Pasatiempo, May 3, 2013 by The New Mexican

The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture May 3, 2013

Wise Fool’s SeeSaw

Celebrate Mother’s Day Serving Dinner from 5:00 at

“All I am or can be I owe to my angel Mother.” - Abraham Lincoln

Celebrate the perfect Mother’s Day on our patio

Patio now open! Weather Premitting

MoMS will reCeive a SpeCial gift froM uS!

$4 LUNCH RistRa GiFt CERtiFiCatE

Present certificate Tues. - Sat., 11:30 - 2:30 through May • One certificate per person

526 Galisteo Street • 820.0919 www.restaurantmartin.com

Continuing 16 years of business! 548 Agua Fria, Santa Fe • 982-8608 www.ristrarestaurant.com

Organic Mattress. Mother’s Day Brunch 10:00 a.m. – 2:30 please visit our website for full menu www.santacafe.com

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

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

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

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PASATIEMPO I May 3 - 9, 2013

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20 APRIL – 16 JUNE 2013 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.

PASATIEMPO I May 3 - 9, 2013

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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THE SANTA FE NEW MEXICAN

May 3 - May 9, 2013

www.pasatiempomagazine.com

On the cOver 36 Wise Fool’s SeeSaw Since 1998, Santa Fe-based Wise Fool New Mexico has wowed U.S. and Canadian audiences with circus performances, puppetry, and amazing feats of aerial and acrobatic magic. On Friday and Saturday, May 3 and 4, Wise Fool’s newest work, SeeSaw, has its premiere in the Santa Fe Railyard Park. Built around the theme of human migration, the show incorporates six performers who take their talents to a gigantic steel structure that twists and turns in multiple directions. Wise Fool is poised to tour the show internationally. On the cover are the company’s Serena Rascon, Deollo Johnson, and Esther deMonteflores; photo by Kate Russell.

bOOks

mOving images

16 in Other Words The Obituary Writer

54 Pasa Pics 58 Room 237 60 Koch

PerFOrmance and mUsic 22 24 26 28 30 33 34 71

trey mcintyre Project Make some noise in Boise Pasa reviews Monterey Jazz Festival on Tour darius brubeck In his own sweet way Pasa tempos CD Reviews terrell’s tune-Up Handsome Family Onstage this Week Man. Hurls. Hedgehog. Humble Boy Fusion Theatre Company sound Waves Down with the “Koningslied”

calendar 64 Pasa Week

and 13 mixed media 15 star codes 62 restaurant review

art 40 42 46 50

Fine focus Cody Hartley comes to the O’Keeffe sean cheetham A little help from his friends Blues for Smoke Red, white, and blues Peter sarkisian Retrospective at NMMA

CORRECTION: Our April 26 mention of Santa Fe Rep’s Women’s Voices II: The Choices We Make failed to identify Lisa Michelle James as the author of And Landed on the Porch.

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

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Robin Martin Owner

www.pasatiempomagazine.com

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Ginny Sohn Publisher

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advertising directOr Tamara Hand 986-3007

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marketing directOr Monica Taylor 995-3824

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art dePartment directOr Scott Fowler 995-3836

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graPhic designers Rick Artiaga, Dale Deforest, Elspeth Hilbert

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

Rob Dean editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

All are welcome! Todos son Bienvenidos!

SITE INVITES THE COMMUNITY TO A SPECIAL ANNOUNCEMENT

Big news about our signature biennial exhibition coming in 2014! MONDAY, MAY 6, 2013, 6–7 PM Presentation at 6:15pm by

Irene Hofmann

PHILLIPS DIRECTOR AND CHIEF CURATOR, SITE SANTA FE

MUSIC BY DJ YON

& SALSA BAR BY COWGIRL BBQ REFRESHMENTS AND FUN! CHIPS

Santa Fe Farmers Market Pavilion 1607 Paseo de Peralta ACROSS FROM SITE SANTA FE

www.sitesantafe.org IMAGE: RGB PHOTOGRAPHY

PASATIEMPOMAGAZINE.COM

CA S

E QU

BOUT E’S I SI

n ta Fe, N M

Lensic Presents

BROADCAST IN HD

This House a new play by James Graham

May 16, 7 pm

$22/$15 Lensic members & students

“A funny and moving political epic.” —The Times (UK)

 Daily Express

 Daily Telegraph

SPECIAL THANKS TO

FOR ONGOING SUPPORT OF THE NT LIVE SERIES

Tickets: 505-988-1234 www.TicketsSantaFe.org S ERV I CE CHAR G ES APPLY AT ALL POI N TS OF PUR CHAS 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

PASATIEMPO I May 3 - 9, 2013

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The New Mexico Performing Arts Society Presents

CHORAL MASTERPIECES WITH A FRENCH CONNECTION

Thursday, May 23, 2013 at 7:00 P.M., in the St. Francis Auditorium / 107 W. Palace Ave.

Charles Gounod

Performed in the orchestral version with Full Choir, Soloists and Orchestra

JOHN DONALD ROBB Requiem A major work by New Mexico composer John Donald Robb – Performed by the New Mexico Bach Society, FRANZ VOTE, Conductor

Church of St. Eustache, Paris Site of the Premiere

PURCHASE TICKETS: Call 505-988-1234 or in person at the Lensic box office.

More Information: beakspeak@alla-breve.us or 505-474-4513 PASATIEMPOMAGAZINE.COM

FUSION SANTA FE SEASON

Lensic Presents

Put on your boots

CHARLOTTE JONES

HUMBLE

BOY Directed by Laurie Thomas

May 7 & 8 8 pm $20–$40/$10 students

A funny and touching contemporary retelling of the Hamlet story, starring Bruce Holmes, Jacqueline Reid, and Acushla Bastible. Winner of the Critic’s Circle Theatre Award for Best New Play

FUSIONTheatre Company Tradition // Innovation // Excellence

FUSIONnm.org

“I See By Your Outfit: Historic Cowboy Clothing”

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

S E RV I C E C H A R G E S A P P LY AT A L L P O I N TS 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 i t, m e m b e r- s u p p o rt e d o r ga n i z at i o n

Sunday, May 5, 2 pm, NMHM Auditorium

Emmy Award-winning costume designer and historian Cathy A. Smith talks about what it takes to look authentic. See items from her collection in the new exhibit, Cowboys Real and Imagined. Free with admission; Sundays free to NM residents. Also on exhibit: Tall Tales of the Wild West: The Stories of Karl May Learn about the German author who enraptured European readers with his novels about the American West—a place that he never saw himself. In the Mezzanine Gallery. Free with admission. Max Evans and The Hi-Lo Country

Friday, May 17, 6 pm, NMHM Auditorium

The author, painter, and raconteur talks with Jim Harris, director of the Lea County Museum, about his cowboy life. Special showing of the 1998 film, The Hi-Lo Country, starring Billy Crudup and Woody Harrelson. A classic cowboy movie night. Free. Historical Downtown Walking Tours

Every Monday–Saturday, 10:15 am; meet at the Blue Gate on Lincoln Avenue

Learn about the history of Santa Fe with a museum-trained guide. $10; children 16 and under free. Cowboys Real and Imagined program support by the New Mexico Humanities Council.

PASATIEMPO I May 3 - 9, 2013

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

May 9, 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 featuring Amy Ringholz, with an unforgettable reception and dinner.

Mother’s Day Champagne Brunch At Eldorado Hotel & Spa Sunday, May 12, 2013 10:00 am - 2:30pm

Saturday & Sunday, May 4-5, 2013, 10 am to 4 pm Civil War battle reenactments at 2 pm Re-enactments of the battles of Glorieta Pass and Apache Canyon, fought near Santa Fe in 1862! Skirmishes and cannon fire • Union and Confederate Camps • Music by the Territorial Brass Band • Buffalo Soldiers • Display of Civil War documents • Talks about Civil War era medicine and Victorian Life • And much more!

Just south of Santa Fe: 1-25 exit 276, follow “Las Golondrinas” signs. Children 12 & under are ALWAYS free!

For more information and a schedule, visit www.golondrinas.org or call 505-471-2261

Programs funded in part by Santa Fe Arts Commission and the 1% Lodgers Tax, The Santa Fe County Lodgers’ Tax Advisory Board, New Mexico Arts and New Mexico Humanities Council

Celebrate Mom at our annual Mother's Day Brunch! Our delicious Champagne Brunch features breakfast selections including a Chef 's omelet station and carving stations with caraway crusted roast loin of pork and slow roasted prime rib of beef. Other temptations include blackened salmon and our signature seafood display. Satisfy your sweet tooth with white chocolate cheesecake, Bailey's diva chocolate mousse and so much more! Please call 505.995.4508 to make reservations.

Spa Specials May 2013

Remember: locals get 15% off every spa service, everyday! Also enjoy our pool, hot tub, steam room, relaxation lounge and fitness center. Purchase a gift card for mom, your loved one, or yourself at Nidah Spa today!

Meet the Artist Event Featuring Amy Ringholz at The Gallery at Eldorado May 23, 2013 6:00 pm

We’ve partnered with Beals and Abbate Gallery to celebrate the work of Amy Ringholz with a reception and four-course dinner paired with wines from Santa Fe Winery. Please call 505.995.4502 to make reservations.

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

505.995.4455

PASATIEMPOMAGAZINE.COM

ITALIAN RESTAURANT & BAR • FINE DINING • TAKE OUT

Join us at Osteria D’ Assisi on Sunday, May 12th for Mother’s Day Brunch Menu from 11:30 - 2:30pm Patio will be open weather permitting, so call for reservations now! Menu Available online! 58 S. Federal Place Santa Fe, NM • 986-5858 www.osteriadassisi.com

PASATIEMPO I May 3 - 9, 2013

MIXED MEDIA

to benefit Santa Fe’s

INTERFAITH COMMUNITY SHELTER

MaY 2013 Hold the rocks: Chefscapades benefit Good friends Tony Blankenship and Cory Fidler are chefs who work in the Santa Fe restaurant/hotel industry. Planning menus and understanding food, labor, and equipment costs are central parts of their job. By this point, these things are probably part of their genetic makeup. People in possession of such skills who also understand the harsh realities of hunger and homelessness are the perfect partners to wage a massive fundraiser for one of the city’s busiest community homeless shelters. Fidler and Blankenship are behind Chefscapades, a benefit for Santa Fe’s Interfaith Community Shelter. The event takes place at 6:30 p.m. Friday, May 3, at Hotel Santa Fe’s Kiva Room (1501 Paseo de Peralta). In 2011-2012, the shelter provided overnight accommodation for roughly 700 men, women, and children (about 12,500 “bed nights”); the facility also provides hot showers, a transitional-employment help center, a community closet for those in need of clothes, and a skills-enrichment program. With the assistance of more than 2,500 volunteers each year, the shelter has been a lifeline for those who have no protection from the harsh seasonal elements. At Chefscapades, enjoy fantastic music, food, and live and silent auctions with guest of honor Mayor David Coss. Ali MacGraw and Paul Margetson are co-hosts. The four-course menu is assembled by chefs Donald Burns and Starson Roy of Shamrock Foods, Andrew Nichols of Las Campanas, Carmen Rodriguez of La Posada, Hotel Santa Fe’s Patrick Kline, and Tom Kerpon from Tanti Luce 221. A bubbly reception at 6:30 p.m. is followed by a 7:15 p.m. dinner; music comes courtesy of pianist Charles Blanchard. Margetson plays emcee and oversees the auctions throughout the evening. Not hungry yet? How about this: Hawaiian tuna poke with sesame and mango, soy syrup, cilantro pesto, candied ginger, and toast points; Thai coconut horchata soup; grilled peppercorn-crusted beef tenderloin with sautéed mushrooms, green chile, potato gratin, haricots verts, and chipotle demi-glace; and poached pear with strawberry mousse. Tickets, $120, include wine pours throughout the night. Call 795-7494. — Rob DeWalt

We’ll be giving aWay three CaDillaC atS in May! Drawings on Saturdays, May 11, 18 & 25 at 6 pm, 7 pm, 8 pm, 9 pm and 10 pm. See lightning rewards Club desk for complete contest rules and details. eaRn 3x entRies on tuesDaYs & thuRsDaYs!

