11 A.M. TO 4 P.M. APRIL 20 REGISTERTO WIN A PAIR OF DANSKOS. RECEIVE A FREE GIFT WITH EVERY DANSKO PURCHASE. DANSKO SALES REP JOHN MORAN WILL BE IN STORETO ANSWERYOUR QUESTIONS. DANSKO DAZE AT ON YOUR FEET SATURDAY, 11 A.M. TO 4 P.M. APRIL 20 REGISTER TO WIN A PAIR OF DANSKOS. RECEIVE A FREE GIFT WITH EVERY DANSKO PURCHASE. DANSKO SALES REP JOHN MORAN WILL BE IN STORETO ANSWERYOUR QUESTIONS. DANSKO DAZE AT ON YOUR FEET SATURDAY, 11 A.M. TO 4 P.M. APRIL 20 REGISTERTO WIN A PAIR OF DANSKOS. RECEIVE A FREE GIFT WITH EVERY DANSKO PURCHASE. DANSKO SALES REP JOHN MORAN WILL BE IN STORETO ANSWERYOUR QUESTIONS. DANSKO DAZE AT ON YOUR FEET SATURDAY, 11 A.M. TO 4 P.M. APRIL 20 REGISTERTO WIN A PAIR OF DANSKOS. RECEIVE A FREE GIFT WITH EVERY DANSKO PURCHASE. DANSKO SALES REP JOHN MORAN WILL BE IN STORETO ANSWERYOUR QUESTIONS. DANSKO DAZE AT ON YOUR FEET SATURDAY, 11 A.M. TO 4 P.M. APRIL 20 REGISTER TO WIN A PAIR OF DANSKOS. RECEIVE A FREE GIFT WITH EVERY DANSKO PURCHASE. DANSKO SALES REP JOHN MORAN WILL BE IN STORETO ANSWERYOUR QUESTIONS. DANSKO DAZE AT ON YOUR FEET SATURDAY, 11 A.M. TO 4 P.M. THIS SATURDAY APRIL 20 REGISTER TO WIN A PAIR OF DANSKOS. RECEIVE A FREE 11 A.M.TO 4 P.M. GIFT WITH EVERY DANSKO PURCHASE. DANSKO SALES REP JOHN MORAN WILL BE IN STORETO ANSWERYOUR QUESTIONS. DANSKO DAZE AT ON YOUR FEET SATURDAY, 11 A.M. TO 4 P.M. APRIL 20 REGISTERTO WIN A PAIR OF DANSKOS. RECEIVE A FREE GIFT WITH EVERY DANSKO PURCHASE. DANSKO SALES REP JOHN MORAN WILL BE IN STORETO ANSWERYOUR QUESTIONS. DANSKO DAZE AT ON YOUR FEET SATURDAY, 11 A.M. TO 4 P.M. APRIL 20 REGISTER TO WIN A PAIR OF DANSKOS. RECEIVE A FREE GIFT WITH EVERY DANSKO PURCHASE. DANSKO SALES REP JOHN MORAN WILL BE IN STORETO ANSWERYOUR QUESTIONS. ONYOUR FEET • SANBUSCO MARKET CENTER • INFO LINE 983-3900

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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

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

¡Cantamos!

Presents its yearly elementary music festival Photo: Kate Russell

Featuring

Saturday, April 20, 2:00 p.m.

Kearny Elementary 901 Avenida de las Campanas Guest speaker SFPS Superintendent Joel Boyd.

Students will delight audiences with song, dance, instruments, creative movement, and all-around musical celebration.

200 Students, Grades K-6, representing the following schools:

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

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PASATIEMPO I April 19 - 25, 2013

Acequia Madre Carlos Gilbert EJ Martinez Kearny

Cesar Chavez Agua Fria Amy Biehl

Sweeney Turquoise Trail Nava Gonzales Event is free, donations are welcome

Call 505-310-2411 for more information.

SpecialThanks to McGee Memorial Chapel, SFPS Cabinet, SFPS Board of Education, and SFPS Music Advisory Council

Kick UP

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Tickets: ticketssantafe.org or, 505.988.1234 Information: 505.820.3188 A fundraiser for the Santa Fe Girls’ School

1 1 0 D O N G A S PA R , S A N TA F E

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

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Santa Fe’s most popular dance band!

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to the sounds of SOULSTICE

Santa Fe Girls’ School is a 501 © 3 tax exempt 85-0450769

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      q  

NDI NEW MEXICO ANNUAL GALA

For the discovery of innate wisdom & compassion

Daily Meditation Sessions Wednesday Night Dharma Talks Weekly Programs and Retreats     

Saturday, May 4, 2013

   -   

:

Sky Above, Great Wind: Practicing in the Wild and Cultivated World

with Roshi Joan Halifax, PhD and Wendy Johnson

Freedom and its Myriad Joys with Roshi Joan Halifax, PhD and Sharon Salzberg s a n ta f e , n e w m e x i c o 505-986-8518 w w w. u paya . o r g u paya @ u paya . o r g

Theater Grottesco and The Center for Contemporary Arts present

EVENTUA THIS WEEKEND ONLY

SANDGLASS THEATER

D–generation: an exaltation of larks 7pm / Sunday

•

4pm

a play with puppets, about dementia, joy and communication

TICKETS ON SALE NOW FOR :

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:

505.474.8400

or visit www.theatergrottesco.org Ticket Prices: $10-$25.

Pay-What-You-Wish-Thursdays

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.

10

PASATIEMPO I April 19 - 25, 2013

Pu rchase ti cke ts o n li ne w w w.ndinmg ala s .com 505 .983 .76 46 E x t. 116

10%-15% *Best discount applies to multiple item purchase.

a series of cutting edge performances

•

followed by dinner & dancing in the gala tent the dance barns • 1140 alto Street • Santa fe, nM

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    - 

Friday & Saturday

5:30pm Champagne reception & Performance by 500 of Santa Fe’s Public School Children

April 25, 2013

Unforgettable Special Events Join us for upcoming special events that are perfect for your next night on the town. Don’t miss our next Meet the Artist Event, that features talented sculptor Gino Miles, with an unforgettable reception and dinner.

Meet the Artist Event Featuring Gino Miles at The Gallery at Eldorado April 25, 2013 6:00 pm

924 Paseo De Peralta, Santa Fe, NM 87501 | P: 505-988-5528 104 W. San Francisco St., Santa Fe, NM 87501 | P: 505-988-3574 90 Cities of Gold Rd., Santa Fe, NM 87506 | P: 505-455-2731

We’ve partnered with Beals and Abbate Gallery to celebrate the work of Gino Miles with a reception and four-course dinner paired with wines from Black Mesa Winery.

Please call 505.995.4502 to make reservations.

Last Friday in the Gallery Coro de Cámara presents

the

featuring Agnus Dei by Samuel Barber & Introducing Andrew Alegria - artistic director Kelvin McNeal - accompanist

Friday, April 19 - 7:00pm - Los Alamos Trinity on the Hill, Kelly Hall - 3900 Trinity Dr

Sunday, April 21 - 4:00pm - Santa Fe

The Church of the Holy Faith - 311 East Palace Ave.

Tickets

$20 - general admission $10 - seniors children and students FREE

April 26, 2013 5:00pm - 9:00 pm Join us in The Gallery for our newest music series "Last Friday in the Gallery."

L Listen to Santa Fe's favorite music while surrounded by art from some of Santa Fe's talented artists on the last Friday of each month.

This month we will kick of the series with jazz music by the Bert Dalton Trio. Enjoy drinks at the bar and food service by AGAVE Lounge.

Cinco de Mayo Farm to Restaurant Benefit Dinner at the Old House May 5, 2013 6:30 pm

Join us for a Farm to Restaurant feast to welcome spring spring.

Chef Tony Smith will prepare a fresh, locally-derived dinner to benefit Farm to Table’s award-winning Farm to Restaurant program. Dinner selections will be paired perfectly with wine from Vivác Winery.

Please call 505.310.7405 to make reservations.

Located at Eldorado Hotel & Spa 309 W. San Francisco Street EldoradoHotel.com PASATIEMPOMAGAZINE.COM

11

S

TCHAIKOVSKY Polonaise from Eugene Onegin

DVOŘÁK Symphony No. 7

anta fe

the

MOZART Concerto for Two Pianos

SUNDAY

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

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.

ORIOL SANS Guest Conductor

Call

983-1414 santafesymphony.org SPONSORED IN PART BY

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.

Mayor David Coss proclaims April 22, 2013 the Rock Paper Scissor SalonSpa Clean Water Day, to commemorate the

Cut-A-Thon for Clean Water Day

$25 Haircuts

Two Shoe Parties at

for Earth Day!*

Mon., April 22 • Noon-6pm *100% of proceeds go to clean water initiatives of Wild Earth Guardians

On Your Feet

• Help set the Guinness World Record Cut-A-Thon to raise $5 million

Fri., April 19th • Sat., April 20th 11 am – 4 pm Both Days Representatives from companies in store Gift with purchase

• Have your photo taken with Miss New Mexico and Miss Teen New Mexico at the salon.

CELEBRATION in honor of

RockPaperScissorSalonSpa.com 955-8500

Joanne Buchanan’s & Mira Lopez’s 15 YEARS at Teca Tu

983-3900

Register to win a Beach cruiser Bike!

FREE PAR KING

Sho Locapl

tecatu.com • 982-9374

Sat., April 20th • 12-5 PM • 15% storewide discount on everything except food • Treats for 2 and 4 legged !

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

12

PASATIEMPO I April 19 - 25, 2013

MIXED MEDIA

“The Mortgage Experts” Personalized Face-to-Face Service Professional Mortgage Planning Conventional, Jumbo, FHA, VA Call for a free 30-minute Mortgage Consultation

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502 W. C o r d o v a R d , S uite B • S a nta Fe • 4 2 8 -0 3 3 1

Silk kimono from the early 1900s; detail of silk uchikake kimono with embroidery

salad.days 326 S. Guadalupe • 988-7008 • www.ziadiner.com 8p

m

JAPANESE TAPAS & SUSHI

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sin

4

$ 99

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ev

er

sushi

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2 Locations

Turning Japanese The Santa Fe Japanese Intercultural Network ( JIN) presents its annual matsuri, a Japanese festival of art and culture, on Saturday, April 20. The festival benefits the Japan Aid of Santa Fe recovery relief fund and is an opportunity to immerse yourself and your family in the traditions and culture of Japan, all the while knowing that proceeds go to aid areas devastated by the 2011 earthquake and tsunami.

The theme for this year’s festival is the kimono, the T-shaped garment with a history stretching back more than a thousand years. The matsuri features a vintage kimono fashion show and exhibit. The fashion show includes historic background on the modeled garments provided by Janine Thormann, founder of Vintage Kimono (www.vintagekimono.com). Visitors also have opportunities to get their pictures taken wearing kimonos.

Included in the festivities are drumming performances by Smokin’ Bachi Taiko, folk and classical dance performances, aikido and other Japanese martial-arts demonstrations, Zen archery, and activities for children. Bento boxes — Japanese boxed lunches — and other foods of Japan are available for purchase, as are Japanese arts and crafts. The Chado Urasenke Tankokai New Mexico Association performs a tea ceremony in the Urasenke tradition.

The program begins at 10 a.m. Ikuhiko Ono, Consulate-General of Japan at Denver, and Davis Begay, Honorary Consulate-General of Japan at Albuquerque, are scheduled to deliver greetings at 11 a.m., following the tea ceremony. Tickets are $3 and can be purchased at the door. There is no charge for children 12 and under. The first 100 guests receive a free poster. The matsuri takes place at the Santa Fe Convention Center (201 W. Marcy St., 955-6200). For a detailed listing of events, visit www.santafejin.org/Matsuri/Matsuri2013.aspx.

— Michael Abatemarco

Late Night Special

to

igh

Downtown next to Lensic on Burro Alley

Across from Regal Cinema 14

992-0304

438-6222

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SHIPROCK and MONT ST. MICHEL Photographs by William Cli1

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PASATIEMPO I April 19 - 25, 2013

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women’s voices II THE CHOICES WE MAKE A THEATRICAL COLLABORATION Featuring original work from young women at Santa Fe University of Art and Design, New Mexico School of the Arts, and seasoned local Playwrights

This fierce week can test our hearts and trouble our minds. The mood is laced with machismo, weather, and politics as the sun conjuncts Mars.

Mars loans us extra bravery, but we have to add wisdom and decide how to react. Notice a big shift in the planetary lineup from fire to earth; the sun and Mars head into Taurus and slow us down but add to our determination.

Taurus likes to sit still and smell the roses, but once it gets going, not much stops the progress. This shift into Venus-ruled Taurus helps ground us, but that does not mean that everybody is calm, cool, and collected — just that they mean business.

With Mercury and Venus still in brash, Mars-ruled Aries, we can take our fresh ideas and give them earthy substance. This pattern is great for developing our idea; but proceed with caution, as there’s still a lot of personal and political fuel around. Be cautious, not suspicious; it’s all too easy to react with extra adrenaline. Be kind to the nervous system — judgment can go out the window when we feel overexposed.

As the week progresses, people may be less hot under the collar but more determined. Our judgment may be tweaked by an unsettling opposition from Uranus and a square to Pluto. This can put a crimp in our travel plans or work with technology. A tempestuous Scorpio lunar eclipse on Thursday may crack open our hearts or expose the roots of a problem.

May we step toward healing.

Friday, April 19: A new steadiness creeps in as the sun and Mars enter Taurus under a melodramatic Leo moon. We are filled with strength, spark, and bravado when we’re engaged and lassitude and worry if we’re not as the sun conjuncts Mars. Finish the work; it helps keep us level. Feed the heart afterward.

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Monday, April 22: If it’s hard to love or be inspired as Venus opposes Saturn, lean on the habits and traditions of care. Do familiar routines, be diplomatic, and practice craft, and the flow will return. We’ll all feel younger tomorrow.

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Saturday, April 20: News may surprise or shock us. We’re responsive and open to change with a high-strung edge and a desire to fight for a good cause as Mars semisquares Jupiter. It helps to get your hands dirty in the garden. The critical mind is sharpened as the moon enters Virgo later; don’t dump blame just to avoid ambiguity. Find something (not someone) worthy of critique tonight.

Sunday, April 21: Check facts, play it cool, and rein in the mental treadmills as Mercury squares Pluto under a Virgo moon. Words can heal or hurt — it’s our choice. Just because we’re paranoid doesn’t mean it’s not true; get real information and stay balanced and clear-sighted. It’s a good day to catch up with ourselves and tend to health concerns.

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Tuesday, April 23: Make aesthetic decisions, tend to personal and professional relationships, and nurture the filaments of connection as the moon enters Libra. Work around technical glitches midday. There are good public relations and a longing for freedom tonight as Mercury sextiles Jupiter.

Wednesday, April 24: Emotions overflow as Venus trines Pluto. If feeling overwhelmed, get practical: tune in to Taurus’ stability and try again. Tonight, idealism is waiting to be tapped into as the sun sextiles Neptune.

Thursday, April 25: Deep emotions roil at the bottom of our well — it’s easy to brood over past wrongs, but that won’t help matters. Some surgery is necessary — pruning of expenses and efforts. It’s a chance to refocus under this lunar eclipse in broody, volcanic Scorpio. ◀ www.roanrobbins.com

PASATIEMPOMAGAZINE.COM

15

In Other wOrds

book reviews

Open for Business: Conservatives’ Opposition to Environmental Regulation by Judith A. Layzer, MIT Press, 499 pages

16

PASATIEMPO I April 19 -25, 2013

SubtextS

Wes Naman

On the first day of 1970, a year that many people now see as nearly miraculous, President Richard Nixon signed the National Environmental Policy Act, institutionalizing a nationwide decision to, among other things, “promote efforts which will prevent or eliminate damage to the environment and biosphere and stimulate the health and welfare of man.” The first Earth Day was celebrated on April 22, 1970; this date is widely regarded as the day the environmental movement was born. In July of 1970 the Environmental Protection Agency was established, giving the natural world and its web of life an official guardian with legal teeth at the federal level. Some might say that the truest words Nixon ever spoke were his remarks upon signing the Clean Air Amendment on the last day of the year.

“I think that 1970 will be known as the year of the beginning, in which we really began to move on the problems of clean air and clean water and open spaces for the future generations of America.”

Three years later, Nixon signed into law another of these fundamental pillars of environmental protection, the Endangered Species Act, passed unanimously by the Senate and approved by a 355-4 vote in the House. But by then, as Judith A. Layzer relates in Open for Business: Conservatives’ Opposition to Environmental Regulation, the environmental thrust had already lost its initial impetus, as countervailing interests scrambled to contain what seemed to be an unpredictable and costly new threat. Worse, it was an idealistic, non-market-driven, potentially redistributive scheme that was suddenly competing not just for a piece of the pie but also for a share of political power.

By the end of the first decade of an ascendant environmentalism and precisely because of regulatory gains and a broad swath of new programs, conservatives were fighting back. Helped by the stagnant and inflationary economy of the last half of the Jimmy Carter presidency, Ronald Reagan dismantled and undercut the environmental regime.

He ordered the removal of the 32 solar panels installed under Carter for heating water and cheerfully questioned the motives of the rampant ecologists. “If they had their way,” He quipped, “you and I would have to live in rabbit holes and bird nests.”

In a dispassionate, wonky analysis as a political-science professor testing an analytical structure, Layzer takes a long, deliberate look at the environmental aspect of conservatism, which she finds to be seldom examined by either of the two camps. She draws heavily from the front lines of the ongoing debate, campaign speeches, party platforms, legislative debates, testimony, committee reports, media coverage, conservative commentary and veto messages, and “scores of in-depth, semi-structured interviews with conservative activists, environmentalists, and political officials.”

She delivers a measure-by-countermeasure account of an enduring game of political tug of war. She focuses on the Clean Air and Endangered Species acts, the two main regulatory pillars whose responsibilities, budgets, loopholes, and mechanisms have been at the center of an ongoing battle of partisan wills. Later, as climate change becomes an increasingly salient issue, she adds that loaded subject to the narrative.

Eight years of conservative resistance in the White House under Reagan, she notes, “stymied efforts to update the Clean Air Act and circumscribed the Environmental Protection Agency’s ability to enact restrictive regulations under the existing laws.” Meanwhile, budding concerns about the recently identified risks of global warming were discouraged, and Reagan’s Department of the Interior eased restrictions for natural-resource development on federal lands while turning over much of the administration of the Endangered Species Act to the states, where the influence of natural-resource interests is decisive.

The author has two basic questions to answer: How did the conservative movement disarm the insurgents and recapture the lead on environmental issues? And how has the environmental movement withstood its setbacks and losses to remain a vital political presence?

Citing a number of examples, she answers the first question in terms of how hard it is to change environmental policy head-on. Instead, the movement was gradually worn down, stretched out, and undercut. These maneuvers take place across the public and private spheres, filled with many different personalities, motives, and procedural hazards. There are ideological conflicts within the two sides, competing jurisdictions to finesse, and many techniques to kill, foil, delay, or deflate. Ideal opportunities for overturning established legislation are rare. When one side finds itself slipping, it can avail itself of the disadvantage to rally a stronger response at the next level of the political, administrative, or legal process. “Because of feedback effects, policies that confer substantial and long-lived benefits on large groups of beneficiaries are likely to be particularly resistant to a direct challenge,” Layzer writes. Elsewhere she describes the paradox of an “active stalemate” more explicitly, as “the interplay between existing institutions, which both structure and foil efforts at policy change” and the “efforts to modify policy without directly revoking or reforming it.”

If President Barack Obama’s administration, under persistent economic pressures, disappoints the environmentalists and approves the Keystone XL pipeline project to transport super-dirty energy in the form of shale oil across the northern tier of the United States, we can infer the active presence of the other large group of beneficiaries. Similarly, when New Mexico Gov. Susana Martinez followed up on her efforts to relax oil drilling standards by vetoing solar panel arrays on the State Capitol, as she did earlier this month, the evidence suggests that the environmental movement is just about where Layzer has shown the plot lines of the 40-year-old battle to cross.

— Roger Snodgrass

Signs of these uncertain times Poetry and literature are rife with signs and symbols that point to themes, metaphors, and Lauren Camp ideas that offer deeper insight into our fears and preoccupations. Writers Hakim Bellamy, Lauren Camp, Veronica Golos, and Tom Ireland explore Veronica Golos the inherent challenges and possibilities of the mysterious and even mystical realm of symbolism in “The Scent of Uncertainty: Four Writers Hakim Bellamy on Signs, Symbols, and Premonitions,” at 3 p.m. on Sunday, April 21, at the Unitarian Universalist Congregation (107 West Barcelona Road, 982-9674).

The event is “part poetry, Tom Ireland part performance, and part creative nonfiction.” Camp, a blogger, author, writing teacher, and host of Audio Saucepan on KSFR-FM, organized the event.

“I am an analytical person, intent on deciphering and exploring possibilities, but I am also curious about ethics and dark corners,” Camp told Pasatiempo. “What leads to what?

Where does one thing come from, and how?

Signs, symbols, and premonitions add color to creative writing and give us a chance to consider — and maybe understand — the why of something. I selected the theme because it offered broad interpretations.”

Camp reads poems on suicide, rain, cancer, education, and dreams. Ireland, whose most recent book is The Man Who Gave His Wife Away, reads excerpts from an essay about learning to ignore the threat of nuclear war. Golos is the author of Vocabulary of Silence, for which she received a 2011 New Mexico Book Award.

She is co-editor of The Taos Journal of Poetry & Art and acquisitions editor for 3: A Taos Press. Bellamy is Albuquerque’s inaugural poet laureate. He is a musician, actor, playwright, community organizer, and veteran of national poetry-slam competitions. The event is part of the Unitarian Universalist Congregation’s Drama on Barcelona series. Admission is free, but donations are encouraged.

— Jennifer Levin

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Marijuanamerica: One Man’s Quest to Understand America’s Dysfunctional Love Affair With Weed by Alfred Ryan Nerz, Abrams Image, 272 pages There are two schools of marijuana literature: pro (Marijuana Gateway to Health) and con (Marijuana: Brain Damage. Birth Defects. Addiction.). Alfred Ryan Nerz seems of both schools — but definitely leaning toward the first — in his studies-and-statistics-framed-in-a-memoir account of what we know and don’t about America’s favorite cash crop.

Nerz is a conflicted marijuana champion. He spends a large part of the book consuming it.

The facts he presents lean toward the pro side: marijuana use isn’t as unhealthy as copious alcohol consumption; studies show that you definitely operate a motor vehicle better high than drunk. But Nerz’s own doubts, linked to his habitual consumption, seem to weigh against the studies. And legalization? He recognizes that Prohibition didn’t stem the use of alcohol in the United States; nor has U.S. society been able to end alcohol abuse since Prohibition’s repeal.

“Which is why, when I think about the future of marijuana in this country, and in my own life, it is with a devil on one shoulder, and an angel on the other,” he writes.

Nerz takes on the role of gonzo journalist, getting involved with his subject by enrolling in Oaksterdam University, an Oakland-based, nonaccredited cannabis-industry college. He visits Irvin Rosenfeld, who suffers from a painful congenital bone and hormone disorder. Rosenfeld is one of four people supplied with marijuana by the federal government, which grows it on a well-protected farm in Mississippi. Nerz tours a factory-sized grow operation in California that produces high-grade medicine for those qualifying under California’s medical marijuana law. He goes to Venice Beach to see how easy it is to qualify (answer: really easy). In his most audacious gonzo act, he transports a trunk full of illegal marijuana cross-country in a string of rental cars. He uses these episodes to introduce various subjects: the business and history of marijuana culture, the medical pros and cons of the herb, and the paranoia it imparts — not all of it due to its illegality.

Nerz examines a lot of conflicting information. Marijuana may be bad for short-term memory but probably not for long-term. Much of the conflict has to do with who conducts the studies. As he points out, most research is conducted by groups with agendas, one way or the other. Much of it isn’t done in the United States but overseas. And the variables, namely the type and quality of the weed, are hard to account for.

Other than statistically, Nerz seems to skirt the social issues. He notes the racism that motivated the first U.S. marijuana laws of the 1930s but mostly ignores the role of marijuana arrests in the insidious arrest numbers suffered by 21st-century African American males. Legalization would go a long way toward correcting what civil rights lawyer and legal scholar Michelle Alexander calls “the New Jim Crow” — the damage created by the incarceration of millions of people of color. But Nerz seems to argue against legalization when he wonders what little kids would think if marijuana were treated just like beer.

This book — a great 4/20 gift — might not sit well with stoners because of Nerz’s honest examination of his own use. And it certainly won’t go over with the pro-prohibition crowd. Why read it at all? Because of Nerz’s immersion into the Northern California growing scene and his relationship with a character known as Buddha Cheese and his post-hippie set of employees and hangers-on. These wacky accounts rival T.C. Boyle’s fine novel Budding Prospects in showing the highly misguided paranoia that can be cured — or accentuated — by consumption of the marijuana plant’s sticky blossoms.

— Bill Kohlhaase

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17

hen Wenonah Hauter was 11 years old, her father purchased a farm in Virginia’s lush Bull Run Mountains. Today, Hauter’s husband runs the family farm as a community-supported agriculture project, and Hauter acts as the executive director of Food & Water Watch, a nonprofit organization that advocates for policies promoting a safe, sound food system and access to clean and affordable drinking water.

Being in the thick of the ever-evolving national food fight has been an eye-opening experience for Hauter, who has come to see political action as both a valuable ally and a longtime foe of those in favor of healthier and more transparent food production and distribution systems in the U.S. In her new book, Foodopoly: The Battle Over the Future of Food and Farming in America (published by The New Press), Hauter further lifts the veil on the insidious corporate control of America’s agriculture and livestock industries, and examines the policymakers and lobbyists responsible for putting the stranglehold on American small- and medium-scale farmers. By demystifying the language of modern ag policy — which is essentially controlled by Monsanto, Cargill, Tyson, Kraft, ConAgra, and a handful of other companies, including some that boast “organic” and “healthy” brands — Foodopoly emphasizes the need for immediate action that goes far beyond the personal choices we make at the grocery store or farmers market.

Hauter spoke to Pasatiempo in advance of her appearance at Collected Works Bookstore on Tuesday, April 23.

Wenonah Hauter

SEEDS OF A

M E T S Y NEW S ply with

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ER T U A H AH N O N E W Rob DeWalt I The New Mexican

18

PASATIEMPO I April 19 -25, 2013

Pasatiempo: How did you get from the family farm to where you are now?

Wenonah Hauter: I grew up in the ’60s and got politicized pretty early.

Maybe it was growing up during those times. I went to a segregated school in Virginia and got involved in my high school on issues related to racial justice. That experience really marked me. I was looking to get out of Virginia pretty quickly, though. We had a hardscrabble farm, and my parents were very protective and very religious. I went to college in Virginia and became even more politicized. In 1981, after the Reagan administration came into office, I decided that ... I wanted to be involved more directly in politics.

I was already active in the anti-nuke movement in the late ’70s and went on to work on energy and environmental issues. I think as I got deeper into environmental work in the ’80s and saw all of the deregulation going on, and then got a job with Ralph Nader’s Public Citizen group [Food & Water Watch spun off from Public Citizen about eight years ago] and started looking at the intersection of environmental, energy, and food issues, I was sold on the need for massive political reform within the food system. It became apparent to me that working just in Washington, D.C. — like in the old days when Nader could just walk into the office of a member of Congress and get something done — well, those days have been over for a very long time.

Pasa: How does the average Joe or Josephine effect change within the food system now? Asking people to simply buy organic local carrots seems like a stretch.

Hauter: The more I worked on food issues, the more I realized that we have to look at the structural issues that led to where we are now, with just a few people in business and government — and many times both at the same time — making all the decisions. We’re not going to be able to shop our way out of things given the current food system.

Pasa: The dismantling of a small- and medium-farm-based food system in favor of big agriculture and livestock production in the U.S. began just before World War II. How much of the blame for a toxic food system can be cast on sheer industrial “progress?”

Hauter: Certainly the ideas that technology should replace labor and that the heavy use of fertilizers was good for the food system began during World War II, but we didn’t really begin to wholesale dismantle the policies that allowed farmers to at the very least recoup the cost of production until the ’50s. Every decade since then we’ve done more to make it almost impossible for smaller farmers to make a living. That position isn’t a machine’s fault.

That’s our doing.

Pasa: Many people are quick to jump on the farmer for taking subsidies.

Is that tendency — to blame the old “corporate welfare” mind-set — a misguided one?

Hauter: The dysfunctional farm-subsidy program is really just a symptom of a broken food system. It’s not the cause. You look at a mid-size grain farmer, or any mid-size commodity farmer, and the average amount of income from farming is about $19.2 thousand a year. One-half of that is from a government payment. There’s something wrong with that picture. If we penalize farmers for policies that were lobbied for by high-volume grain traders and people in the meat industry, then a sustainable food system will never be an option. Subsidies don’t work as they are now, for sure. But neither does taking the subsidies away and telling a small farmer, OK, go plant tomatoes now and sell them at the farmers market. Good luck keeping up with WalMart. Multinationals like food processors and the retail grocery industry benefit from the overproduction of crops and the ability to access them cheaply, yet the farmer gets blamed for it. We need to have an alliance with farmers if we’re going to transition into a more sustainable food system.

Pasa: There is a sad reality in New Mexico, where food deserts — poor communities with little or no access to fresh and affordable foods — are abundant. In that regard, there’s no way those communities can shop their way out of a toxic food system, much less vote their way out of it, without serious help.

Hauter: Let me use Wal-Mart as a good example here. A lot of people tout WalMart’s moving into poor and inner-city areas as a way to address food deserts.

Well, maybe on a very short-term basis, but when you have only a handful of other food suppliers, and in some markets Wal-Mart controls 70 to 90 percent of the market, what happens when there’s no competition? Well, Wal-Mart’s low prices aren’t going to stay low for long. It’s the worst-case scenario of economic displacement: from the tools that you need to fix the tractor for your small farm to all those things you used to buy at the mom and pop, that goes away, and all of that money gets sucked out of the community. Agriculture, in the past, always had a multiplier effect. Industry grew up around it, and all of the money, if the industry was locally owned and operated, went back into the community. And now what we see in rural areas is that they’re stripped of the young people and the economic benefits of local sustainable industry.

Pasa: In the wake of our latest legislative session, there’s a lot of discussion in New Mexico lately about hydraulic fracturing and its impact on food and water supplies.

Hauter: Because agricultural-interest farmers haven’t been able to make a living and are desperate, especially in drought-plagued areas like the Southwest, they may risk leasing their arable acreage to the fracking industry where the law allows. In the Four Corners region it could give the industry the ability to not really disclose what the fracking process involves. This is especially troubling in desert areas. It’s outrageous because of the huge amount of water needed, and in some cases it’s water that will never be recovered. We know that fracking does have a negative effect on crop irrigation. And animals are dying when exposed to fracking chemicals.

Pasa: So despite the many nightmares — real and potential — outlined in Foodopoly, what’s the positive takeaway?

Hauter: This is an opportunity to start building political power by trying to hold local politicians accountable for what their constituents actually want.

And really start taking it to the state level. We know that every 10 years state redistricting takes place, and the reason we have so much gridlock and dysfunction in Congress is because there’s often so much gerrymandering.

And we see very extreme types of ideologies being reflected in members of congress. It’s impossible to do the business of government because people are being elected who don’t believe in doing the government’s business.

I think we need, in the next eight years, before the next redistricting, to do a much better job of making sure that districts better reflect what a majority of each state cares about, instead of what elected politicians are manipulated by stakeholders to care about. ◀

details

TOP TEN FAST FOOD COMPANIES

Combine all 10 and control 47% of all fast food sales

2010 Sales in USD Billions U.S. Locations $32.40..................................14,027 $17.70...................................19,195

McDonald’s YUM! Brands

(Pizza Hut, Taco Bell, KFC, and Long John Silver’s, which was sold in 2011)

Wendy’s

$ 11.35..................................10,225

Subway Burger King Starbucks Dunkin/Donuts Sonic Chick-fil-A Domino’s

$ 10.60................................. 23,850 $ 8.60.................................... 7,253 $ 7.56...................................11,131 $ 6.00.................................... 6,772 $ 3.62....................................3,572 $ 3.58.....................................1,537 $ 3.31.................................... 4,929

(including Arby’s, sold in 2011)

Source: QSR Magazine Top 50, USDA ERS, company reports

PERCENTAGE OF HOGS RAISED ON FACTORY FARMS (farms with more than 2,000 animals)

1992 30%

2004 80%

2007 95%

For Every KFC 12-Piece Chicken Bucket ($19.09 in Manhattan)

25¢ to grower

$3-5 to JBS (meatpacking conglomerate)

Remainder to KFC

TOP FOUR U.S. FOOD RETAILERS

Combined, they control 50% of all grocery sales

Stores Net Sales in USD Billions 1........................Walmart...................................4,750...........................$264.2 2........................Kroger.......................................3,624...........................$ 90.4 3........................Costco Wholesale..................592...........................$ 88.9 4........................Target........................................1,767...........................$ 70.0 Source: Supermarket News: Top 75 Retailers & Wholesalers 2012 & U.S. Census Charts based on information in “Foodopoly”

A lot of people toutWal-Mart’s moving into poor and inner-city areas as a way to address food deserts.Well, maybe on a very short-term basis, but when you have only a handful of other food suppliers, and in some marketsWal-Mart controls 70 to 90 percent of the market, what happens when there’s no competition?Well,Wal-Mart’s low prices aren’t going to stay low for long.

—Wenonah Hauter

▼ Wenonah Hauter discusses Foodopoly: The Battle for the Future of Food and Farming in America ▼ 6 p.m. Tuesday, April 23 ▼ Collected Works Bookstore, 202 Galisteo St., 988-4226

PASATIEMPOMAGAZINE.COM

19

N O V E L I S T

D A V I D

M I T C H E L L

INTERWEAVING WORLDS David Mitchell photo Murdo Macleod

Adele Oliveira I The New Mexican avid Mitchell is the kind of writer one reads to get away from an annoying airplane seatmate, a bad day at the office, the realms of the mundane and the tedious. The worlds in his novels (from 18th-century Japan to an Orwellian fast-food restaurant of the future) are so detailed and complete that the escape is absolute. Mitchell is the author of five books, including Cloud Atlas and The Thousand Autumns of Jacob de Zoet, both of which were considered for the Man Booker Prize. His gift is a fluid command of language combined with a supernatural talent for linking disparate spheres and voices. Mitchell spoke with Pasatiempo from his home in Ireland about his upcoming conversation with novelist Tom Barbash in Santa Fe, how to make six novellas into a single story, and the joys of corkboards.

Pasatiempo: When did you first know you were a writer?

David Mitchell: There are three way stations that led me to that point. When I was a kid, I read Ursula Le Guin and Isaac Asimov and wanted more than anything else to do to people what they had done to me. Part two was as a teenager writing stories. I remember sitting down with pen and paper at 1 o’clock in the afternoon and suddenly it was 10 o’clock at night. The day had gone, and I hadn’t noticed it go. The activity changed the laws of time. Part three: I got a fax from an agent when I was living in Japan to say that they’d sold my first book, Ghostwritten, to a publisher. It was one of the happiest nights I’ve ever spent on my own in my life.

Pasa: I’m wondering about your process. When I think about how one would plot Cloud Atlas ... have you seen the show Homeland?

Mitchell: No, but I know what it is.

Pasa: Some of the characters have huge corkboards to keep track of everything.

Do you get an idea and write around it, or do you begin with structure?

Mitchell: Cloud Atlas is a weird beastie. In a sense it’s very simple: I write novellas, 20

PASATIEMPO I April 19 -25, 2013

stitch hyperlinks between the novellas, and make them thematically complement one another.

Pasa: So you’re not forcing the pieces to fit together.

Mitchell: That’s how it works in Cloud Atlas. With longer books, there’s a lot to be said for breaking it down into smaller pieces. The corkboard is a wonderful thing, even in our digital day and age. They’re great because you can see everything at once, which a computer screen never lets you do. And corkboards don’t glare at you. But I think the question is, to what degree do you pre-plan, and to what degree do you find things and allow them to evolve organically? You do both. You don’t know where to look if you don’t have a map and a direction, but there’s only so much you can do before you start. Picasso said, “First I find something, then I go looking for what it is.”

Pasa: Your wife is Japanese, you lived in Japan, and it’s at least the partial setting for three of your books. What is compelling to you about Japan, and how did living there inform your work?

Mitchell: It informed [the novels] to such a great degree that I couldn’t have written them if I had not been there. Being a white single male in your 20s, Japan is an adventurous place to be. It’s like people you love: you gain fulfillment from them, and they drive you crazy at times. If fulfillment is greater than the drivingcrazy element, you stay. I was there eight years; I spent the second part of my youth there.

Pasa: Many of your protagonists are outsiders. Sometimes this comes from not being able to speak a language, like Jacob de Zoet in Thousand Autumns. And Black Swan Green is about a 13-year-old boy with a stammer, something you grew up with.

Mitchell: One of the reasons I love novels is because they put you in other people’s heads, which allows you to see that everyone’s an outsider, even insiders. It was a poet, John Donne, who said no man is an island unto himself. But I think that’s a stem cell of the novel as well. One of my recurring themes is communication or the inability to communicate. It’s tempting to see a link between that and my own speech dis-fluency, for the good reason that there is a very strong link.

Pasa: One of the things I like most about your work, Thousand Autumns in particular, is the balance of imagination and authority. In that book, the detailed depiction of 18th-century Japan is grounded and sets the stage of the book’s otherworldly elements. Do you think about this balance or ways to make your imagined worlds feel real? What is your research like?

Mitchell: I like novels to do more than teach, but I also quite like learning things from novels. My favorite books give me the adrenaline rush of imaginative acrobatics, and they give me the connoisseur’s delight in well-crafted language and some aspect of our world that I didn’t know a lot about. To research Thousand Autumns, I read a lot of books. I’ve been reading about Japan for most of my adult life. The harder thing was learning about the Netherlands, so I went and lived there for six months. Then you cast around to fill the reservoir with material you may or may not use. Only 10 percent of that will find its way into the novel, but you need the other 90 percent of unused research in the same way that the physical universe needs dark matter.

Pasa: That also lends authority to the work. Even if we don’t see all of the research, it helps.

Mitchell: It’s weird how that works. Even if the words are exactly the same, you pick up on whether the novelist is bluffing or not. There’s an element of bluffing in the imaginative act for sure, but there shouldn’t be bluffing in the research.

Pasa: In Cloud Atlas and in Ghostwritten especially, you move between different genres, voices, and settings. You spoke about writing Cloud Atlas as a series of novellas, but I’m still wondering if it’s difficult to transition so drastically.

Mitchell: It’s easy to transition between the novellas. It gives you a break and is a getaway car before the narrative risks getting boring. It’s harder to sustain than it is to transition. Even Thousand Autumns is basically three short novels. It’s almost like Lego — building larger narratives out of smaller components. The taxonomy of components is letter, word, sentence, paragraph, scene, chunk, chapter, part, novel. Somewhere between the part and the novel, I coagulate the parts into novellas, and I view each novel as chapters in an über-novel.

Pasa: And you have characters that recur across books.

Mitchell: That’s right. It’s enormously pretentious to say, unfortunately it’s true: my oeuvre is a world. The individual novels are building blocks of that world.

Pasa: I once heard Daniel Handler talk about seeing his children’s book, A Series of Unfortunate Events, turned into a film. Part of the film revolves around a large lake. Handler said something like, “I couldn’t believe that they made this huge lake because when I was writing I decided there should be a lake here.” I thought that was an interesting reaction. I’m wondering how you feel about the film version of Cloud Atlas, and what your involvement with the film was.

Mitchell: I didn’t have much involvement with the script, which was fine by me. I can identify with what Handler says. Your novels are made of whims of your imagination. To see one of these whims translated into something in the physical world gives you a tickle. I wrote Cloud Atlas nine years ago, partly in the back bedroom of an old house, and to see arbitrary decisions that I might have spent half a minute thinking about all these years later made manifest by fleets of talented people, that’s got to tickle you a bit. It’s a wow, even if it’s just a lowercase wow in italics, rather than a capital wow in bold.

Pasa: Any hint of what you’re going to talk about with Tom Barbash? Do you know him?

Mitchell: My friend Tom has an omnivorous and left-field mind, and I have confidence that they will be questions that I don’t usually get asked. I welcome the prospect of being caught out by him, and having to think of things for the first time. My answers are likely to be less polished; he might take me to places that surprise me. We’ll find out. ◀

details ▼ David Mitchell in conversation with Tom Barbash, a Lannan Foundation literary event ▼ 7 p.m. Wednesday, April 24 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $6, $3 students & seniors; 988-1234, www.ticketsantafe.org

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21

Rob DeWalt I The New Mexican

MACANUDO

HECTOR PEÑA ON THE CIGAR-BOX GUITAR

hen Albuquerque musician and instrument designer/builder Hector Peña was a young man, the blues bit him. Hard. Howlin’ Wolf, Sonny Boy Williamson, Son House, and Robert Johnson did more to move Peña’s soul than the British Invasion ever did, and his lifelong love of their music has informed a decades-long journey that now finds him circling back to the humble beginnings of the Mississippi Delta sound.

“Once I heard the blues as a teenager,” Peña said, “right away I was hooked.

I knew I wanted to learn how to play harmonica and guitar. Over the years I became a drummer and got into a lot of other genres, including Afro-Cuban jazz. I was a hand drummer and a trap drummer for many years and stayed with hand drumming for a really long time. But in recent years I’ve kind of come back to the roots of the music that first inspired me.”

In 2011 Peña began a journey to discover his true musical voice, which led him to the cigar-box guitar. “I found a picture of a cigar-box guitar on the internet and I thought, My god, what is that? I hadn’t seen one floating around the music scene. The more I dug into the instrument’s history, the more I wanted one, and the more I wanted to make one.” Peña has long been a fan of Sears, Roebuck and Co. catalog reproductions from the late 19th century, which often include illustrations of handcrafted instruments for sale. “The Victorian era, and the industriousness of it, really spoke to me because of all the creative ideas coming out for products of all kinds.

I’d go to the music part of the catalogs and see violins for $10, and the craftsmanship was superb! Guitars, harps, harmonicas — I was fascinated by how many designs there were. I never saw a cigar-box guitar in those catalogs, though, and I kept thinking, man, why is this instrument still sitting in the back of the bus? By that point, the cigar-box guitar sound was a blues dragon, and I was chasing it everywhere.”

On Friday, April 19, Peña and multi-instrumentalist Devon Hall, aka the Zia Conservatory, bring the music, culture, and history of the cigar-box guitar to Santa Fe with a performance and demonstration at Primo Cigar Shop. Peña and Hall are taking their handcrafted three-string cigar-box guitars — “the Delta-sound standard,” Peña said — and plan to perform 10 songs or so, including originals, Civil War tunes, and a few blues numbers.

The cigar-box guitar, or CBG, emerged in the Antebellum South as a cheap replacement for the banjo — an instrument modeled after the African banjar or banza, a stringed gourd instrument whose ancestral roots are murky. An inspiration for the more modern CBG, especially in blues circles, is the diddley-bow, a single-stringed instrument with West African origins that is plucked and played with a slide such as a bottle or metal ring. Its emergence in the deep South in the ’20s and ’30s coincides with the earliest 78 rpm Delta blues wax recordings and the increasing popularity of “race records” across the country.

Peña’s growing passion for the CBG and all things handcrafted drove him to build one of his own. “The first CBG I built didn’t come out too bad. I then got to know more about the ins and outs of the instrument, like calibrating the distance between the nut [the strip of material at the top of 22

PASATIEMPO I ????????? ??-??, 2013

Photos Eric Williams, courtesy The Weekly Alibi

the neck that guides the strings along the fretboard] and the bridge [the string-vibration transmitter attached to the guitar body, or resonator] using different hardware.”

Peña started building acoustic CBGs but quickly moved to electronic amplification once he learned enough about soldering to start mounting his own amplification devices to the guitars. “I had to figure out how to mount a piezo noise pickup to the thing, while still trying to trap that sound memory of the blues from my childhood — all inside a tiny box. I’m close, but I don’t have full authority over it yet. At the same time, you don’t want to trap that sound. Basically I use one piezo transducer per box, and I have it embedded on the neck inside the box, so the whole soundboard is lit up. I like the way it sounds. It’s very open, clean, and has a big twang to it.”

If the CBG is screaming too much high fidelity, Peña said, he sprays the inside of the cigar box resonator with insulation foam sealant. “You know the sound is bouncing inside that box, but you don’t know which direction it’s bouncing in. I just experiment and try to get the best sound out of each individual box.”

Peña sources cigar boxes from smoke shops, thrift stores, yard sales — anywhere he can find them on the cheap, really — and each CBG is given a decorative finish. Peña prefers a larger box, such as an Arturo Fuente King box, but he’s not married to it, by any means. “You can use plenty of things as a resonator,” he said. “I’ve used a washboard to make a guitar. You can use frying pans, a hubcap ... I saw a guy use a bedpan to make a guitar once.”