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Player receives one entry for every 30 points earned on their Lightning Rewards card, May 1 through May 25, 2013. Drawings will be simulcast at Cities of Gold. Management reserves all rights.

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Lensic Presents

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

Discounts for Lensic members

The contemporary dance company returns with three dazzling works by choreographer Trey McIntyre.

SPECIAL THANKS TO

Tickets: 505-988-1234 www.TicketsSantaFe.org SERVICE CHARGES APPLY AT ALL POINTS OF PURCHASE

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

PASATIEMPO I May 3 - 9, 2013

See what makes Quail Run the place to play golf in Santa Fe. Enjoy the relaxed atmosphere of the club’s 9-hole, challenging par 32 course. Golf membership at Quail Run gives you access to: • Men’s & Women’s Golf Associations • Weekly clinics • Club and Inter-Club Tournaments • Our premier health club, ozone pool & spas For more information or to schedule a tour call 505.795.7224 3101 Old Pecos Trail 505.986.2200 quailrunsantafe.com

Drew Shurbet, Golf Pro

STAR CODES

Heather Roan Robbins

Let life be a garden. Cultivate the soil, decide where to plant, and

Friday, May 3: The morning is aimless. This afternoon we grow more sensitive and imaginative but can get lost in daydreams and wishful thinking as the moon enters Pisces, conjuncts Neptune, and sextiles Mercury. Tonight, sensitivities need to be celebrated and protected or people get edgy.

Astrologer, Intuitive, and Ceremonialist Author of Pasatiempo’s “Starcodes.” Readings by phone and Skype. 30-plus years experience in NM, MN, NYC. Your chart is a map, a brilliant navigational tool. It’s an honor for me to walk with you into your inner workings, offer you a perspective to help understand the past, open up the future, and make dynamic choices.

clear away the deadwood this week as the moon wanes. Next Thursday evening brings an earthy Taurus new moon-solar eclipse (visible on the other side of the world), a time of endings and beginnings. The following week is the most fertile time all year to plant, whether we plant seeds of love, work, or petunias. The mood this week is strong, earthy, hungry, possessive, and friendly but not flexible. No one wants to be rushed, but momentum can carry us along. As energized, active Mars continues to run close to the sun, the news may still read like an action-movie script. These two together in earthy Taurus add extra charge to events and confrontations but won’t faze us much under ordinary circumstances; they add energy and endurance when we tap into our passions and heighten our entrepreneurial qualities, our athleticism, and our defenses. The sun and Mars conjunct in Taurus, making us stubborn. Over the weekend the mood is sensitive and easily triggered under a Pisces moon. We may find ourselves both imaginative as Mercury sextiles Neptune and concerned as Mercury opposes Saturn. We tend to take things seriously and can feel awe at birdsong or blooming lilac. Early next week the mood is rebellious and competent. Clear the ground and prepare the fields before Thursday’s new moon in fertile, fecund Taurus. Next week, plant what we want to grow.

Heather Roan Robbins

www.roanrobbins.com

Mother’s Day Brunch

SUNDAY, MAY 12, 2013 SalaDS - Baby Greens, Seasonal Fruits CaRVING STaTION - Prime Rib OMeleT STaTION - Made to Order ´ - Game Hen, Braised Veal Osso Bucco, Bison Ribs eNTReeS DeSSeRTS

native creative

Adults $45, Seniors $37, Children 5-12 $19

11:45am-3:30pm

1501 Paseo de Peralta, Santa Fe | 5:30-10:00pm | 505.955.7805 | www.hotelsantafe.com

Saturday, May 4: Make it safe to be sensitive. The morning mood is delicate, with durable undertones. Avoid processing recent arguments. Let people catch up with themselves and heal. Tonight, accept one another without having to agree with opinions as the moon squares Jupiter. Sunday, May 5: Stay cool and focus on solutions. A thoughtful MercurySaturn opposition can set off the hamster wheels of worry. Detailed work on some creative project moves it along. Relationships need kind diplomacy and time-sharing. Tonight patience thins as willfulness increases when the moon enters forthright Aries. Monday, May 6: We may want to bolt out of the block but can get jammed up if we rush. It’s a willful day. Tackle a worthy challenge. Avoid people who just want to lean in so they know they’re alive. Tuesday, May 7: The mood is direct, assertive, honest, and willful. Don’t stifle initiative; attempt loosely collaborative teamwork. Everyone has an opinion under this Aries moon. Relationships roll with primal undertones. It’s hard to retract anything said as Mercury conjuncts Mars and trines Pluto. Wednesday, May 8: Keep it slow and steady. Cultivate love, life, and investments and feed the senses. Work around an unusually self-indulgent, greedy edge. Seek closure over the next few days. Avoid directly oppositional moves and reassure people’s deep need for security. Thursday, May 9: Old resentments can sharpen tongues or cause accidents this morning as the moon conjuncts Mars. Midday a story unfolds, closing a chapter and precipitating understanding. Feel the karmic payback, for better or worse, and make careful choices. Conversation widens and grows. Later on there’s a funny, flirtatious edge as Venus enters Gemini. Clear the ground and prepare to plant tomorrow. ◀ www.roanrobbins.com

Le Bon

Voyage

luggage • bags • accessories

328 S. Guadalupe, Santa Fe lbvbags.com 505.986.1260 PASATIEMPOMAGAZINE.COM

In Other wOrds

book reviews

The Obituary Writer by Ann Hood, Norton, 292 pages Ann Hood’s deceivingly staid novel shuttles back and forth between two women separated by time. Though each section is introduced by a quote from Emily Post giving advice on how to best treat those in grief, and though there is a lot of death in the book, it is passion that shapes the women’s lives. Claire, a housewife and mother in 1960, is a volunteer for the Kennedy presidential campaign. She and her husband, Peter, live in a suburban development near Arlington, Virginia, where a little boy has just been kidnapped — an event that shatters Claire’s illusion of a safe life. In 1919, Vivien, the obituary writer of the title, is unmarried, independent, and sought after for her unusually intimate and candid commemorations of the dead. We learn that her romantic life ended 13 years earlier, after the Great San Francisco Earthquake, in which her lover, David, was lost, his body never identified. She believes he might have been hit on the head and has been suffering from amnesia, unable to get back to her. With the city all but destroyed, she moved to Napa to be near her childhood friend, Lotte, but she never moved on. She spends her days remembering David and consoling the bereaved, many of whom arrive unannounced on her doorstep. At first the chapters with Claire feel stifling and even boring, even after it is revealed that she has had an affair. She is stuck in suburbia, obsessing over what color Jackie will wear to the inauguration. She and her friends have made this all-important question into a contest; the winner will have a party thrown in her honor. Claire loves her daughter, but she doesn’t seem to have special affection for motherhood, and she is miserable in her marriage. Sex is dull with Peter, but not with Miles, her lover. The reason she fell in love with Miles is that he listens attentively when she speaks. (Peter tends to leave the room.) By contrast, Vivien is exotic and self-assured, especially given the time period in which she lives. But Claire becomes more interesting as the results of the affair become more prominent in her marriage, and as Vivien pines for David, we begin to see how those closest to her wish she could find happiness in the present. What connects Claire and Vivien thematically is that each lives under the presumption — personal and societal — that her life is not complete unless it is bound to a man. If Vivien remains single, that means she’s still mourning David, because “moving on” means moving on with another man — in 1919, happy, normal women have husbands and children. At age 37, she is considered an old maid. Claire’s unhappiness is a symbol to her of fundamental failure as a woman; getting caught cheating is just another way of falling short as a wife, which is the purpose of her existence. In the action of the novel, she and Peter drive to Rhode Island to attend the 80th birthday party of Peter’s mother, Birdy, despite the fact that there is a blizzard and Claire is hugely pregnant and would rather not travel, and the couple is at odds over her affair. But Claire’s mother taught her to never disagree with a man, so Claire spends a lot of time swallowing her own thoughts. Peter makes every decision for her, including about her body and her health, and that’s simply the way the world works. More than anything, The Obituary Writer is good storytelling, an old-fashioned dual-perspective novel with an open, airy quality to the prose, as if Hood wanted to give her characters room to move around. This lightness feels deliberate, a deception pointing at the perceived frivolity of telling women’s domestic stories — because who would care about this housewife or this sad writer of obituaries who wishes she could see ghosts? Something about this book dares you to dismiss it while quietly and politely assuring you with every paragraph that to do so would be a mistake. The Obituary Writer isn’t filled with declarations of women’s liberation; it’s a retroactive cry for help that doesn’t bother with the political but instead hews to the personal. Though Claire’s sections sometimes feel like a novelization of the television show Mad Men, themes of average women’s autonomy get deeper and sustained attention here, and it is the men who are the supporting characters. In the American literary establishment, the inner workings of women’s minds are still too often disregarded as uninteresting or even unnecessary. There have been too few great heroines of American literature, too few average Janes simply going about their days in a fictional reflection of the real world the rest of us can learn from. Where are the female counterparts to Clyde Griffiths and Martin Arrowsmith? We’ve waited long enough. Now, in the literary tradition of the everyman, Hood has given the everywoman her day. — Jennifer Levin 16

PASATIEMPO I May 3 - 9, 2013

SubtextS About a boat In The Emerald Mile, published by Scribner/Simon & Schuster, Kevin Fedarko traces the history of Colorado River boating in the Grand Canyon. A part-time river guide there, he offers gritty detail on piloting a white-water dory. To the one who learned to read that watery terrain, “each rapid, from the smallest riffle to the biggest hellbender, gradually came to develop a face, a personality, and a range of moods — and the key to unlocking those rapids’ riddles lay in finding one’s line.” That is, the safe way through. Finding a line is most difficult in places like the Crystal Rapid, at river mile 98, and the quarter-mile stretch of white water called Lava Falls. Fedarko gives intricate descriptions of the river hydraulics, for example about the Lava Falls run that dorymen call “the Slot,” where a tiny line of bubbles might, to the very experienced eye, point to an unlikely peaceful pathway through the raging rapids. The Emerald Mile, the oldest dory in the fleet of Martin Litton, was demolished on that stretch one July day in 1977. Pilot Steve Dalton made a misjudgment that took the boat into a vortex on the right shore, where it was repeatedly battered against a giant basalt rock. A member of Litton’s crew named Kenton Grua rehabilitated the craft for a speed run. In the spring of 1983, a deluge of rain and snowmelt was overwhelming Glen Canyon Dam, and Grua saw that as an opportunity to set a record: fastest boat ever propelled, by any means, 280 miles down the Colorado River through the Grand Canyon. With the river inside the canyon so high, all the landmarks, and the way the river behaves, change. But Grua did it, and Fedarko tells the story in exciting detail. The author, a resident of Northern New Mexico, was a staff writer at Time magazine from 1991 to 1998 and has contributed to Outside, Esquire, and National Geographic Adventure magazines. — Paul Weideman