Peña does a lot of his networking with other instrument builders on www.cigarboxnation.com, a site for all things CBG that is used by music lovers and craftspeople alike. “The site’s kind of the zenith of the CBG community, and it welcomes kids, adults, and seniors. You can even get a free web page on the site. It’s a place for us to go and say, Hey, let’s build a better mousetrap. I think for me the attraction is that CBG culture is about building, not buying. We’ve gotten away from building things for ourselves. When you do make something like a guitar, you discover that what you make is like no other. And as a musician you become more disciplined with yourself. You don’t ever let your resourcefulness as a creative person disappear.”

Peña sells and demonstrates his cigar-box guitars at Roadside Attraction in Madrid (2872 N.M. 14). Call 989-1979 for more information. ◀

details ▼ Hector Peña and the Zia Conservatory ▼ 6:30 p.m. Friday, April 19 ▼ Primo Cigar Shop, 328 Sandoval St., 954-1168 ▼ No charge

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23

Jennifer Levin I For The New Mexican

STORM STORIES Once on This Island

he fate of a peasant girl who falls in love with a rich man often depends on the cultural context in which the story occurs. In popular Eurocentric fairy tales, the poor urchin invariably gets her man, and she will probably have the opportunity to wear a beautiful ball gown. In a culture in which trickster gods — rather than personal pluck — rule human existence, the story will have a much different outcome. In Once on This Island, the Tony Award-winning musical by Stephen Flaherty and Lynn Ahrens, four such gods use the longings of a young Haitian woman to determine whether love is stronger than death. What they find is that, though love might not always conquer death, it can heal old wounds. Santa Fe University of Art and Design’s production of the play opens Friday, April 19, at the Greer Garson Theatre.

Once on This Island, which contains elements of The Little Mermaid, Romeo and Juliet, and the novel My Love, My Love; or, The Peasant Girl by Rosa Guy, begins in the present-day of the play — the mid-1960s — with a storm that scares a little girl and flashes back to the story of another little girl, Ti Moune, who was orphaned in a storm long ago. The story encompasses the history of the French presence in Haiti and the slave revolution that began in 1791 as well as the vast social and cultural divide between the dark-skinned villagers and the grandes hommes, lighter-skinned mixed-race descendants of French planters and their slaves. As Ti Moune grows up, she longs for the grandes hommes’ life of ease and adventure. The script requires the actors to play multiple roles and guide the audience through the story.

Many productions of Once on This Island make use of complicated, ornate sets, costumes, and special effects to support the narrative, but Gail Springer, director of the SFUAD production, opted to keep things simple. “We don’t have a fulltime costume designer or a full-time scenic designer like we used to have,” she said, referring to the days when the theater was part of the now-closed College of Santa Fe. “We’ve had to cut back and decide what the simplest things are that we can do to create this fantasy world.”

Rather than carrying out the vision of faculty designers, students have taken the lead on costume and properties design, among other technical areas of production.

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PASATIEMPO I April 19 -25, 2013

The storm is represented by billows of fabric unfurled and waved by the chorus.

The set is basic and clean, just four piers, a metal tree made of ladders, and a grotto.

Laura Fine Hawkes, who studied at the Greer Garson Theatre in the early 1990s and is one half of an L.A.-based design studio, designed the set, which Springer likens to a playground for students. “We don’t have anything flying in and out; there’s no big scaffolding. But through color and design, I think we’ve been successful in creating the world. Certainly the actors are loving it.” Another major element of the set is the god forms, designed by Patricia McGourty — who has several Broadway credits to her name. These give the impression that the gods really do loom over the lives of the characters. Springer conceived the god forms, out of which the actors playing the gods will emerge, after consulting with Frank Harrell, a Haitian vodouist who was a professor of psychology at the College of Santa Fe. “One of the things we talked about was the dual nature of the gods and how they have this existence in other worlds but then they appear in real life and may possess a person. The god forms are a harebrained idea, but I think it’s going to work,” Springer said.

Areas of production that are not scaled back are the music and dance. Shannon Elliott choreographed the show, and Ron Strauss — with whom Springer has worked for years in the chamber-music ensemble Serenata of Santa Fe — directs a five-piece band that includes many local favorites, including Justin Bransford and Jeff Sussman. The cast, which originally featured fewer than a dozen actors, was increased to 21 in order to get more students on stage. “As a theater in an academic setting, we have to answer a lot of questions about what we do in terms of the talent we have — who needs challenging in what kinds of roles, and what kinds of musicals we’ve done lately. We’ve never done a storytelling musical at the Greer Garson Theatre, and we’ve never done an Ahrens and Flaherty, either,” Springer said.

“For me, what I hold onto thematically is that a young, small person could win against insurmountable odds and find happiness, could unify people by her own sacrifice. There’s also the idea of wanting what’s over there, of wondering what The Other is like, somehow not being satisfied with what you have, even though what you have is enough. You have this yearning for more. It’s a story of an innocent’s sacrifice for love. The little one makes good against big power. I’ve always loved that, but then I’m a child of the ’60s.”

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505-474-4644 The original Broadway production was cast along racial lines that reflected the skin-color conflicts of Haiti, but Flaherty substituted language in the script that emphasizes the strife between the rural poor and the urban rich instead. Though Springer cast across racial lines, the SFUAD student body is diverse enough that black, white, Hispanic, and mixed-race actors populate the show. Springer cast 11-year-old Mina Radfarr as the Little Girl/Little Ti Moune and added the part of the Little Boy/Little Daniel to the show. He is played by Phoenix Avalon, a 12-year-old boy who is well known in Santa Fe for playing the fiddle at the Farmers Market.

Radfarr’s father, Tristan Ramie, is documenting the rehearsal process. He is a photographer and videographer with a background in theater and dance.

“I wanted to show the audience the parts they don’t get to experience, the months of work that lead up to what they see when the curtain goes up. I wanted to show the costuming and the stage work, the way they rehearse the same lines and scenes over and over again, and the notes the actors get after every rehearsal. Seeing how the actors work on their own pieces and change from day to day has been most interesting, that progression. It’s a college production and I have been very impressed. I didn’t expect the actors to have so much to give at that age.” ◀

details ▼ Once on This Island ▼ 7 p.m. Friday & Saturday, April 19 & 20; 2 p.m. Sunday, April 21; continues April 26-28 ▼ Greer Garson Theatre, Santa Fe University of Art and Design, 1600 St. Michael’s Drive ▼ $15, students $12; at the door or from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org)

Above, a Haitian villager’s home; opposite page, the cast of Santa Fe University of Art and Design’s Once on This Island (photo by Eric Swanson)

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TERRELL’S TUNE-UP Steve Terrell

Mud men Vanishing Point is an early-1970s movie about a former cop named Kowalski who picks up a Dodge Challenger in Denver to deliver to San Francisco. He makes a bet in a Denver biker bar that he can drop off the car by the next afternoon. Eluding cops, running them off the road, and crashing through roadblocks in several western states, Kowalski is cheered on by Super Soul, a blind disc jockey at some Podunk radio station who calls him “the last American hero” and “the last beautiful free soul on this planet.”

Vanishing Point also is the name of the latest album by Mudhoney, a band that’s been speeding along the symbolic highway of rock ’n’ roll for a quarter century. Heck, it’s named after a Russ Meyer boobsploitation film that played at the same drive-ins that Vanishing Point would a few years later. Sometimes I feel like the outcast voice in the wilderness Super Soul, rooting for this perpetual underdog band. Fortunately, the new album gives me a lot to cheer for.

Somewhere in a parallel world, some A & R lackey played his boss, music mogul David Geffen, a weird little single by a Seattle band on an independent label nobody every heard of. Fireworks went off in Geffen’s head. Geffen knew he’d heard an anthem for the new generation. He would sign this band, commission a cool video with punk-rock cheerleaders for that song, “Touch Me I’m Sick,” and Mudhoney would launch a revolution that would shake American culture.

OK, back to reality: actually, something similar happened to Nirvana, another Seattle

26

PASATIEMPO I April 19 -25, 2013

Sometimes I wish it would have been Mudhoney instead of Nirvana to carry the banner back a in the days when the flannel flew.

band on the Sub Pop label. In the wake of its success, major labels would scoop up dozens of Seattle bands, including Mudhoney. In the early ’90s, Mudhoney was considered, at least by casual fans who didn’t know much about its history, to be kind of like Nirvana’s little brothers. (In fact the one time I saw Nirvana, Mudhoney was the opening act.)

Sometimes I wish it would have been Mudhoney instead of Nirvana to carry the banner back in the days when the flannel flew.

I’d argue that Steve Turner is a better guitarist than Kurt Cobain was. Mark Arm’s lyrics have lots more humor than those of Cobain.

Musically, Mudhoney drew far more from garage, psychedelic rock, and The Stooges than Nirvana did. And had Mudhoney climbed to the toppermost of the poppermost, we probably would have been spared a generational spokesman committing suicide. And we probably would have been spared Courtney Love.

(Mudhoney, in fact, did a scathing and wickedly funny song, “Into Yer Shtik,” about — at least in part — the widow Cobain.)

But after Nirvana imploded, most of the “new Nirvanas” fell by the wayside, broke up, died of heroin overdoses,went back to the proverbial car wash — whatever, never mind.

Except Mudhoney. Of all those crazy Sub Pop groups of the late ’80s and early ’90s, Mudhoney is the last band standing. One could argue that Soundgarden might also qualify for that honor.

Like Mudhoney, it started out in the ’80s on Sub Pop and just last year released a good album — King Animal. However, Soundgarden broke up for more than a decade. It didn’t soldier on like Mudhoney, releasing new albums on a fairly regular basis.

I did say “fairly” regular, right? Vanishing Point comes five years after the band’s previous album, The Lucky Ones. But even if Mudhoney isn’t as productive as it was in days of yore, it still packs a punch. The first song, “Slipping Away,” kicks off with a short but snazzy drum solo by Dan Peters (the Gene Krupa of

grunge?). The song slows down suddenly as Turner’s rubbery guitar creates a psychedelic sonic assault that would make the Butthole Surfers cry uncle.

This is followed by “I Like It Small,” which is about — wait, is this about what I think it’s about? “Chardonnay” is a minute and 39 seconds of raw punk rock with Arm spitting out a rant against the “critics’ favorite” wine with the same venom most rockers would save for a cheating girlfriend, a bad boss, or the government. And he gets even more grouchy on “I Don’t Remember You,” a tale about an encounter at a supermarket with a forgotten acquaintance. Arm sings, “It’s a goddamn pleasure to meet you again/Half my brain is missing, and I don’t need new friends/I can’t keep up with the good friends I’ve got/’Scuse me while I fill this shopping cart.” And I don’t know who or what is the target of “Douchebags on Parade,” which has subtle overtones suggesting Quadrophenia-era The Who. At the moment — and this has changed at least a couple of times since I got the album — my top tune from Vanishing Point is “The Final Course.” It’s a strange tale that involves a decadent feast, accusations about the paternity of a child, the choking of a “shrew,” murder, and cannibalism (which repulses the narrator, though apparently not as much as Chardonnay does the narrator in that other song.) The lyrics suggest a medieval setting, though when Arm sings “Someone brained me with a skillet, boom boom, out go the lights” it takes on overtones of the Stooges — not Iggy, but Moe, Larry, and Curly.

So Mudhoney keeps barreling on like Kowalski speeding down some Utah highway.

There’s not much chance at this point that Mudhoney’s career will end, symbolically speaking, in some glorious, fiery crash like Kowalski did on the screen. Fans are just happy that they haven’t run out of gas yet.

Mudhoney’s official website is www.mudhoneyonline.com. ◀

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27

PASA TEMPOS

album reviews

CHRIS POTTER Les Autographes Vocaux (The Vocal The Sirens (ECM) On his Signatures): Pathé-Art 1930-1931 ECM Records debut as a leader, (Timpani) For decades the Pathé comjazz composer and saxophonist Chris pany was the leader in preserving French Potter explores a theme. “I’d reread compositions and performers for posterity, the Odyssey after many years and was maintaining top-of-the-line sonic standards even inspired to write music with that epic, while adjusting to the technical compromises mythic mood in mind,” he says. The needed to keep up with popular demand. In album is all about adventure and melody.

1930, the firm had a brilliant idea for enhancing “Wine Dark Sea” opens with a peaceful, its luxury Pathé-Art label: a series of recordings of orchestral sinuous intro, Potter gently proclaiming on tenor, drummer works by notable French composers who would sign off with Eric Harland percussively varietal, and pianist Craig Taborn an autographe vocal, a spoken “vocal signature” in which, in less playing harplike washes. The bassist, Larry Grenadier, heralds the than a minute, they identified the work that had just been heard song’s main movement with a strong pulse, and the music expands and provided some brief observation about it. This new CD assembles into bright explorations, not without hints of the romantic, but in eight of these releases, astonishing listeners who never imagined they its heights reaching pure jazzy beauty. Included is a standout Taborn would someday hear the actual voices of Vincent d’Indy, Charles-Marie solo. “Wayfinder” is spooky and skittery, Harland working some tight Widor, Joseph-Guy Ropartz, Henri Büsser, Florent Schmitt, George Hüe, chemistry with Taborn and the album’s “alternative” pianist, David Virelles, Albert Roussel, and Désiré-Émile Ingelbrecht. In a sense, that’s the who plinks and sparkles on prepared piano, celeste, and harmoicing on the cake, though such delicious icing! The perfornium. The two pianists also add moody magic to the middle mances are fascinating, sometimes a bit rough in orchestral section of “Nausikaa.” The title track has the leader on bass blend and everywhere displaying a French sound that has clarinet, playing gorgeously and yummily sirenlike against since disappeared, as at the point in d’Indy’s concert overa quiet, colorful bed of sound from his bandmates; and Brendan Perry ture Le camp de Wallenstein where a trio of bassoons Grenadier contributes a very tasty, two-minute arco solo. sounds for all the world like saxophones. The most Harland’s repertoire is well-displayed on the rhythmiand Lisa Gerrard don’t famous piece in the collection gets a stunning reading: cally open “Kalypso.” The Sirens is a tantalizing, even Roussel conducting movements from his refined ballet masterful, addition to Potter’s résumé. — Paul Weideman seek newness. They chase Le festin de l’araignée. This is bound to be the CD of the year for Francophile music lovers. — James M. Keller YOUNG GALAXY Ultramarine (Paper Bag Records) perfection of their own “Pretty Boy” opens synth-pop group Young Galaxy’s latest DEAD CAN DANCE In Concert (PAIS America) Released record with a fable of lost souls coming together and longtime collaborative on April 16 in the U.S., In Concert brings together 11 live reinventing themselves in a harsh world. “I felt no pain endeavor. tracks recorded during Dead Can Dance’s 2012 U.S. tour. when you changed your name,” Catherine McCandless Vocalists and multi-instrumentalists Lisa Gerrard and sings over a sparkling, uptempo rhythm, “we were each Brendan Perry have been developing their own strain of other’s only family.” This may recall the opening to fellow internationally influenced, gothically and tribally inclined musiMontreal band Arcade Fire’s Funeral, but the angst of that album is replaced by bright, Eurythmics-like melodies. The term cal landscapes since forming in the early ’80s. This new live album, “pretty boy” can be derogatory, but here it’s affectionate. “I don’t care only the second for the ensemble in more than three decades, follows up the 2012 release of Anastasis, the first DCD studio album in 16 years. Almost if disbelievers don’t understand,” the chorus goes, “you’re my pretty boy half the tracks on In Concert can be found on Anastasis. Gerrard’s dramatic always.” This objectification softens gender lines and comes across as sweet.

Ultramarine is full of these come-ons. It’s sexy without being too showy, contralto and mezzo-soprano ranges still soar with dark, operatic timbre, letting the crystalline instrumentation and vocals carry the heft of the oozing with Greek, Turkish, Middle Eastern, and Balkan influences. sensuality while the lyrics touch on tender, even corny declarations such Perry’s heady baritone anchors In Concert’s more medieval European as “bring me back to your forest home, and marry me under its tree” and Celtic-grounded balladry. Neither has lost a crumb of vocal acuity, (on “Hard to Tell”). Swedish electronic-music producer Dan Lissvik perhaps because both enjoy healthy solo careers when DCD is on coats a flawless sheen across the album that lends the disparate hiatus. Bouzouki, Chinese hammered dulcimer, oud, doumbek, genres — rock, funk, reggae, new wave — a cohesive feel. bagpipes, and timpani all make expected appearances. In the end, In Concert doesn’t serve up anything new McCandless’ voice, often layered into an in the way of style or substance for the band. ethereal dreamstate, has the intriguing But why should it? Perry and Gerrard don’t quality of sounding mature yet proseek newness. They chase perfection of their jecting innocence. The closing track, own longtime collaborative endeavor. And “Sleepwalk With Me,” finds her singing, here, they have it firmly by the tail. Digital “Look, here comes the sunrise” with the download and a three-record deluxe thrilling, postcoital perspective of a vinyl edition are also available. new love and an open future.

— Rob DeWalt — Robert Ker

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PASATIEMPO I April 19 -25, 2013

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DAVID MITCHELL with Tom Barbash

WEDNESDAY 24 APRIL AT 7PM LENSIC PERFORMING ARTS CENTER 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 . . .

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PASATIEMPO I April 19 - 25, 2013

ON STAGE Crazy for the red, white, and blue: Winning the Future

The U.S. election season is well over, and may it rest in peace. In the lull between campaigns, the Up & Down Theatre Company presents Winning the Future, a mixture of political satire, sketch comedy, and musical theater. The piece was conceived by and stars Kate Chavez and Lindsey Hope Pearlman, who are joined by pianist and composer Robin Holloway — all American alums of the London International School of Performing Arts. Those years abroad contributed to the group’s unique perspective on their home country and what it means to be an American, Chavez says.

Performances are 8 p.m. Friday and Saturday, April 19 and 20, and 4 p.m. Sunday, April 21, at Teatro Paraguas Studio (3205 Calle Marie). Tickets are $10 at the door; for reservations call 424-1601. — LEG

High strung: the Signum Quartet

String quartets are accustomed to taking a long view toward success.

The Signum Quartet was founded in Germany in 1994; its members studied with some of the most respected, intellectually uncompromising players in their field, including the Alban Berg, Artemis, and Melos String Quartets. Their fortune increased following a personnel change in 2007 (a new violist), after which they won third place in two notable competitions, the Premio Paolo Borciani and the Wigmore Hall London International String Quartet Competition. The group is currently in its last year in the BBC Radio 3 New Generation Artists program and has released three CDs on the Capriccio label, with another due next month. The Santa Fe Concert Association is helping build the ensemble’s American exposure by presenting the group at St. Francis Auditorium, New Mexico Museum of Art (107 W. Palace Ave.), at 7:30 p.m. on Thursday, April 25. The foursome will play Haydn’s D-Minor Quartet (op. 76, no. 2, the “Fifths”), Josef Suk’s Meditation on the Old Czech Hymn “St. Wenceslas,” and Schubert’s Quartet in D-Minor (“Death and the Maiden”). Tickets ($20 to $50; discounts available) may be purchased from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org). — JMK

THIS WEEK

Cheers: Anderson & Roe

Tomasz Trzebiatowski

Ken Schles

The pianists Greg Anderson and Elizabeth Joy Roe recently celebrated their 10th anniversary as a piano duo, having played their first concert together in November 2002 as undergraduates at the Juilliard School. The duo puts considerable time and effort into producing high-concept promotional videos to post on YouTube and filling up blog space with recipes for cocktails inspired by classical music — “the Reynaldo Hahn” (ginger, lime, and vodka), “the Sibelius Tapiola” (rye whisky, rosemary simple syrup, and Angostura bitters), and so on. Either that will be to your taste or it won’t, but on a musical level they are able to deliver the goods with technical aplomb. Anderson & Roe gave a recital in town last year, and now they return to appear with the Santa Fe Symphony in Mozart’s Concerto for Two Pianos. Also on the program are the Polonaise from Tchaikovsky’s Eugene Onegin and Dvorˇák’s Symphony No. 7.

Guest conductor Oriol Sans leads this performance at 4 p.m. on Sunday, April 21, at the Lensic Performing Arts Center (211 W. San Francisco St.). Tickets ($20 to $70; discounts available) can be had by calling 988-1234 or visiting www. ticketssantafe.org.holders. — JMK

Fling has sprung: Santa Fe Music Alliance is in full bloom

The Santa Fe Music Alliance, a nonprofit organization of musicians, industry professionals, and music lovers, presents a spring fling at Warehouse 21 (1614 Paseo de Peralta, 989-4423) from 6:30 to 10 p.m. Saturday, April 20. The event, a membership drive, includes performances by young rock/blues-guitar phenom Jake Montiel and local indie rockers All the Wrong Reasons. Headlining the bill is Nuevo Latino powerhouse Manzanares, led by brothers and Abiquiú natives David and Michael Manzanares. The Santa Fe Music Alliance is living up to its promise of engaging audiences with diverse performances while giving newer musicians the chance to share the stage with — and perhaps learn from — more experienced artists. Advance tickets, $10, are available at www.holdmyticket.com/event/135300. Tickets at the door are $15, $5 for ages 10 to 17; there is no charge for those under 10. Admission is free with the purchase of a $25 alliance membership at the door. Fifty percent of ticket sales benefits Warehouse 21.

— RDW

PASATIEMPOMAGAZINE.COM

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Monterey Jazz Festival goes on the road

T

he Monterey Jazz Festival, founded by author and critic Ralph Gleason and jazz DJ Jimmy Lyons in 1958 and held each year since at California’s Monterey County Fairgrounds in September, has featured a host of the jazz world’s greatest names in its long history — Louis Armstrong, Thelonious Monk, Dizzy Gillespie, Dave Brubeck, and Woody Herman, among them. To mark this anniversary, the festival has put together the Monterey Jazz Festival on Tour 55th Anniversary Celebration, a group of distinguished jazz musicians exporting the festival’s spirit and music to some 40 cities across North America. The band, consisting of bassist and musical director Christian McBride, vocalist Dee Dee Bridgewater, pianist Benny Green, drummer Lewis Nash, trumpeter Ambrose Akinmusire, and saxophonist Chris Potter, takes the stage at the Lensic Performing Arts Center on Thursday, April 25. All are stars in their own right, and all have made multiple appearances at the fest. The group reflects a great touring tradition in the spirit of Norman Granz’s Jazz at the Philharmonic, bringing together musicians of various ages and styles and sending them across the country and the globe. Its success underscores what happens when skilled performers, no matter their individual direction, join together in the common language of jazz. The event is sponsored by the New Mexico Jazz Festival, which holds its summer events — this year featuring trumpeter Terence Blanchard, bassist Stanley Clarke, and pianist Eddie Palmieri, among others — in Santa Fe and in Albuquerque in July. Visit www.newmexicojazzfestival.org. — Bill Kohlhaase

details ▼ Monterey Jazz Festival on Tour 55th Anniversary Celebration ▼ 7:30 p.m. Thursday, April 25 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $25-$55 (discounts available); 988-1234, www.ticketssantafe.org

Out front and au naturel Bassist Christian McBride leads the Monterey Jazz Festival touring band

C

hristian McBride began making deep music when he was 8 years old, exploring an electric bass. Now an American jazz star, he still sometimes plays electric but more often prefers the natural sonorities and feel of the acoustic double bass. That’s what he’ll be playing in Santa Fe on Thursday, April 25, at the Lensic Performing Arts Center with a special band that has been touring the country since early January for the 55th anniversary of the Monterey Jazz Festival. The sextet, engaged on a program of more than 40 concerts, is said to reflect the festival’s “traditional-untraditionalist” attitude.