Gods of Mischief: My Undercover Vendetta to Take Down the Vagos Outlaw Motorcycle Gang by George Rowe, Touchstone/Simon & Schuster, 324 pages The double life of a federal snitch usually kicks off when someone is trying to whittle down a prison sentence or avoid jail altogether. When George Rowe volunteered to penetrate the Vagos biker gang, however, he was taking it upon himself to do penance for a life of crime. The publisher labels Rowe’s memoir “true crime,” and blow by bloody blow, it fits that description. It’s not a born-again revival in hardback, but a motif of redemption runs through the narrative. To maintain his cover, Rowe had to form relationships with people he wouldn’t sic on his worst enemy. Often, he writes, “there was no separating the government informant from the street brawling animal I was bred to be.” And when it is all over in 2006 and some of the bikers are looking at life behind bars, Rowe has to leave Southern California as part of the witness protection program. The author admits his “utter indifference to education” and his hard living as he manufactured, sold, and used methamphetamine. It’s not too much of a leap to think that Rowe may have received some assistance writing the book from an individual named KC Franks, whom he thanks in the book’s acknowledgments. The book is graphic and never short on profanity. It’s true to the culture about which it informs us — beyond gritty and into gross. While scenes of brutal beat-downs over pool games and naked, bruised, drug-addled women aren’t laughable, Rowe’s sense of humor creates some laugh-out-loud moments. The biker gang he describes isn’t from Brando’s 1953 film The Wild One or of the variety that Vietnam vets joined for long rides, brotherly camaraderie, and debauchery in the 1970s. This is a new century of aggressive steroid- and meth-fueled men, “a grab bag of weekend rebels, gearheads, ex-cons and violent sociopaths engaged in a whole laundry list of criminal activities.” Law enforcement organizations such as the federal Bureau of Alcohol, Tobacco, Firearms, and Explosives, he writes, play “a marathon game of Whac-a-Mole” as they try to unravel gangs like the infamous Hells Angels and the lesser-known Vagos. When one outlaw gets smacked back into the hole, another head pops up. Rowe wants to infiltrate the gang, to crack apart the organization like water freezing inside a stone. Who better than a man already sporting fullsleeve tattoos and a reputation for blasting doors off hinges if customers don’t make good on drug debts? Even as he hates the death-defying pretense of patching into the gang, Rowe admits he enjoyed some of it. “There’s nothing,” he writes, “like screaming down a highway with a pack of Harleys rolling in tight formation.” The story is a riveting, easy read. It’s got enough background on federal racketeering and street-gang case law to keep it credible and enough near misses and admissions of errors in judgment to keep the reader wondering how the outcome came about. While it’s far from the glorifying biker soap opera beginning its sixth season on FX in the fall, Rowe’s book would appeal to those who have followed the storyline on Sons of Anarchy. The savage outlaw gang, Rowe writes, was “straddling the hairy edge of what society considered civilized behavior.” As with slowing your car to get a good view of a bad accident, it’s hard to look away. — Julie Ann Grimm more book reviews on Page 18

presents

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

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In Other wOrds book reviews Spilt Milk by Chico Buarque, Grove/Atlantic, 177 pages If the name Chico Buarque rings a bell at all, it may be for the politically minded bossa nova records he put out in the 1960s at the height of the Brazilian military dictatorship. Unknown to many outside South America, Buarque is also an accomplished playwright and novelist who won the Prêmio Jabuti, Brazil’s most prestigious national literary award, in 2004. Spilt Milk, a recent English translation of his 2009 novel Leite Derramado, is an oddly compelling tale about 100-year-old Eulálio d’Assumpção, an invalid who narrates the story of his downwardly mobile life as the son of a fabled Brazilian senator and coffee exporter to indifferent hospice nurses between morphine shots and vitals checks. Erudite and elegiac, the book is a crumpled love poem to a departed wife and a lost era of the Brazilian upper class during the years leading up to World War I. Recalling his childhood, Eulálio casually remarks, “At home, as in all good homes, family affairs were dealt with in French when in the presence of servants, though, for Mother, even asking me to pass the salt was a family affair.” His senator father expresses his filial love in more of a Kennedy or Heffner vein. He flies the boy to Switzerland, introducing him to skiing, cocaine, high-end prostitutes, and an heirloom leather disciplinary whip, used on both the family plantation and in the presence of an endless string of mistresses. Despite his lavish, decadent upbringing, Eulálio neither carries on the family tradition nor rebels against it. As a family man, his parenting is lackluster. His wife abandons him, and he bumbles through an importing career largely built off family name-dropping. Well into the 2000s, his patrician worldview is so retrograde that the reader can do little more than guffaw after watching him plead with a black nurse to treat him faster because his father supported the emancipation (and the forced deportation) of enslaved Brazilians in the 19th century. What redeems Eulálio, and this book by extension, is his singular account of hot-blooded, monogamous love for a wife who left him and their children and to whom he still bears no malice. Unambitious, down-toearth, and dark-skinned, Matilde is a woman who embodies all the qualities his society family abhors. His abiding love for her makes this frail, failed man seem human and at times renders his prose Proustian. “She would slowly blush until she was a deep red, as if, in ten minutes an afternoon of sun had passed across her face,” Eulálio recalls in a reverie about meeting Matilde as a teenager — at his father’s funeral, no less. Comparing the family patriarch’s lusty exploits to his own marital bliss, the narrator writes, “I had the feeling that my potential for desire was equal to his for every female in the world, but concentrated on just one woman.” By the novel’s end, the narrator will witness the family line thud to a halt as his gangster grandson is gunned down by rivals. Matilde’s true heritage will be revealed, dividing the family while offering up a parable of Brazilian racial dynamics. While many will read this slim novel as the Faulknerian history of a South American upper class that has failed to come to terms with its radically changed country, it is better enjoyed as the impassioned account of an old man who will not let sickness, death, divorce, or failure keep him from once again experiencing the ardor he knew as a young man. — Casey Sanchez more book reviews on Page 20

PASATIEMPO I May 3 - 9, 2013

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Roger Wiens, Leader of the ChemCam Laser Instrument

Exploring Mars with curiosity and its Laser On August 6, 2012, the one-ton Curiosity rover was lowered to the Martian soil by a “sky crane,” settling on its own six wheels. Curiosity sports 10 instruments, an arm that weighs as much as a whole previous generation Mars rover, and a laser that vaporizes bits of rock up to 25 feet away to determine their compositions. The setting for its travels is 90 mile-wide Gale crater and the ultimate destination is a 3-mile high mountain of Martian sedimentary layers. This talk will describe the rover, its journey to Mars, and Curiosity’s new discoveries.

Meet the Artist Tuesday, May 7 at 7 p.m.

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Duane W. Smith Auditorium Los Alamos High School, Los Alamos

Thursday, May 9 at 7 p.m.

New Mexico Museum of Natural History & Science 1801 Mountain Road NW, Albuquerque

Tuesday, May 14 at 7 p.m.

James A. Little Theater New Mexico School for the Deaf 1060 Cerrillos Road, Santa Fe

Thursday, May 16 at 7 p.m.

Taos Convention Center 120 Civic Plaza Drive, Taos

120 W San Francisco St, Santa Fe, NM 505.984.5099 galeriezuger.com / art@galeriezuger.com

For more information, call (505) 665-9196 or (505) 667-7000 or go to http://frontiers.lanl.gov

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PASATIEMPO I May 3 - 9, 2013

In Other wOrds book reviews Chasing Doctor Dolittle: Learning the Language of Animals by Con Slobodchikoff, St. Martin’s Press, 308 pages Almost everybody talks to their dog, cat, or bird. Some people even talk to their plants (but I don’t expect an answer). And while many insist that their furry friends understand them, the real question is: Do animals talk to one another? The 17th-century philosopher René Descartes famously alleged that animals had neither language nor thoughts to express but functioned like clocks. Centuries later, Noam Chomsky, the contemporary linguist and social critic, is adamant (with just as little objective evidence) that language derives from a “language organ” that is uniquely human. Given that biological studies have been founded on evolution pretty much since Darwin, biologists should be open to the question of whether human language ability potentially evolved from animal language abilities and/or precursors just as other functions such as sight and hearing did. But animal behaviorists resist what they call anthropomorphizing animal communication by calling it language. This is partly because, while it’s obvious to everyone that animals signal or vocalize to one another, it’s harder to prove that their communication involves language. This depends, of course, on your definition of language but also perhaps on our ability to decipher the language of animals. In addition, much early research focused on attempts to teach animals human language. Con Slobodchikoff, an emeritus professor at Northern Arizona University, has garnered modest fame for his studies about what prairie dogs say to one another. National Public Radio recently interviewed Slobodchikoff about these studies, which provide persuasive evidence that prairie dogs not only warn other prairie dogs when they see a predator but also describe the predator, including type, size, speed, and — in the case of the human kind — the color of the predator’s T-shirt. But Chasing Doctor Dolittle isn’t a book about prairie dogs, even if they make an appearance (Slobodchikoff discusses them in detail in an earlier title). Instead, Slobodchikoff synthesizes the important research on animal language across a wide variety of species and systematically addresses the strengths and weaknesses of this research as well as the criticisms of it, including the specific human bias that colors at least some of the latter. He does so with illustrative thought experiments and entertaining anecdotes drawn from his own experience in a long career that has included field research in Kenya and the American Southwest. He makes a compelling case for the evolution of what he terms a Discourse System, a structural and physiological system with behavioral aspects that is adaptive in social animals. As he points out, a gene necessary for language has been identified not only in humans (including Neanderthals) but in other species and may even occur in all vertebrate animals. And communications of many species depend upon syntax to be understood, just like ours do. Language remains the last bastion of those who would separate humans from the rest of the animal world. Probably no other animals hold particle-physics seminars. But Slobodchikoff makes the point that it’s our human-biased understanding of what constitutes language, coupled with the sheer difficulty of deciphering the meaning of animal communications outside of obvious threat and mating situations, that limits our comprehension of just how much they may have to say. The unsupported but persistent assumption that language is a gift unique to man has limited research in this area, but scientists like Slobodchikoff have begun to change that. Maybe someday we really will be able to talk to the animals. — Susan Meadows

CONTEMPORARY NATIVE ARTISTS

tONiGht, FriDay, May 3, 5:00-7:30 PM

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

Cliff Fragua, Box with Lid, 2012. Friends of Indian Art Purchase Fund. Photo by Blair Clark.

leWalleN Galleries Brad ellis, Line, Form & Color: Harmonic Convergence

jOiN us FOr aN eveNiNG OF FiNe & cONteMPOrary art iN the heart OF DOWNtOWN saNta Fe

May 5, 2 pm: Diverse arts with Cliff Fragua (Jémez Pueblo) and Ross Chaney (Osage/Cherokee). Lectures are free with regular museum admission and are held in the theater; seating is limited. NM residents with ID are free on Sunday; children 16 and under are always free.

Museum of Indian Arts & Culture

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

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The West Palace arts District is a diverse group of museums and galleries located in the area bounded by the New Mexico Museum of art, the santa Fe community convention center, and the Georgia O’Keeffe Museum. Free aDMissiON ON First FriDays, 5:00 – 7:00 PM FOr NeW MexicO resiDeNts at the GeOrGia O’KeeFFe MuseuM aND the NeW MexicO MuseuM OF art

PASATIEMPOMAGAZINE.COM

TREY

Michael Wade Simpson I For The New Mexican

hese days, choreographer Trey McIntyre is making Idaho, and more specifically Boise, synonymous with contemporary dance. This peripatetic artist, who has created works for companies including American Ballet Theatre, Stuttgart Ballet, Hubbard Street Dance Chicago, and New York City Ballet, decided to form a full-time company in 2008, and he chose to base it in Boise. In a recent video created for his website, McIntyre recalls the time that an audience member told one of his dancers that he was really good and “should get out of this town and go big time.” McIntyre says to the camera that Boise and his company are special and that he wants to get the message out that this is the big time. It’s a place where an artist can have space, time, and peace to create new work. It is a city where dancers can afford to live much more comfortably than they would in New York, San Francisco, or Chicago. And, according to McIntyre and the dancers interviewed for this article, it’s a great place to come back to after touring the world. “Trey wanted to change the notion of a dance company, how rehearsals went, how every dancer would be an integral part of the creative process of every dance,” 22

PASATIEMPO I May 3 - 9, 2013

BIEN

said Ashley Werhun, one of the founding members of the company. “When I auditioned for Trey, it was a process unlike anything I had ever experienced. He said, ‘Let’s get together and make up some dance.’ I went to Boise for a week, and we spent three or four days in the studio, just me and Trey. I learned old work, we created new work, he had some of the dancers in to watch. Honestly, I couldn’t walk for a while after that. He told me he came to Boise for a reason. He wanted to extend art past the proscenium. He wanted to become a thread in the community of Boise.” The community has clearly responded. The mayor of Boise, David Bieter, has named Trey McIntyre Project as the city’s Economic Development Cultural Ambassador for two years running. In 2010, the company was commissioned to create a piece for Jaialdi, the city’s international Basque festival, held every five years. People from all over the world descend on Boise, which has a substantial Basque population, to celebrate that culture and to compete in events such as wood chopping and weight lifting. McIntyre brought in local folk dancers to teach his group traditional dances and collected spoken-word recordings with members of the Basque community, ultimately creating Arrantza. The piece is included on the company’s performances on Friday and Saturday, May 3 and 4, at the Lensic Performing Arts Center.

“We enter wearing huge sacks, and then one male dancer begins to wildly wave a Basque flag,” Werhun said. “At the premiere, the whole theater erupted. We couldn’t hear the music. It’s interesting, though. When we have taken the piece around the world, it is always well regarded. I think there are things about it that affect people, whether you’re Basque or not.” During the dance a story is told about a young Basque boy who drowns in the Boise River and the community that rallies around the boy’s grieving mother, said dancer Elizabeth Keller, who is in her first season with the company. “It’s a women’s section. We simply walk toward the audience. It’s heart wrenching and doesn’t need a lot of movement. Trey’s choreography is like that. It’s not presentational. It doesn’t have ballet airs. He wants us to tap into human emotion.” Learning this work and dancing for TMP in general has called for Keller to leave behind certain long-held habits from her Balanchine training (she danced with the Balanchine-based Miami City Ballet for 10 years). “Some things are so ingrained after 10 years in one company. There are Balanchinisms, like being really light on your feet and the épaulement [a term indicating placement of the shoulders, neck, and head]. But Trey has brought me out of ways I have been stuck in.” Keller said dancing in a 10-person company has been eye opening, coming from Miami, where there were more than 40 dancers. “The body craves to be part of something new and different. When I came to Boise to audition, I saw how intimate he was with each dancer. He worked with me and another dancer in the studio, and then he said, ‘Let’s chat.’ It was the first time a director had talked to me for more than five minutes in my entire career.” In Queen of the Goths, also on the Santa Fe program, Keller plays a vengeful queen, Tamora. The dance is based on Shakespeare’s play Titus Andronicus. “I’m the bad girl. I had never been asked to tap into such real emotions. I’m learning how to be raw and vulnerable onstage. I am continuing to grow, personally and as an artist. McIntyre’s choreography for the piece may have a dark edge, but the music for the ballet includes Nancy Sinatra, Supergrass, and Antony and the Johnsons.” “Trey’s choreography makes me feel more authentic,” said Travis Walker, who will be partnering Werhun in McIntyre’s newest piece, Pass, Away, set to a recording of songs by Richard Strauss sung by Jessye Norman. “I think he taps into something new with Pass, Away. He’s unearthed new ground.” Walker danced with several other companies before coming to TMP but said he rarely had the opportunity to have new dances developed on him. “It’s not about the steps being technically correct. It could be a traditional ballet step, but it’s more about the way the movement expresses the thought behind it. I love the way Trey works. He’s very direct. We get so much more done. It’s not what I was used to. “I think he looks for people who can understand where he is coming from. He looks for people who are on the same wavelength with him. Every time he gives me a correction, I latch on to it, because it’s usually that he wanted me to explore something differently. My dancing is completely different since I joined TMP. I’m working from a better place. From myself.” Werhun has had the opportunity to observe changes in McIntyre as well as within herself. “Trey’s relationship with his company dancers has had a huge effect on his ability to go deeper. Spending one month with a company as a guest artist is very different. Over five years, the trust we have developed in each other is so strong. His movement vocabulary is more daring. We have more time in the studio. His choreographer’s voice is like a language. After a while, you start to speak the language, and you can explore it in a braver way.” ◀

details ▼ Trey McIntyre Project ▼ 7:30 p.m. Friday & Saturday, May 3 & 4 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $20-$45 (discounts available); 988-1234, www.ticketssantafe.org

Opposite; Derek Ege and Ryan Redmond in Queen of the Goths; photo by Trey McIntyre PASATIEMPOMAGAZINE.COM

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All for one azz jams — casual gatherings of musicians playing and improvising on standard material — have made for some legendary moments in music history. The all-star group that appeared at the Lensic under the banner of the Monterey Jazz Festival wasn’t exactly your classic jam. The show, presented as the New Mexico Jazz Festival’s spring concert, was too staged, too polished — at least until the encore — to be considered that. But the coming together of vocalist Dee Dee Bridgewater, bassist Christian McBride, drummer Lewis Nash, pianist Benny Green, saxophonist Chris Potter, and trumpeter Ambrose Akinmusire, all band leaders, demonstrated the collective, one-for-all nature of a music that champions individual expression. In mix-and-match sessions involving its various members, the MJFOT treated a sold-out audience to a host of jazz genres and individual styles. That the music almost always succeeded, no matter if the members played as a sextet, a duo, or something in between, indicated a single truth: jazz is an ego-driven art form that demands that its performers come together in egoless style. Supergroups in other genres, especially rock, aren’t known to be so democratic. Each MJFOT member was featured and each member, with the exception of Akinmusire and Nash, contributed original material to fit in with an array of familiar standards from blues, bop, neo-bop, jazz-funk, and the American Songbook. The musicians seemed to truly respect one another — there was a series of handshakes and hugs all around as each was introduced — and they genuinely appeared to revel in one another’s contributions. The long, single set began with McBride and Bridgewater teaming on “I’m Beginning to See the Light,” a tune dedicated to the bassist Ray Brown, a familiar figure at the Monterey fest during his life and a mentor to both musicians. Bridgewater’s voice was light and transparent. McBride’s nimble upright play made something larger of the familiar melody with embellishments and echoes of the vocalist. The entire sextet was out for “Let the Good Times Roll,” Bridgewater singing with playful authority. Potter’s tenor solo set the terms for the instrumentalists. He was active, vibrant, and soulful in ways not normally associated with the familiar party anthem, at one point referencing the inside cool of Eddie Harris’ “Freedom Jazz Dance.” Young trumpeter Akinmusire cast wide dynamic swings, matching soft bluesy lines with loud declarative statements. Bridgewater, perched on a stool against the piano, cooled herself with a black folding fan. Without the singer, the quintet took on the frontline sound of Art Blakey’s Jazz Messengers. McBride’s “Shades of the Cedar Tree,” a tune inspired by longtime Blakey pianist and composer Cedar Walton, featured the horns playing its theme both in unison and in harmonically attractive thirds. Green, McBride, and Nash took on Dizzy Gillespie’s “Tangorine,” the pianist stringing together long left-and-right-hand unison phrases that soared up and down the keyboard. Potter’s “Wayfinder” may have been the evening’s instrumental highlight, its modern twists and turns powered by Nash’s detailed polyrhythms. The evening’s only solo performance, Green on “I See Your Face Before Me,” was a model of touch and lyrical sensitivity. The group seemed at a loss only when called out for an encore. They finally settled on Bobby Timmons’ “Moanin’,” a tune made famous by Blakey and the Messengers. Bridgewater, admitting she didn’t know the words, scatted along. It was the one point in the evening that truly felt like a jam session. — Bill Kohlhaase

There are secrets …

Join us for our Traditional Mother’s Day Grand Buffet Sunday, May 12 • 10 am to 6 pm A delightful feast for Mom, designed by Executive Chef Christopher McLean and his culinary team. From a Seafood Extravaganza featuring Alaskan Crab Legs to Buffalo Strip Loin, Chef Carved Roast Turkey and Prime Rib of Beef plus an Array of Brunch Entrées. Adults $52, Seniors $44 Children under 12 $21, Under 5 Free

Reservations Required 505.819.4035 bishopslodge.com

NOW serving our NEW Lunch Menu from 11 am to 2 pm

…to staying young Learn the secrets at a free lecture sponsored by

El Castillo LifeCare Community

10 Strategies for Successful Aging by Dr. Roger Landry

7:00 PM, Wednesday, May 8, 2013 St. Francis Auditorium, New Mexico Museum of Art, on the Plaza Roger Landry, M.D., M.P.H. is a preventive medicine physician who specializes in empowering individuals to take control of their own aging. He was trained at Tufts University School of Medicine and Harvard University School of Public Health. He served as a flight surgeon for 22 years with the United States Air Force where his duties involved keeping astronauts, pilots and other aircrew healthy and performing at their best. Dr. Landry is a nationally known expert on successful aging and the author of Live Long Die Short: A Guide for Authentic Health and Successful Aging, to be published in summer 2013.

Complimentary parking provided by First National Bank of Santa Fe on a first-come, first-served basis on Palace Avenue We thank the New Mexico Museum of Art for their support with this event.