McBride is the group’s musical director. The Philadelphia native honed his musical education with studies at the Juilliard School and began his jazz career playing in bands led by Benny Golson and Freddie Hubbard. He has worked in a sideman role on hundreds of albums by the likes of Betty Carter, McCoy Tyner, Joe Henderson, Dave Brubeck, Milt Jackson, Diana Krall, and Joshua Redman — and those were just during the 1990s. His albums as leader number a dozen. Two of the most recent and most notable are the 2011 Conversations With Christian, composed of duets with musicians running the gamut from Sting and Angélique Kidjo to Hank Jones, Eddie Palmieri, and Billy Taylor; and The Good Feeling, featuring the Christian McBride Big Band. The bassist has two albums coming out this year: People Music, featuring his Inside Straight quintet, hits the streets on May 14, and a CD with his trio (with pianist Christian Sands and drummer Ulysses Owens Jr.) comes out in August.

Pasatiempo: Were you involved at the beginning in the decision to do this tour with a sextet?

Christian McBride: Yes and no. Tim Jackson, who is the artistic director of the Monterey Jazz Festival, got in touch with me two years ago and asked if I’d be interested in doing this tour. Initially I actually said no because I didn’t know what I’d be doing with my own projects, and I didn’t want to lose too many opportunities to tour my own groups.

Pasa: You were doing your big band then.

McBride: I’m still doing it, as well as my quintet Inside Straight and my new trio. But when Tim told me who he was dreaming about for the band, I surely couldn’t say no, because they’re all my friends.

Pasa: This is going to be cool with those two horn players and Dee Dee Bridgewater out front. It’s like a band full of bandleaders. What are we going to hear?

McBride: That’s exactly what it is, and you’re going to hear a little bit of everything: some original material and some jazz standards. With this group of musicians, variety is key, and all are represented as composers.

Pasa: Are you playing acoustic or electric?

McBride: All acoustic.

Pasa: Can we talk about your instrument and your ideas of how the bass language has changed since the days of Leroy Vinnegar, Ray Brown, Paul Chambers, and Jimmy Garrison?

McBride: Sure. You got enough time? Well, as time progresses, things change, musicians change, and the music itself changes; it’s just part of life. And since the late ’50s the bass is no longer strictly an instrument that is in the background playing an exclusively supporting role. It can stand out front as a lead instrument; it can play within the section with the other lyrical or traditional frontline instruments.

Pasa: It’s not just part of what was called the “rhythm section.”

McBride: No, and it already wasn’t by the mid-1950s.

Pasa: Who were the groundbreakers?

McBride: With people like Ray Brown and Charles Mingus and Oscar Pettiford, the bass was already in an up-front role, although that was pretty much still an anomaly. Those guys were very, very special because of their technique and ideas. I think things changed for good, never to look back, after Scott LaFaro. When he came along with Bill Evans’ Trio, it sent a message to bass players that not only can you be melodic and be out in front of the band, but you can solo like a horn player or as fast as a horn player or as lyrical as a horn player or pianist.

On the flip side, Scott LaFaro also sent a message I’m not really quite sure he would have approved of had he lived, but a lot of bass players started to lower their action, and their strings became less tense, very close to the fingerboard so they could go for that speed and agility. The downside of that was the real propulsion of the bass — the fat, juicy sound of the bass — was lost because now there wasn’t enough room for the strings to vibrate. You

© R.R. Jones

55 up

Paul Weideman I For The New Mexican

had a lot of bass players through the early 1980s who were playing as fleet of finger as one could dream of, but they had no sound. It was all now dependent on the amplifier because there was no tension in the strings. A lot of players had a lot of chops but they had no girth to their sound.

Pasa: Let’s talk about Jaco Pastorius, who’s best known for his presence in Weather Report.

McBride: That was a completely different instrument. And Jaco was like Bird [saxophonist and bebop innovator Charlie Parker]. There was the electric bass before Jaco and the electric bass after Jaco, because not one single solitary electric bass player wasn’t touched deeply by him. He was completely off the map. My father tells me this great story that when Jaco’s solo debut album was released [1976’s Jaco Pastorius], you saw electric basses falling out of windows all over the city.

Every pawn shop in Philly had basses brought in by all kinds of people. They were like, I didn’t know an electric bass was able to do that, so that’s it for me.

Pasa: I can often recognize you because you’re a real athletic and colorful player, to my ears. But there are so many great players out there, including Ron Carter, Dave Holland, Steve Swallow, John Patitucci, and Gary Peacock.

McBride: Oh, yeah. At some point in the late 1980s there seemed to be a renaissance period, where a lot of bass players decided to unplug the amplifiers and get back to that big, warm, natural acoustic sound.

Like what we listen to on those records. Why can’t we get back to that and still be fleet of finger? Why can’t there be a combination where you can play fast and agile without having your strings way down?

Pasa: Who are you thinking of?

McBride: A lot of guys started that. Robert Hurst, Charnett Moffat, Rodney Whitaker, Ben Wolfe.

They were all my guys. We were all in that generation with the return to the au naturel sound.

Because we couldn’t stand listening to certain records and the acoustic bass wound up sounding like an oversized electric bass. An instrument that big and beautiful shouldn’t sound twangy. You should be able to feel it. ◀

From left, Chris Potter, Christian McBride, Dee Dee Bridgewater, Lewis Nash, Benny Green, Ambrose Akinmusire; photo © R.R. Jones 32

PASATIEMPO I April 19 -25, 2013

PASATIEMPOMAGAZINE.COM

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Bill Kohlhaase I For The New Mexican

Dee Dee-lightful

L

isten to the broadcast of the Monterey Jazz Festival on Tour’s performance from the Kennedy Center last March, available at NPR’s JazzSet website, and from the very first tune you’ll know there’s something up between bassist and musical director Christian McBride and vocalist Dee Dee Bridgewater. Their duet on “I’m Beginning to See the Light,” dedicated to bassist Ray Brown, is a playful, even flirty performance that features some bantering exchange even as Bridgewater skillfully scats against McBride’s peacock strut. “I got so flustered while we were doing that song,” Bridgewater explained in a phone call from Manhattan. “But what you couldn’t see on the radio is that Christian had wrapped his arm around me and kept on playing.

I didn’t know how we’d get out of that.” Indeed, Bridgewater can be heard to say, “We’re not together on this ending.” McBride replies, “We’re always together, baby.”

Concertgoers can expect this kind of fun and lots of serious music as well when the MJFOT rolls into the Lensic Performing Arts Center on Thursday, April 25. Bridgewater admits that it wasn’t hard to convince her to join up with the ensemble. “I love Christian, and we’ve worked together on several occasions [Bridgewater is one of the guests on McBride’s 2011 collection of duo collaborations, Conversations With Christian]. And I really have a fond affection for the Monterey Festival — it’s the place where I first met Ray Brown — and so when they put this great lineup together and spoke to me about it I said count me in.”

Bridgewater’s connection to the famous California festival goes back to 1973 and her first appearance there with the Thad Jones/Mel Lewis Orchestra. “For the life of me, I can’t remember the actual concert performance. But I well remember walking across the festival grounds, and here comes Ray with his bass on one of those wheel carts. Actually, I had a crush on him. And he says to me, ‘I’m going to work with you one day, young lady.’ ” Bridgewater said it was Brown who suggested she do the project that became Dear Ella, a tribute to Ella Fitzgerald (who was Brown’s spouse for a time). Brown, fulfilling his prediction, also played bass on the disc. Bridgewater’s lithe, swinging ways and her scat-improvisation skills have earned her favorable comparisons to Fitzgerald.

Bridgewater is that rare vocalist who came up working with a big band, a fact she credits for her strength, ability to project, and understanding of harmony. She

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PASATIEMPO I April 19 -25, 2013

joined the Thad Jones-Mel Lewis Orchestra in the early ’70s, her first professional gig, after attending an audition with her then-husband, trumpeter Cecil Bridgewater. “Thad and Mel decided they needed a female singer. I was working at a bank as a secretary at the time, and I took the day off to attend the audition with Cecil — it was somewhere in Queens. I was painfully shy in those days and didn’t participate. They listened to a lot of singers, and at the end of the day picked one, and I thought, I can do better than that.

So I got my courage up and went over to Mel and said, I want to audition, too. But it was too late, the band was already knocking down, somebody was collecting the music. And Mel said, You’ll have to come down to the club [the Village Vanguard] and audition during the show. So I did. I sang two songs, unrehearsed, with the band, and they hired me on the spot.”

Jones, the group’s cornetist and co-leader, became something of a mentor to the young singer. Among the many things he told her was this: if you want to have your own sound, you have to stop listening to all the others singers and listen only to the music.

“I’ve been given a lot of advice in my career,” Bridgewater said, “but that’s the best single piece I was ever given. That’s why I have my own sound today. A lot of singers sound like other people, and that’s fine — that’s their thing. Sure, people can hear some of my predecessors in my music. But I don’t really sound like anyone but me.”

This declaration sounds a little incongruous coming from a singer who, in addition to Fitzgerald, has paid tribute to Billie Holiday and has a tour planned for later this year with pianist Ramsey Lewis in which she says, she’s “kind of” taking on the role of Nancy Wilson. The Holiday tributes include her 2010 recording Eleanora Fagan (1915-1959): To Billie With Love From Dee Dee Bridgewater (a date that includes both bassist McBride and MJFOT drummer Lewis Nash) and her role as the revered vocalist in Stephen Stahl’s play Lady Day. She’ll revive that role later this year in Paris, doing it in French (Bridgewater lived several years in France), and in New York. “When I did the role in London, I think I was possessed by Holiday. I even started receiving fan mail that was addressed to her, not me. It was rather unnerving. I still sometimes fall into her voice.” And here she began to talk as Holiday might. “It took me four months after the play ended to find my own voice again. Pretty eerie.”

© R.R. Jones

Jazz vocalist, actress, and goodwill ambassador Dee Dee Bridgewater defies category

Bridgewater has been connected to the theater since she took on the role of Glinda the Good Witch in the 1975 Broadway production of The Wiz. She also appeared in Sophisticated Ladies and Cabaret, among other plays. Add to this her role as Goodwill Ambassador for the United Nations’ Food and Agricultural Organization, a position she’s held since 1999, and her job as host of JazzSet, and her ambition and varied interests become clear. “I don’t know what it is,” she said when asked what drives her. “I don’t know if I’m a product of being a Gemini or what.

Christian’s a Gemini; Miles Davis was a Gemini — he was my hero growing up. I love the fact that he was all over the place and never settled into one musical expression. I’ve likened myself to musicians who never had a discipline, who never became just one thing. I want to do what Miles and Ray Charles did: defy category.”

One way she defies the current jazz vocal trend is her frequent use of vocal improvisation and scat singing. She agreed that scatting among today’s crop of contemporary singers is something of a lost art.

“We’re in another era, another phase of music, in which the ‘jazz singer’ is a little more into pop than jazz. That’s because of the success of Diana Krall and Norah Jones, who’s really not a jazz vocalist. What’s left of the recording industry,” and here she laughed, “keeps trying to promote that kind of singer.“ On the other hand, she cites several emerging vocalists who she feels truly carry on the vocal jazz tradition.

Bridgewater hopes to sign Jazzmeia Horn (yes, that really is her name) to her own DDB Records label once Horn finishes her studies. “I’m just so excited about this child. I’m all over her,” Bridgewater said, not hiding her enthusiasm. “She has a freedom onstage like I haven’t seen in a long time. She reminds me of Betty Carter and myself. And she has such great respect for the musicians she’s worked with, she gets all up in each of them when she’s backed by a trio.”

Respect for musicians is a Bridgewater trait, most apparent when she talks about her fellow participants in the Monterey tour. “Everyone in the band is so amazing in their own individual ways. To put them in a collective like this shows the selflessness of each member. That speaks volumes about the character of each of them, considering that they’re so strong on their own. When I’m onstage with them, I like to say that I’m there in the company of gentleman. And I am.” ◀

Bill Kohlhaase I For The New Mexican

Old school, new school A

mbrose Akinmusire’s first jazz-club outing wasn’t to hear the usual bop or swing session. As a kid trumpet player, he won a radio contest for an evening at Yoshi’s jazz club in his hometown of Oakland, California. The group that night, the Art Ensemble of Chicago, was one of the more adventurous of its time, playing music that was outside than mainstream and of the sort that might not be easily accessible to young ears. But for the fledgling trumpet player who’d been immersed in jazz culture through recordings and stories, it was just the thing.

“That music wasn’t strange to me at all,” Akinmusire said in a phone call from a New York instrument shop while waiting for repairs to his trumpet. “Jazz had always seemed a little casual and impersonal to me. And these guys came out and stood facing east for a few minutes to honor the spirit of the music and show respect and dedication to their craft.

Coming from the black church, I made a direct link to that ritual.“ After the performance, Akinmusire went upstairs to meet the members of the band, including the late trumpeter Lester Bowie. “And Lester looked at me,” Akinmusire related, laughing, “and said, ‘You can be a great trumpet player. All the great trumpet players have big heads, and you’ve got a big head.’”

Now one of the most honored trumpeters of his generation, Akinmusire might be excused for figuratively having a swelled head. In 2007, he won both the prestigious Thelonious Monk International Jazz Competition (judges included Quincy Jones, Herb Alpert, Hugh Masekela, Clark Terry, and Roy Hargrove) and the Carmine Caruso International Jazz Trumpet Solo Competition held at the University of Arizona. Signed by the legendary Blue Note label, he released When the Heart Emerges Glistening in 2011 to general acclaim. Akinmusire won top honors on his instrument in last year’s DownBeat Critics Poll, beating out his Monk competition judges Terry and Hargrove, a former instructor (Terence Blanchard), and miscellaneous other trumpet greats including Wynton Marsalis, Dave Douglas, and Tom Harrell.

Asked about his current tour with the Monterey Jazz Festival on Tour supergroup (appearing at the Lensic Performing Arts Center on Thursday, April 25), he emphasized what a great learning experience it’s been.

“It’s a lesson in professionalism and humbleness.

There’s no ego in this band. That’s something pretty rare these days, especially for a group as accomplished as this one.”

To Akinmusire, it’s all about learning and moving the music forward. He’s an admitted anomaly among the latest generation of jazz artists. A product of both new-school institutional learning and old-school bandstand experience with musicians he calls “jazz masters” — he’s appeared onstage with such greats as drummer Billy Higgins and saxophonist Joe Henderson — Akinmusire doesn’t come off as a capable but distant conservatory product or as some revivalist who’s embraced one jazz genre or another.

He’s always pursued his own style. At the age of 4, he loved pounding — his term — on the church piano, so his parents arranged for lessons. He picked up the trumpet and joined the school band in sixth grade and continued his studies in Berkeley High School’s jazz program, which produced Joshua Redman, Craig Handy, and fellow Monterey ensemble member Benny Green. At the same time, he was getting a valuable education in the history of jazz from a local adult friend, Robert Porter. “He took us around to buy records and taught us the significance of each person’s recording within the jazz lineage. He exposed us to the culture of the music.”

When Akinmusire was 18, Steve Coleman — saxophonist and originator of the M-Base jazz movement — came to the high school to conduct workshops.

A year later, after the trumpeter was enrolled at the Manhattan School of Music, Coleman asked him to join his Five Elements band. To hear Akinmusire tell it, his six weeks with the group was a humbling experience. He took the following couple years off to “woodshed,” the musicians’ term for working on their sound. “Before [playing with Steve]” he said, “music was just something that I loved to do. And it hit me that it wasn’t just something you did because you were good at it. I really felt like I needed to practice, to work on the craft side of it, and I still feel that way now. “ He returned to the Manhattan School and then went on to pursue a masters degree at the University of Southern California’s Thorton School of Music. In Los Angeles, he enrolled in the Thelonious Monk Institute of Jazz, where he studied with trumpeter Blanchard, who helped him resolve the conflicts he had with institutional learning. “Before I got into the schools my learning experience was the polar opposite. [In school], it was all we want you to play this scale and learn this harmony and more about the craft of it than the art and the lineage. That was really different than the way I’d been learning about the music and not the

© R.R. Jones

The education of trumpeter Ambrose Akinmusire

way I was approaching it. I was after my own sound.

And Terence said, that’s OK. You go the way you want to go, and do your own thing.

“I’m not against institutions,” he continued. “I think they play a role in developing young musicians these days. That whole idea of a jazz great taking a young musician into his band and nurturing him, that just isn’t happening these days. Guys expect you to come into their bands and be fully developed, to be able to play like you’ve been on the scene all your life. Back in the day, the cats coming up wanted to play with Art Blakey or be in Betty Carter’s band to work their way up. Those days are gone.

After his L.A. stint, Akinmusire went back to New York and began working with others of his jazz generation: pianist Vijay Iyer, bassist-vocalist Esperanza Spalding, and pianist Jason Moran (who co-produced the trumpeter’s Blue Note CD). The recording, with saxophonist Walter Smith III, pianist Gerald Clayton, bassist Harish Raghavan, and drummer Justin Brown, reveals another value to institutional learning. “I met all these guys going to jazz school,” the trumpeter explained. The reason its sound is different than the usual jazz direction is because the trumpeter composes with an emphasis on moods, feeling, ideas, and circumstances — a narrative — rather than form, style, riffs, or tradition. He says he usually begins his writing with the tune’s title. “I like stories; I think it’s important to know you’re creating a story — that you have some sense of it, what you’re writing, what it’s about, a title. I have to have enough nonmusical information on the table when I write to go from there. I find that to be more beneficial.”

Appearing with the Monterey ensemble fits right into Akinmusire’s thinking about how jazz can continue to evolve: bringing musicians of all sorts together. “I’m pushing back against the idea that everyone’s isolated in their own little pocket of music.

That doesn’t do anything for it. Back in the day, cats went out and were checking out other musicians and getting together with them. There wasn’t this division that critics first erected and now musicians acknowledge. Personally, I would like to play with [groups like Monterey] and then turn around and play with someone like [innovative saxophonist] Ken Vandermark within the same week. And then turn around and play some of my own music. That’s where my head is. I want to enjoy and play all kinds of great music.” ◀

PASATIEMPOMAGAZINE.COM

35

Paul Weideman I The New Mexican

Sangre de CriSto SoundS Antonia Apodaca plays and sings the music of Northern New Mexico at Nuestra Música.

Antonia Apodaca is indefatigable, to say the least. “She just turned 89 on Nov. 1, and she’s amazing,” said Ray Casias, who plays guitar in her group Trio Jalapeño.

The trio is a central act in the 13th annual Nuestra Música program on Friday, April 19, at the Lensic Performing Arts Center.

In a short but lively telephone call, Apodaca responded to a question: How long has she played accordion? “Oh, since I was 6 years old in Rociada. I was raised very poor, and I learned to play the guitar, too. I’ve been teaching five people.” She asked to wait a moment, got her guitar, and played and sang into the telephone.

The song snippet concluded with, “in the morning and the evening, with pinto beans of course.”

She then said, “I’m a chile-holic. I never got sick a day in my life, and I don’t even know what a doctor is. I already played for President Bush [the first one], and I go to play in Washington, D.C., in July by airplane.” She whizzed along with a couple more sentences, ending with “OK, I love you, sweetie pie. Call me again sometime if you want to hear me play the accordion.”

This ebullience in spite of a devastating loss just a little over two years ago. On Dec. 20, 2010, while she was cooking her breakfast of eggs, jalapeños, and chicharrones, high winds knocked over the chimney and stovepipe and caused a fire. It spread so fast, she was only able to save her two accordions and her guitar. Gone was the family home in Rociada, a small town northwest of Las Vegas, New Mexico.

Her parents came from families of musicians from the mountains of Northern New Mexico, according to Silver City musicians Ken Keppeler and Jeanie 36

PASATIEMPO I April 19 -25, 2013

McLerie. Known for their group Bayou Seco, the duo backed Apodaca on her album Recuerdos de Rociada. Apodaca’s mother, Rafaelita Suazo Martínez, learned accordion from Apodaca’s father, José Damacio Martínez, and he learned it from his father, Canuto Martínez. Apodaca’s mother learned how to play the guitar from her father, Abrán Suazo.

Apodaca taught herself to play an old, broken accordion, and by the time she was a young teenager she won an accordion contest, competing against adult players, at La Fonda in Santa Fe. She married a fiddler, Maximilian Apodaca of Mora, and spent 30 years in Wyoming. Their musical endeavors together included learning “how to change the old polkas and waltzes into a Western rhythm when they played for the Anglos.” Max died in 1987, eight years after they moved back to her old home in Rociada.

Apodaca’s son, José Apodaca, said his mother performs regionally in New Mexico, Texas, Wyoming, and Colorado and has played the Festival of American Fiddle Tunes in Port Townsend, Washington, and the Smithsonian Folklife Festival in Washington, D.C. She has performed with Los Lobos and master Tex-Mex accordionists (and brothers) Flaco Jiménez and Santiago Jiménez Jr. Trio Jalapeño is now 18 years old, Casias said. “We’ll do some old, traditional Northern New Mexico folk tunes, some originals from Antonia’s family, and some old-time favorites from the colonial period that people are familiar with.” Such as the beloved song “De Colores”? “Well, Tonita [Apodaca] does it on request, but she prefers the real peppy stuff. For her, that’s a little bit slow.”

Roberto Mondragón, singer and guitarist, Cuyamunge, New Mexico, 1988, photo by Jack Parsons; courtesy Palace of the Governors Photo Archives (NMHM/DCA), Negative No. HP.2007.11.7

Kate Russell

Kate Russell

The Nuestra Música celebration, presented by the Spanish Colonial Arts Society, was founded in 2001 by Enrique Lamadrid and Jack Loeffler. The two co-authored the 1999 book La Música de los Viejitos: Hispano Folk Music of the Río Grande del Norte (UNM Press) and worked with Tomás Martínez Saldaña in 2005 to produce gallery guides in Spanish and English for the new El Camino Real International Heritage Center near Socorro.

“Nuestra Música is the only annual event that features the old music of traditional Nuevo Mexico, so there will be romances, inditas, corridas, and other musical forms that tell stories,” Loeffler said. “One of the things that interests me is that songs like these tell stories about actual events in history, so it’s a mnemonic device of a culture that was a grassroots culture and an indigenous culture. I think of Hispano culture as indigenous because to me 20 generations sort of creates that sense. And through that history, going back to the 17th century, the folk musicians were honored individuals and could really enliven the whole village at celebrations.”