EUROPEAN CONTEMPORARY STYLING

Reservations for seating are required. Please reserve your place by calling 995-2110 no later than Sunday, May 5

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250 East Alameda • Santa Fe • 505-988-2877 • elcastilloretirement.com PASATIEMPOMAGAZINE.COM

Alan Ainsworth

HIS OWN SWEET WAY Bill Kohlhaase I For The New Mexican 26

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

arius Brubeck, in a performance that generated headlines across Eastern Europe — but not for reasons you might expect — made his international debut as a pianist in Poland in 1958. He was 11. Darius’ father, Dave Brubeck, as dedicated a family man as the jazz world has ever seen, had his wife and sons accompany him to the then Communist country along with his group for his first appearances behind the Iron Curtain. At the close of his father’s performance, often reported as having taken place in Warsaw but more likely, according to Brubeck, in Stettin, he was shoved into the spotlight. “Our Polish interpreter, guide, and minder pushed me and [younger brother] Mike onstage at the end of the quartet’s first or second concert,” Brubeck said. “I had enough diplomatic suss at 11 to sense it would be a mistake to scuttle back into the wings once the audience had seen us, so I walked with as much self-possession as possible to the piano. Mike naturally followed me, and [drummer] Joe Morello, operating like a skilled puppeteer, sat him on the drum seat and put a stick in his right hand. Dad knew that I knew ‘Take the A Train,’ so he started the familiar intro as I sat down. Not really oriented — where’s middle C, what happens next? — I played some tentative licks, and Dave stage-whispered, ‘Play the melody, stupid!’ The German press ran the headline, ‘Spiel die Melodie, Dummkopf!’ It’s been a family joke all these years.” Darius followed his father as far as Istanbul on that tour and then returned to the States with his mother. The Dave Brubeck Quartet went on to Afghanistan and India. The effects of that globe-trotting had a lasting impression on the budding composer-keyboardist. Brubeck has since carved his own niche in the music world, exploring fusions of jazz and classical and ethnic music, all the while carrying his father’s legacy forward. He’s most known for his embrace of world music forms, especially the music of South Africa, where he spent more than 20 years after establishing the country’s first college-level jazz program and performing with and mentoring a host of South African musicians. Brubeck, who performs Sunday, May 5, at the Lensic Performing Arts Center in a benefit for the Humankind Foundation’s programs in rural Africa, said that the 1958 trip with his father was one of the layers of influences that led to his cosmopolitan taste in music. “The first layer was that tour and what it led to in my father’s music. He brought back a lot of recordings from Turkey, from India, and from then on it was an interest. This was also at a time when Southern Indian classical music was becoming more available, as well as folk music. It was always there in the background.” Another layer was his pursuit of a degree in ethnomusicology from Wesleyan University. “We always had top-quality visiting artists when I was there. South Indian musicians, yes, but in any given year there would be masters of Persian or oud music or African or gamelan musicians. And there was always the opportunity not just to hear them lecture and perform but to participate with them. That was very formative.” As the son of one of the world’s most famous jazz musicians, Brubeck grew up surrounded by sound. “When I was little I just assumed that all adult males were people who played music. Dave’s brothers Henry and Howard would come over with Uncle Paul [Desmond, not really his uncle]. I thought that was just the normal way to spend time, playing and working on music. Then, as I grew up and as Dave’s reputation grew, I began to see that what I was witnessing was very special. But I was excited about the music before I realized what impact it was having on the public. I liked the music for what it was, and it felt very good to be close to that process of making it.” In the 1970s, Brubeck formed his first bands, including a fusion group under the name Gathering Forces, which later recorded with brothers Dan on drums and Matthew on cello as well as percussionist Airto Moreira and Indian bansuri (flute) player Deepak Ram. He worked with singer-songwriter Don McLean (“American Pie”) and jazz guitarist Larry Coryell. In 1972, Paramount Pictures enlisted him to record a collection of Charlie Chaplin’s film scores to accompany the rerelease of six of his films. The result was Chaplin’s Back, a date that included saxophonist Michael Brecker. He recorded with his father and brothers on the 1973 album Two Generations of Brubeck and again for the 1983 release Truth Is Fallen with the Cincinnati Symphony Orchestra. In 1983, encouraged by his South African wife, he made a decision to pursue what he would later call the biggest thing he’s done in his life. Brubeck moved to South Africa and formed the Centre for Jazz and Popular Music at the University of KwaZulu-Natal in Durban. He remained there until 2005. The center offered the first jazz studies course in all of Africa. The decision to go wasn’t an easy one.

South Africa was still under apartheid, and Brubeck had to be certain that the move wouldn’t violate any of the various boycotts going on at the time or appear to support the regime in any way. “I consulted with people in New York and London, and they said their goal was not to destroy South Africa but to transform it. There was a cultural void in the country but not an academic boycott. What I was doing was recognizing black cultural achievement and providing opportunity for the people who were there relevant to their own cultural aspirations.” Brubeck was given the blessing of the African National Conference, among other organizations. “For me, it was a gutsy thing to do, a big part of my career in terms of time commitment and my academic life. But it was also a huge opportunity, undertaken with trepidation and respect for how huge a challenge it was.” It also led to a transformation in Brubeck’s musical evolution. The rhythms and forms of South Africa are apparent in his compositions, influences derived from collaborations with South African musicians, some of them former students. Brubeck directed the first mixed-race student band in South Africa, The Jazzanians, taking their music across the country. His collaborative band with South African musicians, the Afro Cool Concept, traveled to Europe and America. Brubeck’s recordings from these years, collected on Tugela Rail, include a host of various South African musicians playing his compositions. Like his father, Brubeck has worked hard at being a composer as well as a pianist. Some of his arrangements for strings are heard on his father’s 2002 recording 80th Birthday Concert: Live With the LSO. In 2004, Brubeck was one of several musicians asked by Wynton Marsalis to compose music for the Lincoln Center Jazz Orchestra to accompany speeches written by Nelson Mandela, Eleanor Roosevelt, and Robert Kennedy, among others. In addition, he continues to lead his jazz quartet in performances around London, the U.S., and South Africa. Working in the rather considerable shadow of Dave Brubeck has not always been easy for the revered pianist’s eldest son. A band instructor once accused Darius of letting his father do his homework for him. Critics were harsh when the Brubeck brothers first began playing with their father. “The only way to look at it is that life gave me and all of us — Chris, Dan, Matthew — a wonderful platform and a challenge to go with it. I can’t say that it might have been better otherwise. But I know how good it has been.” ◀

details ▼ Darius Brubeck with Straight Up (John Trentacosta, Arlen Asher, and Andy Zadrozny) & vocalist Maura Dhu Studi; a fundraiser for the Humankind Foundation ▼ 4 p.m. Sunday, May 5

Santa Fe Institute Community Lecture The Minds of Children

Thursday, May 9, 7:30 p.m. James A. Little Theater 1060 Cerrillos Rd. Santa Fe Lectures are free and open to the public. Seating is limited.

Human children are dependent longer than the young of any other species. New research suggests that even the youngest infants have powerful learning abilities; that toddlers analyze statistics and do experiments; that preschoolers use discoveries to imagine alternative futures; and that young children have a sophisticated grasp of morality. Psychologist, philosopher, author, and mother Alison Gopnik surveys insights from psychology, neuroscience, and philosophy that suggest our prolonged period of childhood helplessness is responsible for our uniquely human consciousness, and asks whether babies hold the answers to our most profound and uniquely human questions about love, morality, exploration, and imagination.

www.santafe.edu Alison Gopnik is a professor of psychology and affiliate professor of philosophy at UC Berkeley and author of several books on child learning, including The Scientist in the Crib and The Philosophical Baby. Support for SFI’s 2013 lecture series is provided by Los Alamos National Bank.

Neo Traditional: 15 Years in Bronze

▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $25-$45 (discounts available); 988-1234, www.ticketssantafe.org

BENEFIT CONCERT

The Darius Brubeck concert is a fundraiser for the Humankind Foundation, which was founded 10 years ago by Santa Fe registered nurse Kristin St. Clair. Its mission is to provide education about HIV/AIDS and female genital mutilation to the seminomadic Maasai people of Tanzania, Africa.

Tammy Garcia May 1 – 31, 2013 Artist Reception: Friday, May 3rd 5 – 7 pm

“FGM in this culture goes back more than 2,000 years,” St. Clair said. “In the beginning it was probably designed to create slave girls, the idea being if you don’t have a clitoris, you don’t experience sexual pleasure, so you’re not going to stray. Later, cultures developed mythologies to keep the paradigms in place. In West Africa, for example, there is the belief that if you give birth and you’re not cut, your grandparents will die. It is also said that the practice is specified in the Quran. It is not in the Quran, but the people can’t read. “In the case of the Maasai, the rite of passage is a huge thing for a girl. During that rite, the grandmothers impart secret information, which includes a lot of practical things but also some of these myths, and they’re often the ones who do the cutting, and that is their livelihood.” The foundation’s FGM project, Kamilika, is centered at Noonkodin High School, which is also a safe house for Maasai girls escaping from FGM and early marriage.

130 Lincoln avenue, Suite C Santa Fe, nM 87501 505.954.9902

For information, see www.humankindfoundation.org or call 930-0993. — Paul Weideman

www.blueraingallery.com Karen Kuehn photography

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PASA TEMPOS

album reviews

mercHandise Jaimeo Brown Total Nite (night People) Transcendence (motema) Drummer Jaimeo Brown and 10 The 1980s — that decade of musical collaborators weave a complex, bootleg cassettes, fanzines, limitedintense tapestry of spirituals, blues, release 7-inch records, glam, and goth — and jazz, often including snippets from continues to apply eye makeup and practice vintage recordings of the singers of buzz-saw guitar solos in the music of this the venerable African American rural Tampa, Florida, band. Merchandise is indecommunity at Gee’s Bend, Alabama. “Mean pendent in an old-fashioned way: the band World” starts with one of these: the repeated line “This world shies away even from indie labels, wears a scathing review in is a mean world to live in,” intoned soulfully and forthrightly by Spin magazine (now Spin.com) as a badge of honor, and tweaks its one of the Gee’s Bend Singers. Concurrently, J.D. Allen’s athletic, best ideas with muffled production and piled-on instrumentation. restive sax lines and Brown’s furious drumming rise from whisper to The songs here tend to the long side, leaning to Cure-like dancedeclaration. On “Somebody’s Knocking,” Falu sings wordless vocals rock with “Anxiety’s Door” or slow, dreamy songs like “I’ll Be Gone.” over a thick bed of electric-guitar noise from Chris Sholar. “Patience” As with vocalists like Glenn Danzig, Morrissey, or New Order’s Bernard offers thick, deliberate dabs of bass by Dartanyan Brown; lonely tenor notes Sumner, Merchandise’s Carson Cox sings in a powerful voice that occafrom Allen; psychedelic, screaming, reverb-laden electric guitar by Sholar; sionally and affectionately veers off key while projecting both masculinity and harmonium white noise by Andrew Shantz. Falu is added to the same sort and vulnerability. He uses that voice to convey the romantic misanthropy of mix for “You Can’t Hide.” This music sounds downright dangerous. that was in vogue in popular music before the internet made even Brown’s absorbing experiment continues with “Be Free,” and they the most outcast of teenagers into potential extroverts. If all are: this multilayered sound barrage features nicely feral playof this seems to peg Merchandise as a throwback group, it’s ing by the leader and the sax man. A calm break comes with because it proudly is one, and like many alternative bands “Power of God,” guest pianist Geri Allen quietly improvising of the 1980s, it treats the EP as a legitimate form, for Merchandise’s to a sample of the Gee’s Bend singers. Still to come are the both creative and practical reasons. Total Nite’s five songs simple, dirgelike “I Said” and “Accra,” inspired by Brown’s clock in at 33 minutes, which is plenty of time to deliver Carson Cox sings in a trip to Ghana; it’s a soundscape of pounding drums and a satisfying experience without worrying too much if synthesizer chord sustains. Wow. Yeah. — Paul Weideman powerful voice that occasionally the band occasionally loses the groove. — Robert Ker

and affectionately veers off Lee HYLa My Life on the Plains (Tzadik) There’s somedeL soL sTring QuarTeT Zia (sono Luminus) thing familiar about the music in American composer The Del Sol String Quartet may not have quite the brandkey while projecting both Lee Hyla’s My Life on the Plains. Echoes of hymns, polkas, name recognition of the Kronos Quartet, but its members country folk, and bird calls fall between Bartok-like have nonetheless earned a well-deserved following as masculinity and passages of atonal strings and rushing piano lines. Melodica intrepid explorers of the avant-garde. The San Franciscotones blend with clarinets. Sustained church organ chords based foursome has given impressive performances in vulnerability. interrupt back-and-forth exchanges between violins and Santa Fe and would seem overdue for another visit. Until piano. Hyla, who wrote music for the Kronos Quartet to back that happens, listeners can savor the group’s latest CD, Zia. The musicians selected the name to evoke the Zia symbol (ultra-familiar an Allen Ginsberg reading of Howl, finds almost everything fair in these parts), which radiates in four directions, representing (as they game — rock lines, jazz rhythms, and unexpected instrumental blends explain) the global scope of the music in their playlist. The five composers — as he explores offbeat inspirations. His composition Polish Folk Songs was inspired by music heard at his grandmother’s funeral. It turns quickly represented do cover a considerable geographical expanse. Gabriela Lena between moods and tempos, both somber and celebratory. Field Guide, Frank’s Leyendas: An Andean Walkabout reflects the folklore from the Peruvian strand of her ancestry, launching a recital that includes reflections dedicated to the seven-piece Firebird Ensemble, which performs all the of Spain ( José Evangelista’s Spanish Garland) and Iran (Reza Vali’s music here, is a mélange of bird songs decorated with percussive hops Nayshâboorák), in all cases with incisive rhythms and exotic scale and wing flapping. It’s not your usual pastorale; the calls mingle and patterns. Lou Harrison’s String Quartet Set, from 1978-1979, is the intertwine, often finding tension in the exchanges. The title piece is earliest piece on the CD; it displays the late composer’s characternamed after George Armstrong Custer’s published recollections of istic transparency and his delight in medieval melody and, in his encounters with Native Americans. It brings the orchestra one movement, ancient Turkish music. An together in groups of two and three instruments while developing themes invigorating encore comes by way of Fast that echo through all three movements. Blue Village 2 by Elena Kats-Chernin, an This isn’t strained, dissonant sound but Australian composer born in Uzbekistan; a collections of melodic lines and lyrical bracing study in minimalism-infused fivepassages rubbing against each other and four time, it is literally robotic since the contrasted in unexpected pairings. It’s music is derived from material written fascinating, almost visual music. to be played by a set of robots. — Bill Kohlhaase —James M. Keller

PASATIEMPO I May 3 - 9, 2013

An unconstitutional proposition. An unprecedented decision. An unforgettable evening.

presents

American Foundation for Equal Rights & Broadway Impactâ&#x20AC;&#x2122;s

featuring:

Joyce DeWitt, Ali MacGraw, Wes Studi Bailey Chase, Cassidy Freeman, Adam Bartley panelists:

Attorney General Gary King, Mayor David Coss, District Attorney Angela Pacheco, Representative Brian Egolf, City Counselor Patti Bushee, Brian Byrnes

One Night Only ~ May 18th, 7:00 pm

The Armory for the Arts Theater, 1050 Old Pecos Trail Tickets: $60 Reserved Seating, $125 Preferred Seating including admission to an after-party with cast and panelists.

Reservations & Box Office: 505-984-1370 Proceeds benefit the American Foundation for Equal Rights and its federal lawsuit for marriage equality. | 8theplay.com Sponsored by:

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TERRELL’S TUNE-UP Steve Terrell

You’re bugging me

Jason Creps

Wilderness, the new album by The Handsome Family, is as mysterious, dark, and utterly alluring as fans of this band — actually an Albuquerque couple named Brett and Rennie Sparks — have come to expect. The melodies are mostly pretty, sentimental, and frequently sad, with sweet harmonies from Mr. and Mrs. Sparks. Many tunes may remind you of old folk songs or parlor music from some century gone by. But when you allow the lyrics to sink in, you realize there’s a lot more going on here than sweet nostalgia. Years ago I wrote that the Handsome Family’s lyrics “take you to mysterious places, telling strange tales of ghosts, dead children, murders, supernatural animals, drunken domestic disputes, uneasy little victories, and somber little defeats.” I’ll stand by those words. Wilderness continues along that shadowy path. Like their previous album, Honey Moon, which examines the idea and practice of love from a variety of angles, Wilderness is a concept album. Every song is named after a different animal: “Eels,” “Octopus,” “Lizard,” “Owls,” etc. “The record is all about animals, but it’s not really about animals,” Brett said during a recent interview on my radio show, The Santa Fe Opry on KSFR-FM. “They’re about a lot of things, but I guess animals are the jumping-off point for a lot of themes.”

The Handsome Family

PASATIEMPO I May 3 - 9, 2013

Many tunes on ‘Wilderness’ may remind you of old folk songs or parlor music from some century gone by. But when you allow the lyrics to sink in, you realize there’s a lot more going on here than sweet nostalgia. Rennie, who writes all the lyrics for Handsome Family songs, said, “I was thinking about it like a medieval bestiary, which are factual, but factual about the world as we know it now but not necessarily about the truth of the world.” Several of the songs deal with humans — including historical figures from the 19th century. There’s “Flies,’ which starts off about George Armstrong Custer, lying dead at Little Bighorn (“His red scarf tied, his black boots shined/How beautiful he looked to the flies, the happy kingdom of flies”); there’s “Wildebeest,” which deals with the lonesome death of songwriter Stephen Foster (“He smashed his head on the sink in the bitter fever of gin/A wildebeest gone crazy with thirst pulled down as he tried to drink”); and there’s “Woodpecker,” which is about Mary Sweeney, a Wisconsin schoolmarm notorious for having manic fits and smashing windows. Her story is told in Michael Lesy’s 1973 book Wisconsin Death Trip. “That was my century. … I would have fit in,” Rennie said about the 1800s. “When the train tracks went through, everything went to heck. To me, people like Stephen Foster or Custer or Mary Sweeney were people who had one foot in the old world and one foot in the new world.” Brett added, “We’re kind of obsessed with that turn-of-the-century kind of thing. We started this new little project called the Parlour Trio [featuring longtime Handsome colleague David Gutierrez on mandolin] where we’re playing turn-of-the-century parlor music just around Albuquerque for fun. … That was a time when everything in America maybe started becoming less European, in a way. … I think that’s an amazing period in American history and American music history.” Wilderness also has many songs in which Rennie continues her fascination with insects and other creepy crawling things. Besides “Flies,” there are songs titled “Spider,” “Caterpillars,” and “Glow Worm.” Insects also star on several tunes on Honey Moon, my favorite being “Darling, My

Darling,” told from the perspective of a lusty male insect willing to sacrifice his life to the waiting fangs of the female of the species. One of my favorite images on the new album is the last verse of “Flies,” which takes place in some trashy vacant lot near a Wal-Mart: “Great armies of the smallest ants fight battles for the glory of their queen/Such a tiny, glorious queen.” Asked about this apparent bug fixation, Rennie laughed. “You live in New Mexico. My God, we have some amazing insects here. … Two summers ago, we saw our first sphinx moth larva out in the yard. Once you’ve seen that, trying to wiggle their way down …” Brett interjected, “It looked like a little hot dog was crawling across the yard.” “They look like caterpillars when they’re first born, but when they get ready to pupate, they drop all their legs off, and they look like a finger. A little finger rising from the ground,” Rennie said. “When I first saw this thing, and I’m from New Mexico, I was like, it was one of those things where you say, Oh, my brain doesn’t want to do this — what am I seeing?” Brett said. Asked about the battling ant army imagery in “Flies,” Rennie said, “I’ve watched great battles out in my driveway. There’s two competing ant holes.” Brett reminded her of the time, not long after the couple first moved to Albuquerque, that Rennie, a New York native, learned the hard way that “I got ants in my pants” isn’t just a James Brown song. “Honestly, I feel like I was a different person after I was bitten by those ants. There was a point in the middle, when I was just writhing in pain, that I could feel the queen calling me down in the earth. And I wanted nothing but to do her bidding.” There is a CD release party for Wilderness at 9 p.m. on Saturday, May 4, at Low Spirits, 2823 Second St. N.W., Albuquerque, 505-344-9555. Tickets are $11. Check out www.handsomefamily.com. ◀

In Pursuit of Cultural Freedom

A lecture series on political, economic, environmental, and human rights issues featuring social justice activists, writers, journalists, and scholars discussing critical topics of our day.

EDUARDO GALEANO with Marie Arana

WEDNESDAY 15 MAY AT 7PM LENSIC PERFORMING ARTS CENTER MARCH 9 The Day Mexico Invaded the United States On this early morning in 1916, Pancho Villa crossed the border with his horsemen, set ﬁre to the city of Columbus, killed several soldiers, nabbed a few horses and guns, and the following day was back in Mexico to tell the tale. This lightning incursion is the only invasion the United States has suffered since its wars to break free from England.

Cystic Fibrosis Foundation Great Strides Walk Saturday, May 11, 2013 Check-in begins at 8:00 am Walk begins at 9:00 am

Santa Fe—Villa Linda Park

In contrast, the United States has invaded practically every country in the entire world. Since 1947 its Department of War has been called the Department of Defense, and its war budget the defense budget. The names are an enigma as indecipherable as the Holy Trinity. — From Children of the Days: A Calendar of Human History by Eduardo Galeano © 2013.

Eduardo Galeano is an essayist, journalist, historian, and activist, as well as one of Latin America’s most beloved literary ﬁgures. His books include the trilogy Memory of Fire, The Book of Embraces, We Say No, and Mirrors: Stories of Almost Everyone. Galeano was the ﬁrst recipient of the Lannan Prize for Cultural Freedom in 1999. His new book is Children of the Days: A Calendar of Human History.

http://newmexico.cff.org/greatstrides For more information contact: Stephen Baros—Santa Fe 505-577-7227 Or The Cystic Fibrosis Foundation:

Phone: 505-883-1455

E-Mail: new-mexico@cff.org

Sponsored by:

Upcoming Seminars:

For More Seminars Visit Our Website

(at the Santa Fe Incubator)

• Creating Your Website & Getting Visitor Traffic

Tuesday, 05/07/13 - 6:00pm-8:00pm

• Incentives to Stimulate Your Business Wednesday, 05/08/13 - 6:00pm-8:00pm

Facials of Ta o s

• Hiring & Firing 101

Thursday, 05/09/13 - 6:00pm-8:00pm

Located inside Nicole’s Salon & Spa

To recei v e t h is o f f e r, v is it Splurg eT a o s.co m bef o re midnig ht W e d ne s d ay , M ay 8, and p ur cha s e t h e Splu rg e certif ica te, which ca n be redeemed f or the ab ov e of f e r . Thi s a dv e rt isement is not a S plurge cer tif ic a te .