The big news for this year’s event is the inclusion of dancers on the program.

“They’re known as La Sociedad Colonial Española de Santa Fe,” Loeffler said.

“It was founded in 1948 and it’s still going strong. They do folk dances. They’re devoted to the preservation of Hispano culture, but especially music and dance.”

The troupe performs several dances, including La Cuna, Vals de los Paños, El Vaquero, Una Polka, La Varsoviana, and La Marcha de los Novios, the march of the newlyweds. La Varsoviana, translated from Spanish, is “the little girl from Warsaw.”

“It’s a dance that came from the area outside of Warsaw, Poland. A lot of these dances originated in Europe and came over during the time of the Mexican emperor Maximilian I in the 1860s. His wife was a close friend of the wife of Napoleon III [nephew of the famous French emperor] so when a dance became

Far left, Ray Casias and Antonia Apodaca of Trio Jalapeño; left, Cipriano Vigil and his grandson Opposite page, Apodaca with her late husband Max Apodaca in Rociada, New Mexico, 1987; from Straight From The Heart: Portraits of Traditional Hispanic Musicians; UNM Press, 1990, photo by Jack Parsons

popular in the salons of Paris, it almost immediately was brought over to Mexico and then came to this area up the Camino Real de Tierra Adentro [the old road from Mexico City to the New Mexico frontier].

“On the other hand, La Cuna and El Vaquero are both dances that I believe originated in New Mexico. These are very elegant. The waltz itself, which we regard as highly dignified and a beautiful dance form, originated as an erotic spring dance in Bavaria.”

Loeffler said attendees at Nuestra Música will experience music played on guitars, violins, mandolin, tololoche (upright bass), guitarrón (the large guitar of Mexico), accordion, and vocal cords — there will be singing in all but the dance music.

The program begins with Roberto Mondragón, who is accompanied by Chacho y Victor: singer Robel “Chacho” Taylor, Mondragón’s grandson, and guitarist Victor Avilar. The second group is Frank McCulloch y Sus Amigos (Melody Mock on violin and Luis Campos on guitar), and then it’s La Familia Vigil with multiinstrumentalist Cipriano Vigil and his daughter and son, Felicita and Cipriano Jr. After intermisison is Trio Jalapeño with Apodaca, Ray Casias, and Bernardo Jaramillo. The final act is La Sociedad Colonial Española de Santa Fe. “This is the first time we have ever had a dance troupe on the stage,” Loeffler said, “and everybody’s pretty excited about it.” ◀

details ▼ Nuestra Música, featuring Antonia Apodaca and Trio Jalapeño ▼ 7 p.m. Friday, April 19 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $10, seniors no charge; 988-1234, www.ticketssantafe.org

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37

10K RACE AND 5K DOG WALK

PASA REVIEWS

7TH ANNUAL Les Ballets Trockadero de Monte Carlo Lensic Performing Arts Center, April 15

Toe story

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PASATIEMPO I April 19 -25, 2013

H

umor is such a rare commodity in dance that if Les Ballets Trockadero de Monte Carlo, the all-male en travesti ballet company based in New York, were merely to offer the audience its program notes, it would be funnier than 99 percent of the dance concerts in America. Dancers are listed with their résumés, alongside faux bio notes and pseudonyms — such as Ida Nevasayneva, Maya Thickenthighya, and Marina Plezegetovstageskaya. A tone of irreverence is established that clearly comes from a place of deep respect for ballet’s traditions. These qualities imbue everything that appears onstage. There is never a moment in which humor supersedes love for the art form. The edge, which Trockadero has been skating along for nearly 40 years, is the glittery divide between drag show and dance concert. The Trocks, appearing for a one-night stand at the Lensic Performing Arts Center on April 15, had their audience laughing from the moment the curtain went up.

On the one hand, the ballerinas have hairy chests, faces so masculine no amount of mascara, turquoise eye shadow, and rouge can manage to soften, and shoulders as broad as a stevedore’s. On the other hand, these dancers have exquisitely arched feet, the ability to nearly outdance women who have been in toe shoes since childhood, and an awareness of the craft’s subtle gestures.

The main difference between a Trockadero performance and one by, say, the threadbare Moscow Festival Ballet that visited Santa Fe a few years ago, is that the performers in the former actually seem to enjoy what they are doing. The Russian group was passionless and danced without thought to what they were performing — with members of the corps seen carrying on conversations onstage. The Trocks, however, are masters of the double take, raised eyebrows, swift kicks, pratfalls, and wicked smiles.

The highlight at the group’s engagement in Santa Fe was the curtain opener, Chopeniana. Based on Les Sylphides, choreographed by Michael Fokine and first performed in 1909, the stage was filled with fairies who danced in the moonlight with a handsome prince. The fairies, wearing traditional long costumes and tiny wings on their backs, managed to suggest ethereality as well as high comedy. The dancers’ gestures were controlled and refined — until they weren’t.

In a pas de deux from Don Quixote, nearly professional-caliber virtuosity outshone any business done for easy laughs. A rendition of The Dying Swan, one of the classic Trockadero pieces, originally choreographed by Fokine for Anna Pavlova in the early 1900s, brought down the house with a trail of molting feathers that followed the dancer around the stage.

Go for Barocco, choreographed by Peter Anastos, skewered the work of George Balanchine by taking recognizable elements of the master’s choreography, such as daisy-chain patterns, hip thrusts, and jogging, to a hilarious extreme. Walpurgis Night, a Trockadero version of a dreadful story ballet, complete with Bacchus, fauns, nymphs, and maidens, made its point quickly and then went on for a less-than-hilariously long amount of time. Timing, after all, is everything in comedy.

— Michael Wade Simpson

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39

TWAINRIDE Michael Graves as Mark Twain

The Report of My Death

brings Samuel Clemens back to life Rob DeWalt I The New Mexican

espite being recognized as one of America’s most enduring humorists and authors, Samuel Langhorne Clemens (1835-1910), better known as Mark Twain, lived through some dark and troubling days toward the end of his brilliant earthly occupation.

In playwright Adam Klasfeld’s one-man show The Report of My Death, actor Michael Graves plays Twain — who once said that people cannot be completely honest until after they’re dead — as an ethereal spirit speaking from beyond the grave. Culled from rare, previously censored, and posthumously published Twain letters, stories, and other writings, Klasfeld’s play follows Twain from about 1895 to 1900, touching on his financial woes, his worldwide lecture tour, multiple family tragedies, and the writer’s staunch opposition to U.S. imperialism.

The Report of My Death had its premiere in 2009 on the deck of a steamship moored along the Hudson River in Manhattan and has had successful runs throughout the U.S. From Friday to Sunday, April 19 to 21, Graves performs the show at Santa Fe Playhouse. Coincidentally, April 21 marks the anniversary of Twain’s death.

Pasatiempo spoke to Graves by phone following a mid-April rehearsal. Still partly in character, he discussed the production and Twain’s less fortunate moments during his twilight years.

Pasatiempo: How did you first become involved with The Report of My Death?

Michael Graves: Adam Klasfeld had been doing staged readings of the production, but the original actor was unavailable for some of the dates. He was looking for someone to back him up. Adam called me and asked if I would be interested. I had 40

PASATIEMPO I April 19 -25, 2013

never done a one-man show and wasn’t interested in doing one, because it’s an hour and a half all by yourself, you see? Every time I’d seen a one-man show I was kind of bored, because my idea was that theater is all about connections, about other people. But since it was Mark Twain, I said, “Why don’t you send me the material?” I fell in love with it. There’s not much you can’t fall in love with when it comes to Mark Twain. And when I started doing staged readings, I realized that the audience was the other character.

Pasa: How did the play begin to gain traction?

Graves: The Last Frontier Theatre Conference in Alaska heard about the play and asked Adam and me to come do a staged reading. Everybody was so enthusiastic about the project. We came home and started getting bookings all around the country, including odd places like Keokuk, Iowa, where Twain spent some time.

They have a huge Broadway-style theater there. We had the world premiere on the Lilac steamship, docked at Pier 40 on the Hudson. It was packed every night.

The distractions were amazing. There were two dinner boats, fake steamboats, parked in the same little marina, and sometimes they would take off with loads of people for dinner cruises. I would take the chance to do a little improv.

Pasa: How much did you know about Mark Twain’s business failures and tragedies before jumping on board? What surprised you most in reading the script for the first time?

Graves: I knew about Mark Twain, of course, but I knew nothing about those darker days of his. Twain’s Charles L. Webster & Company, which published Twain’s works and those of other writers, went pretty much belly-up. Twain’s

company filed for financial protection. He was left in major debt, and even though he could have been clear of his debts through the filing, he paid back every one of them back. He had to go on an international lecture tour to help pay them off. Around the same time that he realized how much his publishing-house bookkeeper had been embezzling and that he owed about $60,000 to various creditors — a huge sum of money back then [the equivalent of about $1.6 million today] — Congress passed the bankruptcy laws. Twain’s advisors told him to declare bankruptcy and start all over again.

But he told The New York Times in 1895 that “by law I’m allowed to start free again but I am not a businessman, and honor is a harder master than the law. It cannot compromise for less than a hundred cents on the dollar, and its debts never outlaw.”

Pasa: Mark Twain considered himself an ardent abolitionist and, over time, also developed a reputation among Southerners and politicians for being a bit of a stick-in-the-mud about America’s involvement in certain international affairs. What was the cause of the latter, in his waning years?

Graves: In the process of his international tour, Twain traveled to the South Pacific, India, South Africa, Australia ... and really discovered the evils of imperialism. What he discovered was how poorly the black races were being treated around the world by Queen Victoria and then by Teddy Roosevelt.

And then Roosevelt declared war on the Philippines along with Spain, and Twain discovered how badly the people were being treated there by the Americans. It was pretty much the equivalent of what George W. Bush did to Iraq, in the name of “democracy.” And people called Twain a muckraker, and some even called for him to be strung up and hung for treason because of his anti-imperialist views. A lot of newspaper editors were on his side, but a lot of them in the South believed he was a traitor. Twain went on to become vice president of the Anti-Imperialist Society of America, and he started making speeches and writing stories about the evils of imperialism and colonialism.

Seeing it firsthand, outside the U.S., was a turning point for him.

Pasa: Twain suffered the death of his youngest daughter, Jean, who died in 1909, drowning in the bathtub following an epileptic seizure. That was very close to the time of his own death.

Graves: There were so many more tragedies. His son, Langdon, died of diphtheria in 1872. Toward the end of Twain’s tour, he found himself in England, and while he was there, his daughter Susy came down with meningitis back in America and died [in 1896]. Twain was incredibly close to her and never really forgave himself for not being there. After her death he pretty much disappeared from public view and slipped into a very deep depression.

Pasa: And that’s about the time people started writing articles, wondering out loud whether Twain was still alive.

Graves: When a London reporter wrote a piece stating that Twain had passed away, Twain called on him and said, “Come down here now and see if we can correct this impression you’ve left on the world that I am dead.” Twain explained to the reporter [via a letter] that he had a cousin in London, a Mr. James Ross Clemens. He was a prominent physician who took ill, but he recovered. It was from this letter that the famous “The report of my death has been greatly exaggerated” quote came from, although that’s not exactly what Twain said. Here’s the one that basically says it all about Twain and his lasting legacy: a Western Union cablegram from The New York Journal to a reporter in London [in 1897] that said, “If Mark Twain is dying in poverty, in London, send 500 words. If Mark Twain has died in poverty, send 1,000 words.” ◀

details ▼ Michael Graves in The Report of My Death ▼ 8 p.m. Friday & Saturday, April 19 & 20; 2 p.m. Sunday, April 21 ▼ Santa Fe Playhouse, 142 E. De Vargas St.

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Opposite page, left, Mark Twain, photo by T.E. Marr, Library of Congress LC-USZ62117715; right, drawing of Huckleberry Finn by E.W. Kimble, Wikimedia

Andrea Fisher Fine Pottery

100 West San Francisco Street, Santa Fe, NM 87501 (505) 986-1234 www.andreafisherpottery.com PASATIEMPOMAGAZINE.COM

41

Michael Abatemarco I The New Mexican

Rock And Awe

william clift’s Shiprock and Mont St. Michel images Begin with a vision: In the bay, an island embraced by sands. a river and the tidal wash of the sea.

— from the poem Prologue by Paul Kane

A

William Clift: Top, Shiprock, 2004, pigment print Bottom, Shiprock, 1975, gelatin silver print Opposite page, top, Mont St. Michel, 1977, gelatin silver print Opposite page, bottom, Mont St. Michel, 1997, gelatin silver print Images © William Clift; courtesy the artist

42

PASATIEMPO I April 19 -25, 2013

ny photographer can take a pretty picture of a place, but William Clift sees its timeless soul.

One such place is Mont St. Michel, a tidal island connected at low tide to the coast of Normandy, France. Another is Shiprock, a towering rock formation on the Navajo reservation in northwest New Mexico. If you doubt that places have a soul, you may change your mind after seeing the exhibition Shiprock and Mont St. Michel: Photographs by William Clift, which opens on Friday, April 19, at the New Mexico Museum of Art. The show was organized by the Phoenix Art Museum, where it opened in December.

For more than a millennium, Mont St. Michel has attracted pilgrims and visitors who risked the tides to reach the monastery and abbey church built on the rocky island where Romanesque and Gothic architecture rises above the flat surroundings like a vision. The causeway linking Mont St. Michel and the mainland is accessible, though it has not always been easily traversed.

“There’s quicksand,” Clift said. “People die in the sands around Mont. St. Michel, just sink down into the ground and disappear.”

Mont St. Michel’s official website warns of the extreme danger of the bay surrounding the site. The island is a destination, the more so because, on a clear day, you’ll have it in your sights long before

you reach it. Clift’s photographs, as presented in the exhibition, offer a chance to experience the approach first and then utter immersion into a place of mystery and beauty. His recent book, Mont St. Michel and Shiprock (published by The Pearmain Press), is arranged similarly. First, we see the tidal sands, then a selection of shots from a distance. We look through the mists as if peering through time. It’s an old place. While its population is less than a hundred, the site draws a staggering number of visitors annually and is designated a UNESCO World Heritage Site. “It was interesting photographing Mont St. Michel, because two or three million people go there every year,” Clift said. “Two or three million people take their camera every year. From almost any one spot that I take a picture from, that spot has been photographed by millions of people. I’m not doing anything different than what they did. I’m not trying to be original or creative. I’ve done a lot of looking. Much of what I find as experience in these two places may be common to many people.”

If there’s a spiritual quality in Clift’s photographs, it is rooted in his engagement with place. “The spiritual so often has to do with being good, being quiet, and being meditative. I’m not a continued on Page 44

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43

William Clift, continued from Page 43 meditative person. I go out and work hard, mostly by carrying equipment. I don’t take many pictures; I might take two in a day.

I don’t wait for the right light. I look, digest and, every once in a while, my camera goes up on the tripod and I take a picture. I’m just walking and looking, and there’s no particular spiritual aspect to that.”

The human response to the monumental — whether manmade, as with the buildings at Mont St. Michel, or natural, as at Shiprock — is one of awe. The terrain around Shiprock is also fraught with danger. It is rugged and rocky. One suspects it takes a person of reasonable health and ability to reach and photograph Shiprock from the vantage points seen in Clift’s images. Clift captures a sense of light and dark, not just as tonal ranges but also in a more subjective way. “We have both sides in ourselves, as all human beings have, and those two places represent those sides.”

Clift’s book avoids wordy narratives, letting the images describe and inflect. In that sense they’re impressionistic. In concert with the images in the book is a selection of poems by Paul Kane, who traveled to these places as well — at times independently and at times with Clift. He uses words to evoke their visceral power. The design by Eleanor Morris Caponigro allows Kane his own space in the tome. The poems are placed toward the back, alongside a selection of smaller images. Reading the poems can deepen the experience because we are given two visions instead of one. Each reflects the other, but that is not the result of a deliberate attempt at convergence; it is governed more by similarities in the way Clift and Kane were moved by these places.

For Clift, part of what drew him to Shiprock and Mont St. Michel, beginning in the early 1970s, was what they offered photographically. “One of the reasons that I kept working with these places over so long a period of time was that I could keep going back and keep discovering more. Many times photographers work with a place for a little while and then go to another place, then another place. But both of these subjects offered enormous amounts of visual variety and visual material to keep trying to go deeper and deeper into. That’s exciting, because you don’t have to keep wandering, looking for another subject.”

Clift and Caponigro avoid a side-by-side comparison in the book’s design, preferring to give each location a spread of its own.

As with Kane’s observant poems, convergences present themselves without the need for a heavy-handed approach, something Clift hopes to avoid in the museum presentation, as well, by not arranging the images in such a way as to invite comparisons. The sea and the desert are a source of life and death. “There are resemblances and ties between the two places, and there are a lot of differences.

I think almost anybody from any culture around the world has to be affected by those two places. They have to be. It doesn’t matter how you’re educated. It doesn’t matter what your beliefs are. One has to be affected.” ◀

details ▼ Shiprock and Mont St. Michel: Photographs by William Clift ▼ Opening reception 5:30 p.m. Friday, April 19; through Sept. 8 ▼ New Mexico Museum of Art, 107 W. Palace. Ave., 476-5072

Mont St. Michel, 1999, gelatin silver print; Top, Mont St. Michel, 1982, gelatin silver print

44

PASATIEMPO I April 19 -25, 2013

▼ By museum admission (no charge Fridays from 5 to 8 p.m.)

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SUNDAY, APRIL 21, 1:00 – 4:00 P.M. SANTA FE CHILDREN’S MUSEUM SPONSORED BY CORNERSTONES COMMUNITY PARTNERSHIPS SANTA FE CHILDREN’S MUSEUM PLANTS OF THE SOUTHWEST

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MOVING IMAGES pasa pics

— compiled by Robert Ker

cult favorite The Devil’s Rejects. Sheri Moon Zombie (Rob’s wife) plays a radio DJ in Salem, Massachusetts, who receives a wooden box with contents that vividly recall the town’s horrible past and hint at something evil returning for another gory go-around. Rated R. 100 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) OBLIVION It’s the year 2077. Earth has been ravaged by a war with aliens. Tom Cruise plays one of the last men left alive. But before he can finally let loose and act completely crazy, he’s summoned into action when he discovers a woman (Olga Kurylenko) in a crashed spaceship and learns — via a character played

by Morgan Freeman — that he is mankind’s last hope.

Rated PG-13. 125 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)

Andrea Riseborough in Oblivion, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week BEYOND THE HILLS The world of Christian Mungiu’s austere feature is blanketed — smothered, really — in a Catholicism unchanged since the middle ages. The remote monastery in Romania where the story takes place is as far from the 20th century as it is from the nearest city. Into this world comes an outsider, Alina (Cristina Flutur), who wants to see her friend Voichita (Cosmina Stratan), a nun, and persuade her to leave. The two grew up in an orphanage together and seem to have had a lesbian relationship. But when Voichita, happy at last in the religious order, elects to stay, Alina gets a bit crazy, and the priest elects to perform an exorcism. The script is drawn from the story of a real exorcism in a Moldavian convent in 2005 and its tragic consequences. It’s powerful and involving, but at two and a half somber hours, the movie sometimes requires the patience of holy vows to see it through. Not rated. 150 minutes. In Romanian with subtitles. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 50.

A FIERCE GREEN FIRE: THE BATTLE FOR A LIVING PLANET Adapted from a book by Philip Shabecoff, this enviro doc by 46

PASATIEMPO I April 19 -25, 2013

writer-director Mark Kitchell (Berkeley in the Sixties) honors the hard work of organizations and individuals throughout the past 110 years in trying to turn the tide on ecological disaster. Divided into five sections — “Conservation,” “Pollution,” “Alternatives,” “Going Global,” and “Climate Change” — the film is narrated by a team of celebrities, including Robert Redford, Meryl Streep, and Ashley Judd. There is a lot to cover on the subject of conservation — Aldo Leopold, John Muir, Teddy Roosevelt, the Sierra Club, Greenpeace, the Love Canal disaster, and South American deforestation. Kitchell doesn’t have enough time to explore any of it with real depth, which leaves the film as a collage of what the book so adequately accomplished on its own. Skype Q & A session with Kitchell follows the 7:15 p.m. screening on Friday, April 19. Not rated.

114 minutes. Center for Contemporary Arts, Santa Fe. (Rob DeWalt) GIRL RISING Meryl Streep, Anne Hathaway, Liam Neeson, Cate Blanchett, and Salma Hayek are among the actors who narrate these nine stories about girls from different countries who are attempting to push past the limits forced upon them by their surroundings, get educated, and effect change in the world. Rated PG-13. 101 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) THE LORDS OF SALEM Director Rob Zombie returns for his first original horror film since his 2005

THE SAPPHIRES It’s the year 1968. Vietnam is being ravaged by a war with the U.S. Social change is enveloping the world. In Australia, the indigenous population is finally granted the right to vote. A scruffy talent scout (Chris O’Dowd) meets four gifted Aboriginal sisters, teaches them to sing in a Motown style, and brings them to Vietnam to entertain the U.S. troops. Full of music and humor and loosely based on a true story, this could potentially be the most feelgood story set during the Vietnam War since Forrest saved Lieutenant Dan. Rated PG-13. 99 minutes.

Regal DeVargas, Santa Fe. (Not reviewed) UPSTREAM COLOR Not much of this movie makes sense, and all of it is presented in a way that makes it clear that the filmmaker, Shane Carruth (director of 2004’s Primer) — who also stars — is more interested in viscerally disgusting you than telling you a coherent, believable, or interesting story. A woman is kidnapped, experimented on with psychotropic grubs and/or pigs, and left believing she is insane. The movie is filled with disembodied grunting sounds, which must be intended as a substitute for depth. Not rated. 96 minutes. Center for Contemporary Arts, Santa Fe. ( Jennifer Levin) 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) 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 overthe-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) 42 This version of the story of Jackie Robinson — the first African-American player in Major League Baseball — by writer-director Brian Helgeland aspires not to greatness but to merely avoid blowing the opportunity.

He aims for a double, not a home run, and his film is formulaic, respectful, and at times too treacly. No big deal: the story itself has all the greatness one could want. In staying the course and paying extraordinary attention to detail, Helgeland has crafted an uplifting and truly wonderful movie. Much credit goes to the actors: Chadwick Boseman is every inch the movie star as Robinson, Harrison Ford delights in a rare character-actor turn as Brooklyn Dodgers general manager Branch Rickey, and the supporting cast is as sturdy as a Louisville Slugger. Rated PG-13. 88 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker)

G.I. JOE: RETALIATION In this follow-up to 2009’s G.I. Joe: The Rise of the Cobra, a star-studded 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. Screens in 2-D only at DreamCatcher, Española; 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 DeVargas, Santa Fe. (Laurel Gladden) JURASSIC PARK 3D Steven Spielberg’s last truly great family adventure was the 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.