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

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

@santafescore

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Michael Abatemarco I The New Mexican

Fine Focus IN

advance of the Georgia O’Keeffe Museum’s traveling exhibition Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land, coming home to roost this month, a new director of curatorial affairs, Cody Hartley, has arrived. Hartley, recently the director of the Gifts of Art program at the Museum of Fine Arts, Boston, brings to the O’Keeffe his expertise in working with collectors and curators to identify and pursue additions to a museum’s collection. Hartley arrived at the MFA while the museum was building its ambitious Art of the Americas wing, a project that was completed in 2010 and includes 53 galleries spanning several floors. He was instrumental in bringing significant works to the museum, including collections of West African art, modernism, photography, and African American art. The MFA boasts one of the finest Asian art collections in the world as well as large holdings of Egyptian, Greek, and Roman art from antiquity and extensive collections of textiles, photographs, paintings, prints, furniture, and decorative arts. Hartley spoke with Pasatiempo from Boston. He began his position at the O’Keeffe Museum on April 29. Pasatiempo: How closely were you involved in developing the MFA’s Art of the Americas wing? Cody Hartley: I was brought here toward the tail end of construction and worked with the entire team of curators in the Art of the Americas department to plan the installation of those spaces, and once the site was turned over to us, worked to get those artworks into the galleries. It was an amazing project covering everything from the ancient Americas, Mesoamerica, up through the 20th century and even some 21st-century artworks. We combined paintings, works on paper, sculpture, furniture, and decorative arts throughout our galleries. We dispensed with the notion of a paintings gallery and instead went for period, context, and detail. Pasa: Was the MFA working solely with existing collections then in storage or did the new wing necessitate gathering new acquisitions? Hartley: Over the course of the campaign to raise the funds to build it, there was an aggressive effort to build upon the collection, the MFA already having one of the finest American art collections in the country. Being in Boston certainly helped. Native sons like John Singleton Copley and Paul Revere did us well, but there’s always room for improvement, so we pushed really hard as we began to understand what our gallery spaces would look like. We thought about where there might be gaps and weaknesses in the collection and worked really hard to fill those. Pasa: How might your experience with the Gifts of Art program at the MFA be of use in a museum like the Georgia O’Keeffe, which has a much smaller footprint? Hartley: There are other O’Keeffes out there, and there’s work related to O’Keeffe out there in her period 40

PASATIEMPO i May 3 - 9, 2013

Cody Hartley joins the O’Keeffe

of American modernism. I expect that we’ll be working hard to reach out to collectors and make the case that the O’Keeffe Museum is really the national repository for her work. I want people to think of it as the best place possible to care for, share, and interpret her work. I will certainly be employing the Gifts of Art model developed at the MFA to be very active in pursuing great additions to the collection. Pasa: So the focus won’t just be on artworks made by O’Keeffe — it will be somewhat broader than that because of her legacy? Hartley: Yes. Works that respond to her own, that are from her time and context, that help us better understand the milieu she was working in, the artists she was in conversation with, and that she was responding to. American modernism is an amazing time in art history, and she’s such a pivotal figure in that moment. It’s great to have her as a compass and explore from that point into the broader circle. Pasa: Despite being at an East Coast museum, you’ve been drawn to the Southwest at various times in your career. Hartley: I think you know how Santa Fe and the Southwest tend to get into people’s systems, and they keep coming back to it one way or another. Generations of my family have spent time in the region, and it’s been significant to them in different ways. After hearing stories about Santa Fe from my grandparents, I started making annual trips there when I was in college and eventually went on to write my master’s thesis on a topic related to Robert Henri, the American realist painter, and the portraits he painted in Santa Fe. Beyond that, I wrote my dissertation on the Museum of New Mexico and its emergence at the beginning of the 20th century. I spent a fair amount of time trying to understand what made Santa Fe so unique and how that community used the arts and museums to really establish itself and make itself a cultural destination well before anyone was talking about creative commerce. Pasa: Did you see Santa Fe as significant in the greater context of 20th-century art? Hartley: I went to school on the West Coast, and there was always a sense that American art happened on the East Coast. It was all centered on New York. I started looking at Santa Fe and realized that everyone passed through it. It just seemed like every artist of any note spent at least a summer in Santa Fe or stopped there on their way to see Mabel Dodge Luhan up in Taos. But they all wrote about it and created works there and were inspired by it. By all rights, it was not an easy place to get to.

Cody Hartley, Sept. 17, 2010; photo © Museum of Fine Arts, Boston

Pasa: In your new position, will you be curating your own shows? What direction might they take? Hartley: I’ll be looking forward to developing my own projects, and moreover, I’m looking forward to facilitating projects from a whole range of scholars. I love the notion of the museum being a place for multiple voices to be heard. And O’Keeffe is so iconic. No one owns O’Keeffe. She wouldn’t have had it that way. There are lots of ways to understand and interpret her story and her legacy. I want to help the O’Keeffe Museum become a force in facilitating great projects that help us renew and understand what her art meant in its own time and what it continues to mean. She’s still got legions of fans, and artists continue to respond to her work. I’ve always been fascinated because it’s as if she had multiple lives. There’s the young Georgia, the Georgia in New York, the Georgia that discovers the Southwest, the Georgia that makes Abiquiú her own, and her life beyond that. Pasa: What kinds of challenges do you face in narrowing your focus from the encyclopedic scope of the MFA to the O’Keeffe’s obviously less-expansive concerns? Hartley: You don’t want to get into a pattern. There are only so many Georgia O’Keeffe works in the world. Even if every one of them is shown, that’s not enough to sustain you, so that’s where it requires creativity and originality. Working in a place like the MFA, where you have a vast collection, it seems like anything is possible, and the challenge is to focus in on one coherent thread. Working in a museum like the O’Keeffe, you have these very natural parameters to work with. You can almost draw a parallel to poetry, where you have a very tight structure, but within that you have enormous potential for creativity. I think there are an unlimited number of possibilities ahead for thought-provoking, original shows. ◀

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Sean Cheetham: Rodon, 2013, oil on panel, 30 x 45 inches Below, Freedom, 2012, oil on panel, 12 x 9 inches Opposite page, Moraga Heights, 2006, oil on panel, 45 x 30 inches

Michael Abatemarco I The New Mexican

A little help from his friends Sean Cheetham’s contemporary portraits

While portrait painter Sean Cheetham’s work harks back to past traditions in realist painting, particularly work by artists like John Singer Sargent, and even further back to the golden age of Dutch painting, his subjects are contemporary. Cheetham, whose work is shown alongside the figurative nudes and portraits of Lee Price at Evoke Contemporary in an exhibit opening Friday, May 3, uses the alla prima technique in his work. “Alla prima is Italian for ‘at once,’ which is painting wet into wet, usually from life and in one sitting, which is whawt I do when I teach, mostly,” Cheetham told Pasatiempo. “I teach portrait painting. We paint from life. One week. One painting. My work in the gallery I approach in a similar way where I try to finish as much as I can, wet into wet, but a lot of it ends up having at least two layers. So I kind of separate the alla prima thing when I’m doing studio work. I work from photographs in the studio and treat it almost like I’m working from life, but I take it to a higher degree of finish sometimes.” Cheetham, who teaches courses in figurative painting at the Los Angeles Academy of Figurative Art in Van Nuys and the Art continued on Page 44

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Headache?

Sean Cheetham, continued from Page 43

Center College of Design in Pasadena, developed his rich, haunting way of rendering portraits without much explicit reference to work from the past. His subjects are known to him and are part of his own circle. “That’s something to me that always made sense. I know a lot of people who do realism now. They’re looking at painters from the past, and their paintings look like they could have been done in the past, which to me never made sense because those artists were painting people from their own time. Maybe 99 percent of the people in my paintings are close friends of mine. Not only did it make sense as far as subject matter; it also made sense where We are providers for I could have a real connection to the people. It was about documenting my Improving the quality of your life Blue Cross Blue Shield Presbyterian Health Plan own life and experiences. I’m not hiring models. I always thought of it as a 2019 Galisteo St, J2 Lovelace Health Plan Santa Fe, NM 87505 personal visual diary.” United Healthcare Robert L.Wartell, DMD Medicaid Included in the exhibition, alongside portraits of Cheetham’s wife and one painting of a close friend, is a painting that does appear to reference academic painting styles popular in Europe throughout the 19th century — but it does so with a wink to modern times. The painting is of a bust Shop Online of Jesus Christ wearing the lightning-bolt makeup made famous by the FREE SHIPPING after $400 artwork for David Bowie’s 1973 album Aladdin Sane. The painting’s title, ONGOING ONLINE SALES Snow White Tan, is lifted from Bowie’s song about the ill-fated rock star persona created for his 1972 album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. “All the old academic painters were painting and drawing busts,” Cheetham said. “I never went though the kind of training where I had to do that, but I use them for practicing, or if I’m doing private study with somebody else I’ll make them paint stuff like that. I had that bust sitting around, and one day, I don’t know why, I just decided I needed to paint the [Bowie-style] makeup on it.” Cheetham’s portraits have brought him recognition in premier art instituwww.moleculedesign.com tions overseas as well in the United States. Several years ago he entered a painting in a prestigious competition in London’s National Portrait Gallery. Although he did not attend, the resulting exhibition brought him some exposure. “I didn’t win the prize, and I couldn’t really afford to go out there at the time, so I didn’t realize at first that I got on the cover of the catalog, and apparently, the image of my painting was all over the place. It was on the banners, and I heard it was also on subway stops all over town. Right now I have a piece in the National Portrait Gallery in D.C. for a similar portrait competition.” Cheetham’s portraits capture the life of his subjects with unforced honesty, conveying a sense of their inner life. “I get questioned about how Friday, August Friday 10th to Friday May 3rd to Friday, February 1st to Friday Friday AprilFriday 5th toto Friday, Febry0th to Friday, December 2nd Frida Friday March 22nd Friday 22nd to not something to do March that, and I don’t really have an answer. It’s definitely Thursday, August Thu 16th toThursday, Thursday, June to Thursda Thursday May 9th Thursday, Fary Thursday 16th 7th Thursday ThursdayFebruary April 11th Thursday March 28th Thursday March 28th I can teach, and it’ s not something I’m consciously trying to achieve. But 4:30 –to 6:30pm 4:30-6:30pm 4:30 to 6:30pm 4:30-6:30 4:30 6:30 4:30 to that’s why I like painting mostly people I know. I think having that personal connection to them probably helps that. When I do portrait commissions San Francisco St.Red Pilsner Marble Brewery Ale I always tell the people that I want to meet them and spend some time just All premium draft4:30-6:30pm pints $3.50 Draft Pints $3.50 seeing who they are. I can paint from photos, but there is that need for me to get to know the person just a little bit. Maybe that adds to being able to convey their character or soul somehow.” Rodon, a painting Cheetham made of his wife Gretchen while visiting MENTION THIS AD FOR DISCOUNT Sweden, represents a departure from his typical portrait work. An abstracted landscape fills most of the canvas, and Gretchen’s portrait is small, rendered in one corner of the painting. “I was really trying to capture the feeling I remember from Sweden of the light and the air without having to make it about the details. I have always been drawn to people and personalities. I love painting anything — landscapes, still lifes, interiors. I want to keep painting figures, but I want to get away from them being too portrait based. I don’t want the figures to be interacting with the viewers so much, so DDS, MS maybe it’s more of a moment that’s caught by the viewer. That was one of my would like to announce the opening of his new orthodontic speciality practice longest struggles and newest paintings. If I could do a little more of that, I at 400 Kiva Court, Suite A. The practice opening is planned for June 7, 2013. guess, abstracted realism — I don’t know what you would call it — but the Dr. Darmitzel was born and raised in Santa Fe and was a graduate of Santa environment in that painting is sort of that direction.” ◀ Fe High. He completed his dental training and a 26-month orthodontic