(Robert Ker) LORE Based on material found in Rachel Seiffert’s novel The Dark Room, Lore tells the story of a teenage Bavarian

Girl Rising

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. (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 2012’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) continued on Page 48 PASATIEMPOMAGAZINE.COM

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MOVING IMAGES pasa pics

continued from Page 47

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 — 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) 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. (Laurel Gladden) 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) QUARTET At 75, Dustin Hoffman makes his debut as a director with appealing geriatric material. Beecham House is a

spicy

medium

bland

heartburn

mild

Read Pasa Pics online at www.pasatiempomagazine.com

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PASATIEMPO I April 19 -25, 2013

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)

sees a hypnotherapist (Rosario Dawson) to find out where he hid the painting. The plot leaps off and back onto the rails, but no matter. As with any good noir, Boyle and longtime cinematographer Anthony Dod Mantle tell the tale through lights, shadows, and reflections, stylishly weaving more impressions than answers. Rated R. 101 minutes. Regal DeVargas, Santa Fe. (Robert Ker)

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 Locklear, and Mike Tyson appear. Not rated. 85 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)

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)

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)

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 and her country’s tumultuous politics. Not rated. 110 minutes. In Spanish, French, and Polish with subtitles.

The Screen, Santa Fe. ( Jon Bowman)

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 this movie a near-perfect oddball comedy.

Rated R. 122 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) TRANCE It’s easy to forget now that Oscar-winning, Olympic-ceremonyplanning director Danny Boyle (Slumdog Millionaire) made his debut in 1994 with a small thriller named Shallow Grave. Trance finds him returning to his roots, rejoining that film’s writer ( John Hodge, who also wrote Boyle’s Trainspotting) for a taut little mind-bender. 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

other screenings Tipton Hall, Santa Fe University of Art & Design 5:30 p.m. Saturday, April 20: Jerry Uelsmann & Maggie Taylor: This Is Not Photography Presented by Verve Gallery of Photography and Scheinbaum & Russek, Ltd. Center for Contemporary Arts 7:30 p.m. Saturday, April 20: Eternal Sunshine of the Spotless Mind. Presented by SITE Santa Fe Young Curators.

The Screen 7:15 p.m. Monday, April 22: One Life.

Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 Sunday-Tuesday, April 21-23: Like Someone in Love. ◀

LAUGh-OUt-LOUD FUNNY!

“

”*

What’s shoWing Call theaters or check websites to confirm screening times.

CCA CinemAtheque And SCreening room

1050 Old Pecos Trail, 982-1338, ccasantafe.org Eternal Sunshine of the Spotless Mind (R) Sat. 7:30 p.m.

A Fierce Green Fire:The Battle for A Living Planet

(NR) Fri. 7:15 p.m. Sat. 3 p.m. Sun. 12:15 p.m., 7:15 p.m. Tue. to Thurs. 7:15 p.m.

No (R) Fri. 12:30 p.m., 2:45 p.m., 5 p.m. Sat. and Sun. 1 p.m., 3:30 p.m., 6 p.m., 8:15 p.m. Tue. to Thurs. 1 p.m., 3:15 p.m., 5:30 p.m., 7:45 p.m.

Upstream Color (NR) Fri. 2 p.m., 4 p.m., 6 p.m., 8 p.m. Sat. 12:45 p.m., 5:15 p.m. Sun. 2:45 p.m., 5 p.m. Tue. to Thurs. 2:45 p.m., 5 p.m. regAl deVArgAS

562 N. Guadalupe St., 988-2775, fandango.com Admission (PG-13) Fri. and Sat. 4:10 p.m., 10 p.m.

Sun. to Thurs. 4:10 p.m.

The Host (PG-13) Fri. and Sat. 1:10 p.m., 4 p.m., 7 p.m., 9:45 p.m. Sun. to Thurs. 1:10 p.m., 4 p.m., 7 p.m.

The Place Beyond the Pines (R) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:40 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 6:50 p.m.

Quartet (PG-13) Fri. to Thurs. 1:40 p.m., 7:20 p.m.

The Sapphires (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 9:50 p.m. Sun. to Thurs.

1:30 p.m., 4:30 p.m., 7:30 p.m.

Side Effects (R) Fri. and Sat. 4:20 p.m., 9:55 p.m.

Sun. to Thurs. 4:20 p.m.

Silver Linings Playbook (R) Fri. to Thurs. 1:20 p.m., 7:10 p.m.

Trance (R) 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. regAl StAdium 14

3474 Zafarano Drive, 424-6296, fandango.com 42 (PG-13) Fri. to Wed. 1:30 p.m., 4:05 p.m., 4:30 p.m., 7:05 p.m., 7:35 p.m., 10:05 p.m., 10:30 p.m.

The Big Wedding (R) Thurs. 9 p.m.

The Croods 3D (PG) Fri. to Wed. 1:10 p.m., 4:10 p.m., 7:15 p.m., 9:45 p.m.

The Croods (PG) Fri. to Wed. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:15 p.m.

Evil Dead (R) Fri. to Wed. 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 Wed. 10:10 p.m.

G.I. Joe: Retaliation (PG-13) Fri. to Wed. 1:45 p.m., 4:35 p.m., 7:25 p.m.

Girl Rising (PG-13) Fri. to Wed. 1:30 p.m., 4:30 p.m., 7:25 p.m., 10:30 p.m.

Jurassic Park 3D (PG-13) Fri. to Wed. 1:15 p.m., 4:15 p.m., 7:20 p.m., 10:15 p.m.

The Lords of Salem (R) Fri. to Wed. 1:20 p.m., 4:50 p.m., 7:45 p.m., 10:20 p.m.

Oblivion (PG-13) Fri. to Wed. 1 p.m., 1:35 p.m., 4 p.m., 4:35 p.m., 7 p.m., 7:30 p.m., 10 p.m., 10:35 p.m.

Olympus Has Fallen (R) Fri. to Wed. 1:20 p.m., 4:25 p.m., 7:40 p.m., 10:25 p.m.

Oz the Great and Powerful 3D (PG) Fri. to Wed. 1:05 p.m., 7:10 p.m., 10:15 p.m.

Oz the Great and Powerful (PG) Fri. to Wed. 4:05 p.m.

Pain & Gain (R) Thurs. 9:15 p.m.

Scary Movie 5 (PG-13) Fri. to Wed. 2 p.m., 4:40 p.m., 8 p.m., 10:25 p.m.

Tyler Perry’s Temptation (PG-13) Fri. to Wed. 1:05 p.m.

the SCreen

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, thescreensf.com Beyond the Hills (NR) Fri. and Sat. 2 p.m., 7:15 p.m.

Sun. 3 p.m. Tue. to Thurs. 2 p.m., 7:15 p.m.

Lore (NR) Sat. 11:45 a.m. Sun. 12:45 p.m.

One Life (NR) Mon. 7:15 p.m.

Violeta Went to Heaven (NR) Fri. and Sat. 5 p.m.

Tue. to Thurs. 5 p.m.

SCARYMOVIEFIVE.COM

*Clevver.com, Deidre Behar

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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., 9:50 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. 5 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:25 p.m., 5 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:25 p.m., 5 p.m., 7:05 p.m. Mon. to Thurs. 5 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.

Oblivion (PG-13) Fri. 4:35 p.m., 7:15 p.m., 9:55 p.m.

Sat. 1:55 p.m., 4:35 p.m., 7:15 p.m., 9:55 p.m.

Sun. 1:55 p.m., 4:35 p.m., 7:15 p.m. Mon. to Thurs.

4:35 p.m., 7:15 p.m.

Olympus Has Fallen (R) Fri. 4:40 p.m., 7:15 p.m., 9:45 p.m. Sat. 2:05 p.m., 4:40 p.m., 7:15 p.m., 9:45 p.m. 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. 4:55 p.m., 7:05 p.m., 9:35 p.m.

Sat. 2:25 p.m., 4:55 p.m., 7:05 p.m., 9:35 p.m.

Sun. 2:25 p.m., 4:55 p.m., 7:05 p.m. Mon. to Thurs.

4:55 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.

Oblivion (PG-13) Fri. 4:35 p.m., 7:15 p.m., 9:55 p.m.

Sat. 1:55 p.m., 4:35 p.m., 7:15 p.m., 9:55 p.m.

Sun. 1:55 p.m., 4:35 p.m., 7:15 p.m. Mon. to Thurs.

4:35 p.m., 7:15 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.

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49

movIng Images film reviews

Romanian holiday Jonathan Richards I For The New Mexican Beyond the Hills, drama, not rated, in Romanian with subtitles, The Screen, 3 chiles The world of Christian Mungiu’s austere Beyond the Hills is blanketed — smothered, really — in a Catholicism unchanged since the middle ages. The little monastery in the hills of Romania where this story takes place is as remote from the 21st century as it is from the nearest city. It has no electricity, no plumbing, no cars, and they’ve probably never heard of wi-fi. The place is presided over by a bearded orthodox priest (Valeriu Andriuta) and his chief deputy, a kindly faced mother superior (Dana Tapalaga), known familiarly to the gaggle of nuns who make up the rest of the population as Papa and Mama.

Into this world comes an outsider, Alina (Cristina Flutur). She is met at the local train station by Voichita (Cosmina Stratan), a black-garbed young nun who wades upstream through the disembarking passengers to greet her. Alina clasps her friend in an emotional embrace that lasts until Voichita disengages herself, murmuring, “People are watching.”

Alina has come to persuade her old friend to return with her to Germany, where she has been living and where she has arranged work for them both as waitresses on a boat. We learn that the two grew up together in a nearby orphanage, where the tough Alina was the protector of the demure Voichita and apparently her lover as well.

The stakes for Alina are clear. She is still in love with Voichita and wants to get her away from this cloistered life she’s chosen. Voichita has agreed to go on a working holiday with her childhood friend but has no intention of deserting the religious order,

50

PASATIEMPO I April 19 -25, 2013

Cosmina Stratan and Cristina Flutur

where she has found her first true sense of belonging. Papa, who understands the struggle between the sacred and the profane as well as he understands anything, lays down the law: if Voichita leaves, she cannot come back. “The West has lost the faith,” he laments. “Everything’s allowed. Men marrying men, women marrying women ...”

For Papa and the nuns, the world is black and white, and cinematographer Oleg Mutu underlines this with a palette that seldom strays far from monochrome. The religious order is robed in black, and the wintry rural Romanian countryside is wrapped in white and chilly shades of blue.

God is the only answer, no matter what the question. Confession is the cure of first and last resort, whatever the ailment. “Confession brings peace,” Voichita advises her troubled friend, but only if you lay everything out (though she adds reassuringly, “You don’t have to be too specific.”)

This leads to the movie’s most inspired (if I may use that term profanely) set piece: a scene in which Alina is prepared for confession with a comprehensive checklist of 464 sins. “Read her the list,” Papa tells the nuns. “Mark down the ones she has

committed.” As they move down the list, Alina sits there recording every number.

Alina is a painful misfit in the hermetically sealed world of the religious order, an operation so remote that it has never even been consecrated by the church, which is withholding its blessing until they at least get the place painted. When it becomes apparent that Voichita is not coming with her, Alina goes a bit nuts.

They tie her up and cart her off to the nearest hospital, but the overworked, undermotivated doctors quickly dump her back on the monastery, where Papa takes her in only with the greatest reluctance. When she flips out again, he decides to take matters into the only hands he understands and performs an exorcism.

Mungiu has used casting to emphasize the worlds he is contrasting. Flutur has a sharp, hardened face that suggests the hardscrabble world of sin and adventure beyond the gates of the order. Stratan has the smooth round face of a Renaissance Madonna.

Mungiu is certainly choosing sides — the story draws from a real case of exorcism and its tragic consequences that took place in a Moldavian convent in 2005. But he takes care to avoid painting any of the characters with a heavily tarred brush. None of them acts out of malevolence. Papa does the best he can with a conscience choked in the weeds of religious and cultural provincialism. The nuns do what Papa says. Only Voichita wrestles with a sense of right and wrong that is complicated by her love of her friend.

And while the movie may harbor a bias toward the outside world, there is no question, between the serenely cloistered Voichita and the agitated secular Alina, which one is the happier.

At two and a half somber hours, the movie sometimes requires the patience of holy vows to see it through. It is rife with symbolism, from a bucket of flopping, still-gasping fish to the deep stone well in the monastery yard where Voichita goes again and again to draw water. These clues can all be interpreted to the heart’s content. But you may have a sneaking feeling, despite the movie’s obvious and manifold virtues, that it goes to the well once too often. ◀

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“ONEOFTHEYEAR’S BESTFILMS! A brilliantlyacted crime thriller. BRADLEYCOOPER

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“UPSTREAM COLOR”

is superb. RYAN GOSLING is pitch-perfect.

He and EVA MENDES have palpable chemistry. Riveting.”

WRITTEN and DIRECTED by

SHANE CARRUTH STARTS FRIDAYIN IN NEW SANTAYORK FE STARTS TODAY Exclusively the CCA Cinematheque Opens 4/12 inatLos Angeles & San Francisco

“A HELLOF A RIDE!

RYAN GOSLING is spectacular. BRADLEYCOOPER’S ferocityand feeling pull you in. Pines sticks with you. Hold on tight.”

“HHHH! ATHRILLTOWATCH! RYAN GOSLING electrifies.”

BRADLEY COOPER AND RAY LIOTTA

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New Mexico Filmmakers Experience:

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11:00a Sun April 21

7:30p Saturday April 20 Presented by SITE Santa Fe Young Curators $5

What are they learning? What do they think about making films in New Mexico? Join our panel discussion and find out!

Free and open to the public!

Friday April 19

Saturday April 20

Sunday April 21

Monday April 22

12:30p - No 2:00p - Upstream Color* 2:45p - No 4:00p - Upstream Color* 5:00p - No 6:00p - Upstream Color* 7:15p - A Fierce Green Fire with Q&A 8:00p - Upstream Color*

12:45p - Upstream Color* 1:00p - No 3:00p - A Fierce Green Fire* 3:30p - No 5:15p - Upstream Color* 6:00p - No 7:30p - SITE Young Curators: Eternal Sunshine* 8:15p - No

11:00p - NMFO: What Are the Kids Doing?

12:15p - A Fierce Green Fire* 1:00p - No 2:45p - Upstream Color* 3:30p - No 5:00p - Upstream Color* 6:00p - No 7:15p - A Fierce Green Fire* 8:15p - No

Cinema Closed

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

Tues-Thurs April 23-25 1:00p - No 2:45p - Upstream Color* 3:15p - No 5:00p - Upstream Color* 5:30p - No 7:15p - A Fierce Green Fire* 7:45p - No

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51

moving images film reviews

There’s the grub Jennifer Levin I For The New Mexican Upstream Color, experimental film, not rated, Center for Contemporary Arts, onion Music is moody and dimmer than meaning.

Millions of grubs and two boys who might be ninjas, if we followed their story.

But we don’t, and words don’t mean anything if they are not synched to speech.

The woman is forbidden to drink more than a sip.

She sticks to the rules.

My head is made from the same substance as the sun, so you cannot look directly at me.

The pigs and the grubs share DNA. The above hastily constructed poem is awful, but it’s a succinct synopsis of the first half of Upstream Color, an “experimental” film written and directed

by Shane Carruth nearly a decade after his wellreceived rookie foray, Primer. I wrote the poem based on the notes I made during the viewing, and I guarantee it makes infinitely more sense than the movie itself, which aspires to be both free-form multimedia performance art and a conventional

Carruth and Seimetz

52

PASATIEMPO i April 19 -25, 2013

Amy Seimetz and Shane Carruth

thriller. As multimedia performance art, it is successful — if success is measured by the sheer volume of pointlessly symbolic visual imagery; nonsensical intrusions into the story by characters that may or may not exist outside the minds of the other characters; stiff, repetitive dialogue that sounds nothing like human beings speaking to one another; and aggressive evocation of visceral disgust and dispassionate boredom in the viewer. The conventional thriller inside the movie never had a chance because it was suffocated by all the experimental garbage.

Talking about the plot will not spoil the movie.

Upstream Color will be far more palatable if you are not trapped in the same dislocated head space of the protagonist, a kidnapped woman (played by Amy Seimetz) whose name is eventually, and hamfistedly, revealed to be Kris. She meets a man in a club and wittingly or unwittingly ingests a capsule with a psychotropic grub inside of it. She is held in an apartment by the man, who forces her to memorize all of Walden and learn to knit. She also has to make paper chains. She’s allowed very little water. The man hypnotizes her and drains her bank accounts.

The woman realizes there is a worm inside of her that she can see through her skin, so she cuts it out of herself. There is a milky substance that she doesn’t want to drink. Every bit of this is told through flashes and murmurs, whispers and repetitive imagery, halfsentences and irritating whooshing and clomping sounds — and this is the point at which the movie stops making sense.

Enter the pigs and their caretaker, or possibly their torturer, who is also some sort of music ecologist or experimental composer — it is revealed that he is recording all the pointless and annoying ambient sound that is layered over the movie. (According to the Internet Movie Database, his character is “the sampler,” and he is played by Andrew Sensenig.)

What dialogue there is is looped in such a way that it sits on top of the rest of the sound or just underneath it, giving the entire film the shallow feel of a trailer that has been stitched together from a longer work, intended only to give glimpses of a story. There is never a settled rhythm to the story or a sense that anyone cares whether you enjoy this movie or know what is going on.

Back to the action: the woman and a pig are operated on, and this has something to do with the grubs. Or perhaps the woman and the pig are exchanging souls? Later the woman is no longer captive, and when she goes back to work, her employer fires her for unexplained absences. Then she meets a man named Jeff, a man with secrets of his own who is played by Carruth. This man cannot act. He is wooden yet intense and seems to be imitating the idea of acting for some kind of effect, calling to mind the purposely stilted direction of Hal Hartley in such films as Trust and Henry Fool, except that Hartley prioritizes genuine narrative and rich character arcs over Carruth’s silly artiness. The only priority here seems to be to puzzle and alienate the viewer.

In another turn of events, Kris finds out that she is a survivor of endometrial cancer, though she doesn’t remember being diagnosed or treated. This has something to do with the grubs. Or the pigs. Or the grubs and the pigs might not exist — they might be nothing more than a metaphor, although for what is unclear.

There is one potentially interesting plot point about trauma masquerading as mental illness, but the movie is so exploitative of its own complexity that the experience amounts to nothing more than watching a dance remix of a particularly gruesome episode of Criminal Minds made by an exceptionally talented college freshman who has yet to discover that great cinema requires more than a handful of disjointed ideas and access to editing software. ◀

SPECIAL EARTH DAY SCREENING

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53

RESTAURANT REVIEW Bill Kohlhaase I For The New Mexican

Home is where the tilapia is

Santa Fe Steamer 3242 Cerrillos Road, 438-3862 Lunch 11 a.m.-2 p.m. Tuesdays-Saturdays; dinner 4 p.m.- 9 p.m. Tuesdays-Saturdays; closed Sundays & Mondays Noise level: quiet Handicapped-accessible Beer & wine Credit cards, no checks

•

The Short Order Santa Fe Steamer is a family-owned, familyfriendly restaurant specializing in seafood as well as occasional classic lunch specials like liver and onions and beef stroganoff. A small selection of fish and shellfish, including tilapia, salmon, catfish, and oysters, can be had broiled, steamed, fried, grilled, and blackened, and the menu includes the expected offerings such as Maine lobster tail, fried clams, and king crab legs (Tuesday night is all-you-can-eat shrimp night). The food can be wonderful or so-so; say, a perfect piece of grilled tilapia served with a soggy ear of corn. The chef does his best work frying — dig those perfect wedges of potato — and the place serves a surprisingly satisfying burger. The biggest attraction?

The reasonable prices. Lunch specials at $7.95 pack ’em in. Recommended: oysters Brittnie, baked artichoke hearts, fried oyster sandwich, grilled tilapia, and the Steamer burger.

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.

54

PASATIEMPO I April 19 -25, 2013

Santa Fe Steamer — you’ve probably seen the sign at the front of the place, with its oversized red crustacean — is among a vanishing breed of American restaurants.

No, I’m not talking about seafood restaurants. We have more than enough of those — consider the ubiquitous Red Lobster, catering to the vast, shrimp- and bargainstarved masses. Santa Fe Steamer is family-owned and boasts a menu that’s something of a throwback. Where else these days can you get a Cobb salad or lunch specials like beef stroganoff and liver and onions with a side of mashed potatoes and a slice of red velvet cake for dessert?

It’s the kind of place our fathers loved to go to for shrimp cocktail — friendly, with dishes that are decently, if not exceptionally, prepared and reasonably priced. It’s cozy, if a bit worn, and without any pretension to high-class or snobbish fine dining.

The Steamer features seafood, of course, but not exclusively. It serves an unexpectedly good half-pound burger, juicy and well-seasoned, topped with a thin slice of cheese and two extra-crispy slices of bacon. The parking lot is nearly always full during the lunch hours, and why not? You can get a nicely grilled piece of tilapia with a bowl of sweet steamed cabbage and a side of rice for $7.95, a price which in grand-family-restaurant style includes crumbly sweet cornbread, iced tea or coffee, and dessert. The lunch specials change every week and can include chicken piccata or fried shrimp with side dishes like coleslaw and green beans or a soup-and-salad selection. Or pasta. No wonder the place is so popular.

The dinner menu is what you’d expect from a seafood restaurant: Maine lobster tail, king crab legs, fried clams, and the like, with prices to match — though more reasonable than at most other places. You won’t find as vast a selection of fish, but a few choices — salmon, tilapia, and catfish — are always available, as are a couple of freshcatch selections. One day it was pink-fleshed freshwater ruby trout and white-fleshed Hawaiian wahoo. They’re offered broiled, steamed, fried, grilled, or blackened.

Nothing is too spicy here. An order of blackened jumbo white shrimp was done well but wasn’t terribly zippy. On all-you-can-eat shrimp night, the small-sized fellows were perfectly breaded and fried. But the breading could have used a bit more kick.

Contrary to its name, the Steamer does its best work when frying or grilling. Thick wedge-cut potatoes, perfect with that wonderful burger, are a marvel: golden on the outside, meaty inside, and not greasy at all. The friedoyster sandwich was a delight; the three oysters crowding the kaiser roll were hot and crispy, fresh-flavored, and juicy. The grilled tilapia was firm and flaky, without any of the mushy texture or muddy flavor that is giving this overused fish a bad reputation. On the other hand, the broiled piece of wahoo, a fish known for its firm, meaty texture, was a bit overdone and not juicy at all, a fact not hidden by a drizzle of oil.

There are specials at dinnertime, too, though not as attractively priced as lunch. I tried a seafood marinara — lots of shellfish (flavorful mussels, large chunks of chewy clam, and clean, firm shrimp) in a thin sauce over linguini. It would have been a winner if only its sauce had had more character.

A couple of the appetizers are truly outstanding. Baked artichoke hearts were breaded and just a touch crispy, the hearts inside forgiving and flavorful, the lemon-tinged cream sauce a perfect complement. Oysters Brittnie, gently fried oysters redolent of butter and garlic, may be the best thing on the menu.

I’m often disappointed by crab cakes, and these were no exception — seared nicely but too damp and hardly crablike in the middle. That’s what’s frustrating about Santa Fe Steamer. Some dishes are wonderful, some are just OK, and some disappoint. The creamy slaw here is crisp and classic, the steamed cabbage wonderfully flavored.

But corn on the cob was soggy one visit and terribly so another. A cup of gumbo was thin and undistinguished.

Service here is what you’d expect from a family restaurant: welcoming but to the point. Any small lapses — say a check not brought promptly — are the exception and corrected with sincere apologies. One lunch, when mom — one of two servers working the floor — had to leave briefly to get the kids from school, the chef was rushing steaming plates out to tables himself. It’s the home-style touches like those fries, that cornbread, and once, a delicious square of yellow sheet cake, that make the Steamer unique. More shrimp cocktail, dad? ◀

Check, please Dinner for two at Santa Fe Steamer: Baked artichoke hearts .............................. $ Crab cakes ................................................. $ Broiled wahoo ............................................ $ Seafood marinara ....................................... $ TOTAL ....................................................... $ (before tax and tip)

6.95 10.95 15.95 16.95 50.80

Lunch for two, another visit: Oysters Brittnie .......................................... $ 8.95 Grilled tilapia lunch special ....................... $ 7.95 with corn on the cob & coleslaw 1/2 pound blackened shrimp ..................... $ 16.95 TOTAL ....................................................... $ 33.85 (before tax and tip)

See more Restaurant Reviews @ www.pasatiempomagazine.com

IT’S 2013. HOW MUCH CLOSER ARE WE TO A

SUSTAINABLE SANTA FE?

The city and county of Santa Fe are taking steps to reduce waste, use more renewable energy and less electricity, grow food locally and create jobs. In short, to become resilient, sustainable communities. How are the plans going?

Sunday, April 21 Building a sustainable community Going solar • Energy efficiency “Green” loans • Earth Week calendar

Monday, April 22 Water • Greywater recycling

Tuesday, April 23 City recycling efforts

Wednesday, April 24 AlternativeTransportation: bikes, buses and electric vehicles

Thursday, April 25 Dark skies • Ecosystems

Friday, April 26 Local food • Community composting

Saturday, April 27 Green jobs • Sustainable technologies

A SPECIAL EARTH WEEK SERIES

STARTING SuNdAy

PASATIEMPOMAGAZINE.COM

55

pasa week 19 Friday

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 Syd Masters & the Swing Riders, Western swing, 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 Buffalo Nickel Band, boot-scootin’ tunes, 6-9 p.m., no cover. pranzo italian grill Geist Cabaret with David Geist, 6-9 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., no cover. rouge cat Bella Gigante, one-man show of disco-diva tunes, 8:30 p.m., call for cover. second street Brewery Broomdust Caravan, juke joint honky-tonk and biker bar rock, 6-9 p.m., no cover. second street Brewery at the railyard Roots-rock duo Man No Sober, 7-10 p.m., no cover. tiny’s Chris Abeyta Duo, easy listening, 5:30-8 p.m.; classic rock band The Jakes, 8:30 p.m.-close; no cover. vanessie Country Blues Revue Band, 8 p.m.-close, call for cover.

gallery/museum openings

Flying Fish gallery 821 Canyon Rd., 577-4747.

Paintings by Axel Stohlberg, reception 5-8 p.m. monroe gallery of photography 112 Don Gaspar Ave., 992-0800. Photographs From 1963, group show, reception 5-7 p.m., through June. new mexico museum of art 107 W. Palace Ave., 476-5072. Mont St. Michel and Shiprock, Santa Fe photographer William Clift’s landscape studies, reception 5 p.m., through Sept. 8 (see story, Page 42). studio Broyles 821 Canyon Rd., second floor, 699-9689.

The Naked Truth, figurative group show, reception 6-8 p.m., through May 19.

classical music

esso summer string orchestra Music of Mendelssohn, Mozart, and Handel, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544, Ext.16.

in concert

awna teixeira Singer/multi-instrumentalist, 7:30 p.m., Gig Performance Space, 1808 Second St., $15, brownpapertickets.com.

Hector peña and the Zia conservatory Performance and cigar-box guitar demonstration with Albuquerque musician/instrument designer and multi-instrumentalist Devon Hall, 6:30 p.m., Primo Cigar Shop, 328 Sandoval St., 954-1168, no charge (see story, Page 22). nuestra música 13th annual celebration of the Hispano folk music of New Mexico, 7 p.m., the Lensic, $10, seniors no charge, ticketssantafe.org, 988-1234 (see story, Page 36).

tHeater/dance

D-Generation: An Exaltation of Larks Sandglass Theater’s play on the topic of dementia, 7 p.m., Center for Contemporary Art and Theater Grottesco’s Eventua series, Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, students $10, through Sunday, April 21, visit theatergrottesco.org or call 474-8400 for series schedule.

Once on This Island Santa Fe University of Art & Design Documentary Theatre Project students present Lynn Ahrens’ musical, 7 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, 988-1234, ticketssantafe.org, Friday-Sunday through April 28 (see story, Page 24).

The Report of My Death Michael Graves in Adam Klasfeld’s docudrama on Mark Twain, 8 p.m., Santa Fe Playhouse, 142 E. DeVargas St., $20, 986-1801, through Sunday, April 21 (see story, Page 40).

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

56

PASATIEMPO I April 19 -25, 2013

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

Zowie, by Phillis Ideal, David Richard Gallery, 544 S. Guadalupe St.

20 Saturday gallery/museum openings

Winning the Future Up & Down Theatre Company presents its satirical musical revue, 8 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $10, 424-1601, continues Saturday and Sunday, April 20-21.

Books/talks

the Quest for the islamic state: past and present Lecture by Hillel Fradkin, 7:30 p.m., Great Hall, St. John’s College, 1160 Camino de Cruz Blanca, no charge, 984-6000.

events

art and Happiness day parade Participate in a performance of Hear, Here Happiness led by Littleglobe executive director Molly Sturges, 5 p.m. assembly at the Plaza bandstand, free refreshments afterwards, no charge, 980-6218. need & deed Benefit dance and concert in support of the homeless; rockabilly band Anthony Leon & The Chain, performance-artist Issa Nyaphaga, and student dancers Life Stomp, 7 p.m., doors

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

open at 6:30 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, $12 (plus canned goods), students $7 (plus canned goods), contact Zach Taylor of The Masters Program Charter School for information, 231-1698. pueblo of tesuque Flea market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year.

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 one-man roots band Bloody Ol’ Mule, 5-7:30 p.m.; Americana-rock and folk-noir band Bone Orchard, 8:30 p.m.; no cover.

Baca street pottery 730 Baca St., 614-5215 or 795-5262.

Kiln-unloading, exhibit, and sale, noon-2 p.m.

Flying cow gallery Warehouse 21, 1614 Paseo de Peralta, 989-4423.

D-20, works by Noah Einar Wingren, reception 3-7 p.m., through May 4. lannan gallery 313 Read St., 954-5149.

Again: Repetition, Obsession and Meditation in the Lannan Collection, group show, reception 5-7 p.m., through June 16. radius Books 227 E. Palace Ave., Suite W, 983-4068. From Above and Below, photographic exhibit of work from Sharon Harper’s monograph, reception and book signing 4-6 p.m. a sea gallery 407 S. Guadalupe St., 988-9140.

WAMM (Women Against More Microwaves), group show, reception 4-6 p.m.

in concert

carol calvert & mimi Braiman Bluegrass duo, 3-5 p.m., in conjunction with the exhibit Journeys: Intimate & Infinite, La Tienda Exhibit Space, 7 Caliente Rd., Eldorado, call 780-8245 for information, no charge.

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.

En-Joy Salsa dance band, complimentary dance lesson 8:15-9 p.m., music follows, La Tienda Performance Space, 7 Caliente Rd., Eldorado, $10 at the door, 603-0123 or 570-0707.

Santa Fe Music Alliance spring membership party Latin band Manzanares headlines, teen band All the Wrong Reasons and bluesman Jake Montiel open, 6:30 p.m., Warehouse 21, 1614 Paseo de Peralta, $10 online at holdmyticket.com, $15 at the door, discounts available, 50-percent of the proceeds benefits W21, 989-4423.

World music and dance D’Jeune D’Jeune, Soriba Fofana, 7th Wave Choir, reggae jam with M.J. Evans, and dance party with DJ Liberty, Railyard Performance Center, 7:30 p.m., doors open at 7 p.m., 1611 Paseo de Peralta, $15, 982-8309.

thEAtEr/dAncE

D-Generation: An Exaltation of Larks Sandglass Theater’s play on the topic of dementia, 7 p.m., Center for Contemporary Art and Theater Grottesco’s Eventua series, Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, students $10, continues Sunday, April 21, visit theatergrottesco.org or call 474-8400 for series schedule. the Jewel Box cabaret Drag show, 8:30 p.m., doors open at 7:30 p.m., María Benítez Theatre, The Lodge at Santa Fe, 750 N. St. Francis Dr., $10 at the door, $20 VIP seating available in advance, 428-7781.

Once on This Island Santa Fe University of Art & Design Documentary Theatre Project students present Lynn Ahrens’ musical, 7 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr.,

$12 and $15, 988-1234, ticketssantafe.org, Friday-Sunday through April 28 (see story, Page 24).

The Report of My Death Michael Graves in Adam Klasfeld’s docudrama on Mark Twain, 8 p.m., Santa Fe Playhouse, 142 E. DeVargas St., $20, 986-1801, continues Sunday, April 21 (see story, Page 40).

Winning the Future Up & Down Theatre Company presents its satirical musical revue, 8 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $10, 424-1601, continues Sunday, April 21.

BookS/tAlkS

George Ancona The Santa Fe author discusses It’s Our Garden, 2-3 p.m., event includes a tour of Acequia Madre Elementary School’s garden, Garcia Street Books, 376 Garcia St., 986-0151.

Guatemala: language Schools & culture Slide presentation by Nicole Rose, 5 p.m., Travel Bug Books, 839 Paseo de Peralta, 992-0418.

Michael French The author reads from and signs copies of The Reconstruction of Wilson Ryder, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

EvEntS

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., New Mexico School for the Deaf, 1060 Cerrillos Rd., no charge, for more information contact Christine Kane, 476-6400.

Appalachian Flat-Footing workshop Led by dancer Nic Gareiss, 1-2:30 p.m., Belisama Dance, 901 W. San Mateo Rd., Suite X, $20 in advance, $25 at the door, 670-2152. 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., contact Laura Acquaviva for ticket information, lacquaviva@lensic.org, 988-7050, Ext. 1212.

Earth day celebration Includes a Green and Sustainable Business Expo, give-aways, and a dance performance by Soriba Fofana and Friends, 9:30 a.m.-2 p.m., Genoveva Chavez Center, 3221 Rodeo Rd., no charge. 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 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.

Japanese cultural Festival Santa Fe Japanese Intercultural Network presents its annual matsuri with a vintage kimono exhibit (955-6200), fashion show, sale of Japanese crafts, and Japanese food, 10 a.m.-5 p.m., 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. kick up Your heels for Girls!

Santa Fe Girls’ School fundraiser; VIP reception and auction 7-8 p.m., Farmers Market Shops,

$100; dance party 8-10:30 p.m., Farmers Market Pavilion, $30, students $20, ticketssantafe.org, 988-1234, or 820-3188.

Pueblo of tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year. record Store day Guy in the Groove record store owner Dick Rosemont spins albums and answers recordrelated questions, 9 a.m.-5 p.m., Constellation Home Electronics, 215 N. Guadalupe St., 595-699-3332.

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. three Poems/three Films Santa Fe University of Art & Design hosts a student-produced event (aka III: An Event), includes poetry readings, short-film screenings, and a portrait photography exhibit, 10 p.m., The Screen, 1600 St. Michael’s Dr., no charge, encore Sunday, April 21.

nIGhtlIFE

(See addresses below) café café Los Primos Trio, traditional Latin songs, 6-9 p.m., no cover. ¡chispa! at El Mesón J.Q. Whitcomb Jazz Quartet, 7:30 p.m.-close, no cover. cowgirl BBQ Santa Fe Chiles Traditional Dixie Jazz Band, 2-5 p.m.; prog-rock band Drastic Andrew, 8:30 p.m.-close; no 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 St., 982-3433 rcy Ma . la Boca 72 W ina la casa Sena cant 8-9232 98 e., Av e lac Pa E. 5 12 at la Fonda la Fiesta lounge , 982-5511 St. o isc nc Fra n Sa 100 E. a Fe resort nt Sa de da sa Po la e Ave., 986-0000 lac Pa E. 0 33 and Spa at the the legal tender eum us M d oa lamy railr 466-1650 151 Old Lamy Trail, g Arts center in lensic Perform o St., 988-1234 211 W. San Francisc Sports Bar & Grill the locker room 3-5259 47 2841 Cerrillos Rd., the lodge at ge un lodge lo St. Francis Dr., N. 0 at Santa Fe 75 992-5800 rider Bar low ’n’ Slow low ó ay im ch l at hote e., 988-4900 125 Washington Av the Matador o St., 984-5050 116 W. San Francisc vern ta t the Mine Shaf 473-0743 d, dri Ma , 14 NM 2846

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 Second Street Brewer y 1814 Second St., 982-3030

continued on Page 61

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 Upper crust Pizza 329 Old Santa Fe Trail, 982-0000 vanessie 427 W. Water St., 982-9966 Zia diner 326 S. Guadalupe St., 988-7008

PASATIEMPOMAGAZINE.COM

57

exhibitionism

A peek at what’s showing around town

Deanne Richards: Meditation, 2013, archival ink jet print.

Figure in Space, an exhibition of Deanne Richards’ mixed-media work, is on view at the Santa Fe Community College’s Media Arts Gallery (6401 Richards Ave.) through May 10. Richards explores the human form in surreal and dreamlike photo collages. Call 428-1517.

Anne staveley: She Ran, 2006, archival epson ink jet print. Studio Broyles (821 Canyon Road, upstairs) presents The Naked Truth, an exhibition of figurative work in a variety of media by 10 New Mexico artists, including Matthew Chase-Daniel, Jane Rosemont, Anne Staveley, and Greta Young. There is a 6 p.m. reception on Friday, April 19. Call 699-9689.

Photographer unknown: Steve McQueen, “The Great Escape,” 1963, gelatin silver print, © mptvimages.com. Monroe Gallery of Photography (112 Don Gaspar Ave.) presents Photographs From 1963, an exhibition of images from a significant year in United States history. Included are photos of civil rights activists, John F. Kennedy’s funeral, the Los Angeles Dodgers winning the World Series, Elizabeth Taylor on the set of Cleopatra, and Martin Luther King in a Birmingham jail. There is a reception on Friday, April 19, at 5 p.m.

Call 992-0800.

sharon harper: Moon Studies and Star Scratches, No. 11, 2005, Luminage print. An exhibition by photographer Sharon Harper opens at Radius Books on Saturday, April 20. Harper’s images of stars and other celestial bodies are the focus of her recent book From Above and Below.

Harper signs copies of the book during the 4 p.m. reception. Radius Books is at 227 E. Palace Ave., Ste. W. Call 983-4068.

58

PASATIEMPO I April 19 -25, 2013

Jennifer Day: The Last Drop, 2012, thread painting.

New Mexico: Unfolding is an exhibition of fiber arts by members of the Studio Art Quilt Associates. The artists explore a variety of materials, techniques, and themes in their work. The show is at the Capitol Rotunda Gallery (at the corner of Old Santa Fe Trail and Paseo de Peralta) and is up through Aug. 16. Call 986-4589.

At the GAlleries Blue Rain Gallery 130-C Lincoln Ave., 954-9902. Invitational Group Show, through April.

Carol Kucera Gallery 112 W. San Francisco St., Suite 107, 989-7523.

Sculptural-glass work by Gartner-Blade, through April.

Charlotte Jackson Fine Art 554 S. Guadalupe St., 989-8688. Mindspace, new work by William Metcalf, through April.

David Richard Gallery 544 S. Guadalupe St., 983-9555. Carol Brown Goldberg: Color in Space; Phillis Ideal: Overlap; Tom Martinelli: Out of Register; through May 4.

Independent Artists Gallery 102 W. San Francisco St., second floor, 983-3376. Digital photography by Jim Tape, through April 26.

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

LewAllen Galleries Downtown 125 W. Palace Ave., 988-8997. Life Mirrors, paintings by Jeanette Pasin Sloan, through April 28.

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

Patina Gallery 131 W. Palace Ave., 986-3432. Picnic for Earth, group show of picnic baskets, through April 26.

Photo-eye Gallery 376-A Garcia St., 988-5152. The Nude: Classical, Contemporary, Cultural, through Saturday, April 20.

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.

Santa Fe Clay 545 Camino de la Familia, 984-1122. Remnants, ceramic sculpture by Peter Christian Johnson and Todd Volz, through Saturday, April 20.

Touching Stone Gallery 539 Old Santa Fe Trail, 988-8072. Tanba Modernism, pottery by Keiichi Shimizu, through April 27.

Verve Gallery of Photography 219 E. Marcy St., 982-5009. Works by Henry Horenstein, Linda Ingraham, and Brigitte Carnochan, through May 4.

Vivo Contemporary 725-A Canyon Rd., 982-1320. An-thol-o-gy, collaborative exhibit of works by Ro Calhoun, Ann Laser, and Patricia Pearce, through May13.

William R. Talbot Fine Art, Antique Maps & Prints 129 W. San Francisco St., second floor, 982-1559, Missions & Moradas of New Mexico 1922-2012, modernist and contemporary works, through April 27.

Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111. Unfolding Time, paintings by Michael Freitas Wood, through April 29.

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. El Otoño Mío es Tu Primavera, installation by Miguel Arzabe, through Sunday, April 21, Spector Ripps Project Space • The Big Hoot, large-scale drawings

by Larry Bob Phillips and David Leigh, through May 5, Muñoz Waxman Front Gallery. 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

First Supper (After a Major Riot), by the defunct chicano art collective Asco, in the site santa Fe exhibit State of Mind: New California Art Circa 1970

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.

Traditional Southwest-style blanket chest hand-carved by 6th-graders of the Santa Fe Girls’ School, on view 10 a.m.-5 p.m. Sunday, April 21, through April 26 • 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 19th-century Mexican art, sculpture, and furniture; also,

work by young Spanish Market artists • The Delgado Room, late Colonial period re-creation. Open 10 a.m.-5 p.m. TuesdaySunday. $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, through March 16, 2014 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9, 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; 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. Mont St. Michel and Shiprock, Santa Fe photographer William Clift’s landscape studies, reception 5 p.m.

Friday, April 19, through Sept. 8 (see story, Page 42) • 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; no charge for NM residents 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 installation; 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.

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59

In the wings MUSIC

Bobby Shew Virtuoso jazz trumpeter, with Jim Ahrend on piano, Andy Zadrozny on bass, and John Trentacosta on drums, 7 p.m. Friday, April 26, KSFR Radio’s Music Café Series, 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.

Canticum Novum Chamber Orchestra & Chorus The ensemble concludes its ninth season with music of Boyce, Mozart, Fauré, and le Fleming, vocal soloists include Cecilia Leitner, Deborah Domanski, Javier Gonzalez, and Michael Hix, pre-concert lectures by Oliver Prezant begin one-hour prior, 7 p.m. Saturday, April 27, 3 p.m. Sunday, April 28, Cristo Rey Church, 1120 Canyon Rd., $20 and $30, discounts available, ticketssantafe.org, 988-1234.

Ozomatli The Los Angeles-based Latin-fusion band performs as part of Santa Fe University of Art & Design’s Artists for Positive Social Change series, opening acts include two student bands, 7:30 p.m. Saturday, April 27, doors open at 6 p.m., 1600 St. Michael’s Dr., no charge, but tickets are required and available at the Lensic, 988-1234, 211 W. San Francisco St. 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.

Roshan Bhartia Sitar recital, 8 p.m. Friday, May 3, Gig Performance Space, 1808 Second St., $15 at the door, gigsantafe.com.

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.

Darius Brubeck The jazz pianist (son of the late Dave Brubeck) performs with local ensemble Straight Up and vocalist Maura Dhu Studi in a benefit concert for The Humankind Foundation, 4 p.m. Sunday, May 5, the Lensic, $25-$45, ticketssantafe.org, 988-1234.

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.

Sangre de Cristo Chorale The 45-member chorale presents Celebrating Our Past, Present and Future, 2:30 p.m. Sunday, May 12, Church of Santa Maria de la Paz, 11 College Ave., $20, ticketssantafe.org, 988-1234.

CrawDaddy Blues Fest Featuring Junior Brown and Mississippi Rail Company, noon-7 p.m. Saturday and Sunday, May 18-19, under the tent at the Madrid Museum Park, 2846 NM 14, Madrid, $15 in advance and at the tent, ages 12 and under no charge, 473-0743.

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;

60

PASATIEMPO I April 19 -25, 2013

3 p.m. Sunday, June 2, Immaculate Heart of Mary Retreat and Conference Center Chapel; $25, discounts available, 954-4922.

Mumford & Sons British folk-rock band; Michael Kiwanuka & Mystery Jets opens, 7 p.m. Thursday, June 6, Kit Carson Park, Taos, $50, ticketmaster.com.

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

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.

See/Saw The circus-arts troupe Wise Fool New Mexico presents an outdoor event at the Railyard, 8 p.m. Friday, 1 and 8 p.m. Saturday, May 3-4, wisefoolnewmexico.org, donations accepted.

Venus in Fur Aux Dog Theater presents the comedy

by David Ives, 8 p.m. Friday and Saturday, 6 p.m. Sunday, May 3-5, Teatro Paraguas Studio, 3205 Calle Marie, $15, 505-254-7716.

Upcoming events If a Door Opens: a Journey With Frances Perkins Metta Theatre presents the docudrama

by Charlotte Keefe, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, May 17-19, Teatro Paraguas Studio, 3205 Calle Marie, $15, discounts available, 424-1601.

8: a reading Santa Fe Performing Arts Adult Company presents a reading of the new play by Academy Award-winning screenwriter Dustin Lance Black chronicling the legal challenge to California’s Proposition 8 state constitutional amendment, 7 p.m. Saturday, May 18, Armory for the Arts, 1050 Old Pecos Trail, $60, preferred seating and admission to after-party $125, 984-1370.

HAppENINgS

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.

Studio tours: Ligia Bouton and Carol Anthony The New Mexico Committee of National Museum of Women in the Arts hosts the event honoring the multimedia artists, 9:30 a.m.-2 p.m. Saturday, April 27, Quail Run Clubhouse, 3101 Old Pecos Trail, $40 includes luncheon, 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.

Comfort Food Classic Gerard’s House fundraiser; cook-off with local chefs including Rocky Durham and Ahmed Obo; also, silent auction and raffle, 1-3 p.m.

Sunday, April 28, La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., $50, 424-1800, gerardshouse.org.

Lannan Foundation events Literary series, novelists Mona Simpson and Danzy Senna discuss their works, 7 p.m.

Wednesday, May 1; 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.

Darius Brubeck in concert at the Lensic, sunday, may 5

2013 Jewish Arts Festival May 3-5, includes multimedia works, gala reception, and music, Temple Beth Shalom, 205 E. Barcelona Rd., art show and sale no charge, gala reception $10 in advance and at the door, for events schedule and to view the artists’ work visit tbsartfest.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.

Haute Flea New Mexico Museum of International Folk Art’s 60th anniversary celebration; food and wine, silent auction, and live music, 5:30 p.m. Friday, May 3, $60 in advance at the museum gift shop, 706 Camino Lejo, Museum Hill; Museum of New Mexico Foundation Shops, 877-567-7380; or online at worldfolkart.org. peter Sarkisian: Video Works 1994-2011 Retrospective exhibit of video and mixed-media installations, free opening reception Friday, May 3, New Mexico Museum of Art, 107 W. Palace Ave., 476-5072.

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.

Dessert With Desirée Local lecturer Desirée Mays offers an overview of the Santa Fe Opera’s season in support of the nonprofit organization Friendship Bridge, 7 p.m.

Friday, May 10, United Church of Santa Fe, $20, 471-4713.

The Horse Shelter’s 12th Annual Auction Luncheon catered by Restaurant Martín, music

by Roark Griffin, 12:30 p.m. Sunday, May 19, preceded by tours, training demonstrations, and an auction preview at 11 a.m., The Horse Shelter Ranch, Cerrillos, $75 in advance, $85 at the door, 471-6179, thehorseshelter.org.

Native Treasures Indian Arts Festival More than 200 artists showcasing traditional and contemporary works; opening-night party 5:30-7:30 p.m. Friday, May 24, shows Saturday and Sunday, May 25-26, Santa Fe Community Convention Center, 201 W. Marcy St., early birds $20, general admission $10, Sunday show no charge, all tickets available at the door, visit nativetreasures.org for more information.

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.

pasa week

from Page 57

20 Saturday (continued) El Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover.

La Fiesta Lounge at La Fonda Syd Masters & the Swing Riders, Western swing, 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 The Westernhers, dance band, 6-9 p.m., no cover.

The Mine Shaft Tavern Alt-country duo Connie Long & Fast Patsy, 7-11 p.m., call for cover.

Pranzo Italian Grill Faith Amour with Stu MacAskie, piano and vocals, 6-9 p.m., call for cover.

Second Street Brewery Country Blues Revue Band, 6-9 p.m., no cover.

Second Street Brewery at the Railyard Felix y Los Gatos, zydeco/Tejano/juke-swing, 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.

The Underground at Evangelo’s Collective Reggae Party with DJ Dynamite Sol and Brotherhood Sound’s Don Martin, 9 p.m., call for cover.

Vanessie Bob Finnie, pop standards piano and vocals, 6:30 p.m.-close, no cover.

21 Sunday GaLLERy/MUSEUM oPEnInGS

Museum of Spanish Colonial art 750 Camino Lejo, Museum Hill, 982-2226.

Traditional Southwest-style blanket chest hand-carved by 6th-graders of the Santa Fe Girls’ School, through April 26.

Talking Heads

CLaSSICaL MUSIC

Concordia Santa Fe The wind ensemble’s first concert of the season includes music of Schubert, Sorcsek, and Weill, 2 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations accepted at the door, 913-7211.

Coro de Cámara The chamber chorus in The American Sound, featuring Barber’s Agnus Dei, 4 p.m., Church of the Holy Faith, 311 E. Palace Ave., $20, discounts available, corodecamara-nm.org.

Santa Fe Symphony orchestra April Joy, featuring piano duo Anderson & Roe, music of Mozart and Dvoˇrák, 4 p.m., pre-concert lecture 3 p.m., the Lensic, $20-$70, discounts available, ticketssantafe.org, 988-1234.

THEaTER/danCE

D-Generation: An Exaltation of Larks Sandglass Theater’s play on the topic of dementia, 4 p.m., Center for Contemporary Art and Theater Grottesco’s Eventua series, Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, students $10, visit theatergrottesco.org or call 474-8400 for series schedule.

Once on This Island Santa Fe University of Art & Design Documentary Theatre Project students present Lynn Ahrens’ musical, 2 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, 988-1234, ticketssantafe.org, Friday-Sunday through April 28 (see story, Page 24).

The Report of My Death Michael Graves in Adam Klasfeld’s docudrama on Mark Twain, 2 p.m., Santa Fe Playhouse, 142 E. DeVargas St., $20, 986-1801 (see story, Page 40).

Winning the Future Up & Down Theatre Company presents its satirical musical revue, 4 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $10, 424-1601.

BooKS/TaLKS

Breaking the Silence: Women driving Change in the World’s Most Challenging Places Neema Namadamu and Cynthia Jurs in conversation, 11 a.m., Collected Works Bookstore, 202 Galisteo St., contact JourneySantaFe for details, 474-1457.

The Scent of Uncertainty: Four Writers on Signs, Symbols and Premonitions Hakim Bellamy, Lauren Camp, Veronica Golos, and Tom Ireland, 3 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., donations requested, 982-9674 (see Subtexts, Page 16).

EVEnTS

on Climate Change and What you Can do about It Authors Jack Loeffler, Lucy Lippard, Rae Marie Taylor, and photographer Joan Myers share their solutions in a free Earth Day panel discussion hosted by Collected Works Bookstore, 202 Galisteo St., at 6 p.m. Monday, April 22. For more information call 988-4226.

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.; guitarist Carlos Aguirre, 1-4 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.

Paula Nelson and her band perform at Vanessie Monday, April 22.

Santa Fe Men’s Camerata benefit Lunch, silent auction, and music, noon-4 p.m., Bishop’s Lodge Ranch Resort & Spa, 1297 Bishops Lodge Rd., $30, 473-7733 or 225-571-6352.

Sustainable Happiness Week community day Music by blues guitarist Raven Redfox and Country Blues Revue Unplugged; also, storytelling with Joe Hayes and Walter Cook, 10 a.m.-8 p.m., Hillside Market, 86 Old Las Vegas Highway, no charge, 982-9944.

Three Poems/Three Films Santa Fe University of Art & Design hosts a student-produced event (aka III: An Event), including poetry readings, short film screenings, and a portrait photography exhibit, 8 p.m., The Screen, 1600 St. Michael’s Dr., no charge.

nIGHTLIFE

(See Page 57 for addresses) Café Café Guitarist Michael Tait, 6-9 p.m., no cover.

Cowgirl BBQ Joe West and friends, eclectic folk/gospel, noon-3 p.m.; Kenny Skywolf Band, blues, 8 p.m., no cover.

El Farol Nacha Mendez and guests, pan-Latin music, 7 p.m.-close, 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.

Second Street Brewery at the Railyard Bill Hearne Trio, roadhouse honky-tonk, 5-7 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.

22 Monday In ConCERT

new Mexico School for the arts Choir 7 p.m., Christ Church of Santa Fe, 1213 Don Gaspar Ave., $10 at the door, discounts available, nmschoolforthearts.org.

Paula nelson Band Country singer-songwriter (Willie Nelson’s daughter), Chris Chickering opens, 6:30 p.m., Vanessie, 427 W. Water St., 982-9966, $10 at the door.

BooKS/TaLKS

Chaco in the north A Southwest Seminars lecture with University of Colorado assistant professor Steve Lekson, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.

Friends of the Wheelwright lecture Taos Pueblo fashion designer Patricia Michaels discusses her work, refreshments 2 p.m., talk 2:30 p.m., Wheelwright Museum of the American Indian, 704 Camino Lejo, Museum Hill, $10, 982-4636. on Climate Change and What you Can do about It Panel discussion with authors Rae Marie Taylor, Jack Loeffler, Lucy Lippard, and photographer Joan Myers, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

EVEnTS

Earth Week and Solar Fiesta Santa Fe Community College hosts a variety of free events through Thursday, April 25, 6401 Richards Ave., visit nmsolarfiesta.org for full schedule.

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.

El Farol Geeks Who Drink Trivia Night, 7 p.m., no cover.

La Fiesta Lounge at La Fonda C.S. Rockshow with Don Curry, Pete Springer, and Ron Crowder, 7:30-11 p.m., no cover.

23 Tuesday BooKS/TaLKS

Georgia o’Keeffe Museum Readers’ Club The discussion series continues with Julia Margaret Cameron’s Women by Sylvia Wolf, 6 p.m., Education Annex, 123 Grant Ave., no charge, 946-1039.

Wenonah Hauter The author reads from and signs copies of Foodopoly: The Battle Over the Future of Food and Farming in America, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see story, Page 18).

EVEnTS

Future Voices of new Mexico Sixth annual awards Ceremony Honoring student filmmakers and photographers, 10 a.m., the Lensic, no charge, contact the Lensic community relations manager Connie Schaekel to attend, 988-7050, Ext. 1210. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM

61

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.

▶ Elsewhere

nIghtlIfe

Museums/art Spaces

(See Page 57 for addresses) Cowgirl BBQ Austin-based singer/songwriter Susanne Abbott, 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 Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la fiesta lounge at la fonda C.S. Rockshow with Don Curry, Pete Springer, and Ron Crowder, 7:30-11 p.m., no cover.

Second Street Brewery at the Railyard Acoustic open-mic nights with Case Tanner, 7:30-10:30 p.m., no cover. tiny’s Mike Clymer of 505 Bands’ acoustic open-mic night, 8:30 p.m., no cover.

Vanessie Vocalist Dianna Hughes with pianist Stu MacAskie, 7 p.m.-close, no cover.

24 Wednesday BookS/talkS

lannan foundation literary Series Novelist David Mitchell in conversation with Tom Barbash, 7 p.m., the Lensic, $6, discounts available, ticketssantafe.org, 988-1234 (see story, Page 20). a native american Perspective: fritz Scholder The New Mexico Museum of Art docent talks series continues with a discussion of the late artist, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5072. out of the Closet: o’keeffe, her Clothes, and Dressing Modern A talk by Wanda Corn, professor emerita, Stanford University, 6 p.m., Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., $5, 946-1039.

nIghtlIfe

(See Page 57 for addresses) ¡Chispa! at el Mesón Flamenco guitarist Chuscales, 7-9 p.m., no cover.

Cowgirl BBQ Acoustic rock band Floozy, 8 p.m., no cover. el farol Salsa Caliente, 9 p.m., no cover. el Paseo Bar & grill Latin band Making Movies, 8 p.m., call for 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.

Second Street Brewery Vinyl Listening Sessions with DJ Spinifex, 6-9 p.m., no cover. tiny’s Mike Clymer of 505 Bands’ electric jam, 7 p.m., no cover.

Vanessie Singer/songwriter Ninette Torres accompanied

by Tom Rheam, 6:30-9:30 p.m., call for cover.

62

PASATIEMPO I April 19 -25, 2013

albuquErquE

William R. Talbot Fine Art, Antique Maps & Prints shows photographs by Craig Varjabedian, 129 W. San Francisco St.

25 Thursday ClaSSICal MuSIC

Signum Quartet Music of Haydn, Schubert, and Suk, 7:30 p.m., pre-concert talk 6:30 p.m. (free with ticket price), St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$50, student discounts available, 988-1234, ticketssantafe.org.

In ConCeRt

Monterey Jazz festival 55th anniversary tour with headliner Dee Dee Bridgewater joined by Christian McBride, Ambrose Akinmusire, Benny Green, Lewis Nash, and Chris Potter, 7:30 p.m., the Lensic, $25-$55, ticketssantafe.org, 988-1234, (see stories, Pages 32-35).

Rumelia and the underscore orkestra Local Balkan-folk trio and Gypsy-jazz/klezmer band, 7:30 p.m., Santa Fe Sol Stage & Grill, $7, holdmyticket.com.

theateR/DanCe

The Mask Messenger opening night Comedy presented by Faustwork Mask Theatre, 7 p.m., part of Center for Contemporary Art and Theater Grottesco’s Eventua series, Muñoz Waxman Gallery, 1050 Old Pecos Trail, pay-what-you-wish, continues Friday-Sunday, April 26-28, visit theatergrottesco.org or call 474-8400 for series schedule.

BookS/talkS

farming in the Prehistoric arid Southwest A Renesan Institute for Lifelong Learning lecture by Tim Maxwell, 1 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, 982-9274.

Indian arts Research Center Speaker Series Consultations: Providing Interpretation and Guidance for Collections, a discussion with Cynthia Chavez Lamar, Jim Enote, Leigh Kuwanwisiwma, and Gary Roybal, noon, Meem Auditorium, Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, no charge, hosted by the School for Advanced Research, 954-7205.

Santa fe art Institute Monthly open Studio Meet-and-greet with writersand artists-in-residence, 5:30 p.m., SFUAD, 1600 St. Michael’s Dr., 424-5050.

Sedena Cappannelli and george Cappannelli The authors read from and sign copies of Do Not Go Quietly: A Guide to Living Consciously and Aging Wisely for People Who Weren’t Born Yesterday, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

eVentS

art market Hand-made glass and polymer beads and buttons, hand-woven wearable art, and hand-dyed fabrics, 1-7 p.m., in conjunction with the Studio Art Quilt Associates’ conference, The Lodge at Santa Fe, 750 N. St. Francis Dr., no charge, 992-5800.

nIghtlIfe

(See Page 57 for addresses) ¡Chispa! at el Mesón The Gruve, soul and blues duo Ron Crowder and Steve O’Neill, 7-9 p.m., no cover.

Cowgirl BBQ Bluesman Ivas John, 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 Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 6 p.m., Staab House Salon, no cover. the Matador DJ Inky spinning soul/punk/ska, 8:30 p.m.-close, no cover. tiny’s Joe West and friends, eclectic folk/gospel, 8 p.m.-close, no cover.

Vanessie Andy Kingston Jazz Trio, 6:30 p.m.-close, call for cover.

harwood art Center 1114 Seventh St. N.W., 505-242-6367. That Sound Under the Floor Is the Sea, work by Cedra Wood, through Thursday, April 25. Original home of the Harwood Girls School (1925-1976). Open 10 a.m.-4 p.m.

Monday-Friday, 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.

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 Friday, 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

Sunday Chatter Violinist Tricia Park and pianist Conor Hanick in recital, music of Mozart and Kirchner, 10:30 a.m. Sunday, April 21, poetry reading by V.B. Price follows, The Kosmos, 1715 Fifth St. N.W., chatterchamber.org, $15 at the door, discounts available.

cErrillos

fuSe new Mexico anagama Off NM 14, about one-half mile south of Cerrillos, 917-2751. Annual kiln-unloading and pottery sale, 11 a.m.-3 p.m. Saturday, April 20, follow the signs.

las crucEs

19th annual Border Book festival Raíces Reales del Camino Real, the themed event takes place Friday-Sunday, April 19-21 on the original Camino Real trade route at an historic Las Cruces town site; featuring talks with filmmakers and artists, screenings, food, and music, visit borderbookfestival.org for details.

los alamos 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. 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

Coro de Cámara The chamber chorus in The American Sound, featuring Barber’s Agnus Dei, 7 p.m. Friday, April 19, Kelly Hall, Trinity on the Hill, 3900 Trinity Dr., $20, discounts available, corodecamara-nm.org.

Earth Day Fesitival Pajarito Environmental Education Center’s annual event; booths and displays, hands-on activities, and food, 10 a.m.-2 p.m. Saturday, April 20, 3540 Orange St., no charge.

Authors Speak The series continues with Santa Fe author David Grant Noble discussing In the Places of the Spirits, 7 p.m. Thursday, April 25, Upstairs Rotunda, Mesa Public Library, 2400 Central Ave., 662-8247, no charge.

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Tapestry Gallery 4 Firehouse Ln., 471-0194.

Reductive Architectonics — Plus Additions, new tapestries by Donna Loraine Contractor, reception 1-4 p.m. Saturday, April 20, through June 20.

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)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.

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

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.

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; schedule an audition by email no later than Saturday, April 20; mail@theaterwork.org.

Donations

The Horse Shelter’s annual auction Donations of items/gift certificates sought for a fundraiser held at the ranch May 19; call 471-6179.

Volunteers

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.

▶ Under 21 Music Night Warehouse 21 and Museum of International Folk Art’s annual free event, interactive art exhibits, food, and music by Sun Plexus, Zen Tempest, and On Believer, 7 p.m.

Friday, April 19, at the museum, 706 Camino Lejo, Museum Hill, 476-1204.

Flying Cow Gallery Warehouse 21, 1614 Paseo de Peralta, 989-4423.

D-20, works by Noah Einar Wingren, reception 3-7 p.m. Saturday, April 20, through May 4.

Santa Fe Music Alliance spring membership party Latin band Manzanares headlines, teen band All the Wrong Reasons and bluesman Jake Montiel open, 6:30 p.m. Saturday, April 20, Warehouse 21, 1614 Paseo de Peralta, $10 online at holdmyticket.com, $15 at the door, discounts available, 50-percent of the proceeds benefits W21, 989-4423.

Youth x Youthfest 2013 Three-day festival showcasing Santa Fe’s young talent; featuring the Santa Fe Indian School’s Spoken Word Team, a battle of the bands, and special guests rock band Thieves and Gypsys, Wednesday-Friday, April 24-26, Warehouse 21, 1614 Paseo de Peralta, 989-4423, visit warehouse21.org for full schedule.

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.

▶ Pasa Kids Teatro Paraguas at the Santa Fe Public Libraries The interactive bi-lingual theater group in a free children’s program (Dos Cuentos Para la Primavera) in celebration of El Día de Los Niños; 4 p.m. Friday, April 19, Main Branch, 145 Washington Ave.; 10:30 a.m.

Saturday, April 20, La Farge Branch, 1730 Llano St.; 2:30 p.m. Saturday, April 20, Southside Branch, 6599 Jaguar Dr. Spring Trees Georgia O’Keeffe Museum’s free family program geared for ages 4-12 accompanied by an adult, 9:30-11:30 a.m. Saturday, April 20, 217 Johnson St., 946-1039.

Bee Hive Kids Books Story time for ages 3-5, 11 a.m. Saturday, April 20, 328 Montezuma Ave., no charge, 780-8051, beehivekidsbooks.com.

Bring Earth Day Home Santa Fe Children’s Museum hosts eco-friendly demonstrations, hands-on activities, solar-cooked food, and music, noon-5 p.m. Sunday, April 21, 1050 Old Pecos Trail, by museum admission, 989-8359. ◀

Get in the grooves Phonophiles, take heed, for Record Store Day is soon Sun Plexus upon us. On Saturday, April 20, record stores across the globe will participate in the annual event, which began in 2007 as a way to help promote the independent record store in a stormy sea of big-box and internet competition.

While Santa Fe’s indie music-store options are severely limited, at least one retailer is jumping on board to celebrate the occasion. Dick Rosemont, who goes by the moniker The Guy in the Groove, knows the record business inside and out, and a few years ago, he established a little niche of it inside the retail outlet for Constellation Electronics (215 N. Guadalupe St., www.guyinthegroove.com). The Guy in the Groove is but a few bins deep, but Rosemont’s selection is always eclectic: hiphop, jazz, punk, folk, New Wave, rock, blues, postpunk, and some first pressings. What he doesn’t have on display he may still have in stock, and if you’re looking for some consultation regarding your own collection, Rosemont’s your man.

Swing by between 9 a.m. and 5 p.m. and flip through the bins. Rosemont’s putting a few platters under the needle and serving up a little grub, too. Record Store Day sees the new release and re-release of a lot of titles, but this year Rosemont’s digging into his own extensive collection (more than 40 years’ worth of wax, baby!) to celebrate. Hit www.recordstoreday. com for more info about Record Store Day. Talk talk From 7 p.m. to 10 p.m. Friday, April 19, the Museum of International Folk Art hosts the 8th annual Warehouse 21/MoIFA Music Night on Museum Hill (706 Camino Lejo, 476-1200). This year’s teen-friendly event is held in conjunction with the Let’s Talk About This: Folk Artists Respond to HIV/AIDS exhibit, which is located in the museum’s Gallery of Conscience Exhibition Lab. The night includes interactive arts activities (button-making, T-shirt repurposing, and more), a letter-writing lab, food, and some great live music.

Slated to perform are Albuquerque hip-hop/rock/R&B ensemble Zen Tempest, Santa Fe oneman metalcore maniac On Believer, aka Gabe Moya (www.reverbnation.com/onbeliever34), and local jazz-blues-metal-mashup foursome Sun Plexus. There’s no cover for the event.

Friends in need Now that “Hobo Hill” has been dismantled on the north side of Santa Fe, the growing homelessness population throughout town is more visible. An out of sight/out of mind state may put some people’s minds at ease in some neighborhoods, and there may be some merit to the fire-hazard concerns that led to the rousting, but most of the homeless folks affected by the move aren’t waking up feeling much better about their situation today.

That’s why Santa Fe is lucky to have nonprofits like Santa Fe Need and Deed (www. santafeneedanddeed.com), which fills some gaps in services that cannot be filled by organizations already bursting at the seams with responsibilities.

Access to transportation, cellphones, social services, food, showers, clean clothes, and other materials and services can mean the difference between staying on and getting off the streets, finding steady employment, and getting treatment for a variety of physical and cognitive ailments, including addiction. Santa Fe Need and Deed relies on donations and volunteers to continue to provide these things, and at 7 p.m. Friday, April 19 (doors open at 6:30), you can help out and hear some great music in the process.

That’s when The MASTERS Program Charter School hosts a benefit concert for the nonprofit at El Museo Cultural de Santa Fe (555 Camino de la Familia, in the Railyard). Alt-country mainstays Anthony Leon & the Chain perform, and Cameroon-born artist Issa Nyaphaga presents a live-art performance.

Opening the show is student dance group L!FE Stomp.

Tickets at the door are $12 plus canned goods for adults, $7 plus canned goods for students with ID. For advance tickets, call Need and Deed at 920-2227.

— 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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