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Bill Kohlhaase I For The New Mexican

The book titled Blues for Smoke documents an emotionally themed, racially wise multimedia exhibition that examines the blues not so much in the musical form — though there is plenty of that — but in its representation in other art forms. The show, which had its premiere in October at The Museum of Contemporary Art, Los Angeles, draws from work by nearly 50 artists, sculptors, and photographers. Some of the pieces, like Roy DeCarava’s 1952 photo of Billie Holiday, make a direct link to the blues’ musical associations while also carrying something of its psychological implications — in this case a fresh-faced innocence that belies Holiday’s troubled existence. Some of the work seems only symbolically related to the theme. In Mark Morrisroe’s cover photo, Light and Shadow, a twisted blue ribbon casts a black shadow on a brown backdrop. Other pieces, including William T. Williams’ brightly painted geometric celebration Trane, make only obscure, imaginal gestures to the subject (title aside). Not just an exhibit catalog, Blues for Smoke serves as a compendium of symbolic representation and experimentation. Included is a selection of written pieces that consider the blues. The book’s purpose is to break the blues off from its musical definition and present it as an abstraction that is reflected in art of all types. In this respect, it’s a rousing success. Much of what’s pictured here is as much puzzle as it is symbol. The blues — who understands it? — is pervasive. Look hard enough and it can be found everywhere and in everything. This is a big, heavy book, not just in terms of weight but in the old, hipster sense of heavy: deep, complex, and thought provoking. The written word plays a large part, with essays, poems, and fiction that mirror the imagination seen in the artwork. Even the most straight-ahead, traditionally written recollection is dense with imagery. Wanda Coleman’s wonderful “My Blues Love Affair” chronicles her coming of age as musical consciousness-raising, an experience of growing up with music she came to love, even when she didn’t understand it. That there was something suggestive in the music, that its lyrics dealt with things decent people didn’t deal with, and that it was cause to look the other way are reflected in Coleman’s mother only allowing her father one day a year to enjoy his blues music. Coleman hints that the blues is best defined by reaction. She offers this cause and effect from an unidentified lyric: “When ol’ man blues taps my shoulder/ I gets up to dance (don’t matter what shoes I wear).” Blues for Smoke doesn’t offer any neat, concise definition of its subject. (Webster’s does: “a depressed, unhappy feeling ... black folk music characterized by minor harmonies, typically slow tempo, and melancholy words: often used with the.”) More than a type of music, feeling, or lifestyle, the blues is notorious for its universal applications. I’ve got the blues. I hate the blues. I love the blues. The blues is as many things as it isn’t. To tell someone you’ve got the blues is completely different from someone telling you they have the blues. The blues, of course, has a past, and in music, it’s this past that’s largely celebrated. Robert Johnson, Ma Rainey, and Bukka White may be long gone, but their music lives on. Bennett Simpson, curator of the exhibit, says in his long introductory essay that he’s not interested in the past. It’s the present and the future blues, its inspiration for art and music, that interests him. What is the creative force present in the blues? “I turned to the blues — and to these artworks that invoke it — because many of the contexts and meanings it grants us access to remain unsettled. Because the blues is unsettling. What could this turn permit us to think about?” continued on Page 48

PASATIEMPO I May 3 - 9, 2013

Rachel Harrison: Untitled, 2012, colored pencil on paper, 19 x 24 inches; images courtesy The Museum of Contemporary Art, Los Angeles

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Melvin Edwards: Write When You Can, 1991, welded steel, 13 x 10.5 x 8 inches; below, Kerry James Marshall: Blue Water Silver Moon (Mermaid), 1991, acrylic and collage on linen, 63 x 55 inches Opposite page, above, Jack Whitten: Black Table Setting (Homage to Duke Ellington), 1974, acrylic on canvas, 72 x 60 inches; opposite page, below, Zoe Leonard: 1961, 2002-ongoing, suitcases, dimensions variable

Blues for Smoke, continued from Page 46

His philosophy in assembling the show was that “art has always othered, made manifold, what is meant by the blues.” Simpson is interested in what is outside the definitions, the schools and genres, the present that is past, and anything already accepted. His focus is on the blues, the alienation that comes with innovation, how seeking something new separates us from the present. This is the blues both as source of inspiration and as what follows the inspiration. It’s that famous “figure of place” in blues, the crossroads, that Simpson describes as “the place one waits for the future to come, the place one watches it pass by, the place where one leaves from or winds up.” Simpson uses this idea of the crossroads to choose and justify the art he has selected. He talks about William Eggleston’s ’70s-era photographs of Memphis that symbolize the decline of rural life and the “melancholy” of contemporary life. Lorraine O’Grady melds past, present, and future in her photo collage Body/Ground (The Clearing: Or Cortez and La Malinche, Thomas Jefferson and Sally Hemings, N. and Me). The figures in these tree-lined manipulations — reclined nudes as well as romping children and a pile of discarded clothes — suggest the burden of past conception and the promise of fresh creation. The book can’t offer all the visual aspects of the show — things like Jeff Preiss’ two-hour 16 mm film STOP or

PASATIEMPO I May 3 - 9, 2013

Wu Tsang’s looped film For how we perceived a life (Take 3). But it does have something the exhibit doesn’t: long written meditations on the pervasiveness and cultural effects of the blues. These selections — both prose and poetry — fit Simpson’s definition of “othering” in style and subject matter, making them tie in well with the book’s reprinted art. Examining Leslie Hewitt’s Riffs on Real Time (4 of 10), a beautifully contained snapshot of a man far from the center of the frame, superimposed on another photo of tangled vines framing a waterfall, reveals the same sort of overlaid meaning found in Fred Moten’s strange and wonderful writing on pianist Jaki Byard’s 1960 record Blues for Smoke. There are all kinds of interconnectedness here. The smokebelching locomotive pictured on the cover of Byard’s album seems a brother to David Hammons’ room-sized installation Chasing the Blue Train, with its model engine on twisting tracks next to a large, sculpted pile of coal. Glenn Ligon finds blues in the television series The Wire. “What connects [The Wire’s characters] to the blues artists is the game, and to be in the game you have to play, and to play is to hustle. And when one is hustling, it makes little difference whether you are strumming a guitar in a juke joint on the Mississippi Delta or selling crack in a housing project in West Baltimore,” he writes. This tie-in between social and racial issues occurs frequently in the artwork and the writing. “The Timeless Blues,” an essay written for the book by freejazz composer, trombonist, and professor George E. Lewis, makes even more associations between visual arts, music, and life experience. To Lewis and others he cites, the blues is the “raw material” of creation, and the goal of the blues artist is to reassert the blues idiom “by critically boxing with it and evading attempts at formal standardization.” Turns from standardization can be found in Harryette Mullen’s poem “Muse & Drudge” (“why these blues come from us/threadbare material soils/the original colored/pregnant with heavenly spirit”) and especially in Nathaniel Mackey’s selections from the fifth volume of his From a Broken Bottle Traces of Perfume Still Emanate. Mackey’s experimental novels come in the form of letters to a nameless “Angel of Dust” and recount what his characters learn from music and the magical thought bubbles that arise when they put phonograph needle to album. The best way to handle something unexpected — and isn’t the blues always unexpected?— is to make something of it. Not all of these experiments do honor to their inspirations. Gregg Bordowitz’s poem “There: A Feeling” seems more hustle than meaningful (“the substance/look/it/it is/what is it”). Rachel Harrison makes a trite statement against materialism in her Hoarders (an assemblage that includes a flat-screen monitor, garbage pail, and colorful concrete-and-chickenwire construction), especially given that it is presented on the page opposite Kori Newkirk’s fuzzy photo of a grocery cart hung with garbage bags. Then you come upon Zoe Leonard’s installation, a long row of perfectly aligned suitcases of various sizes and shades of blue against a white background, and it jumps out, unexpectedly, as a symbol of migration and the baggage carried through a white world. Who would have guessed such an image could carry so much meaning? But that’s the thing about the blues. It forces one to take chances. And how many chances end in the blues? ◀

“Blues for Smoke,” organized by Bennett Simpson, was published by The Museum of Contemporary Art, Los Angeles, and DelMonico Books/Prestel.

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Michael Abatemarco I The New Mexican

VIDEO WITHOUT BORDERS P E T E R

S A R K I S I A N’S

F R A M E - F R E E

V I S I O N S

or the past few years the exhibit Peter Sarkisian: Video Works, 1996-2008 has been traveling to various venues, including the University of Wyoming Art Museum, the Knoxville Museum of Art in Tennessee, the National Taiwan Museum of Fine Arts, the Jordan Schnitzer Museum of Art at the University of Oregon, and the Scottsdale Museum of Contemporary Art in Arizona. Now at its final stop, the New Mexico Museum of Art, Sarkisian’s show has come to his home state. The artist and the museum’s curator, Laura Addison, have made some changes, substituting pieces and expanding the time frame covered. Sarkisian met with Pasatiempo at the museum to discuss the exhibition, which has been retitled Peter Sarkisian: Video Works, 1994-2011. “Curator Susan Moldenhauer at the University of Wyoming Art Museum designed the show as a traveling exhibition with predetermined venues,” Sarkisian said. “It was actually supposed to come to an end in Scottsdale. The New Mexico Museum of Art knew about it and asked if I’d be interested in prolonging the event for one more venue. I never get the chance to bring my work home, and I show elsewhere more than I show here. I’ve lived with the show for five or six venues now, so I’ve developed an opinion about how the show works as a whole. I’ve made substitutions that I think make this a stronger show than it was in these other venues.” Sarkisian studied photography and film at the California Institute of the Arts in the 1980s and became a Directing Fellow at the American Film Institute afterward. He began working sculpturally with video in the 1990s, exploring video projection on nontraditional surfaces. One of the ways in which Sarkisian reenvisions how the viewer interacts with video is by rejecting outright the rectangular screen or monitor normally used for viewing works in video. “Frame is this telling characteristic of video,” he said, “just as it is with a photograph.” continued on Page 52

Peter Sarkisian: Book 1, 2001, found book, powdercoated steel and aluminum, and video projection, 13 x 10 x 20 inches; images courtesy the artist 50

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When we sit and interact with a computer or a movie or aTV, we do a lot of sitting and staring. What we get is information, but thereâ&#x20AC;&#x2122;s something that is missing in that process. All of my work is geared toward reintroducing real experience. â&#x20AC;&#x201D; Peter Sarkisian

Registered Driver Full Scale #1, 2010, molded fiberglass, steel, polycarbonate sheeting, and video projection, 169 x 47 x 8 inches

Extruded Video Engine (large), 2007, vacuum-formed thermal plastic screen and video projection, 39 x 40 x 8 inches PASATIEMPOMAGAZINE.COM

Basically what I’m trying to do is transform television from an experiencekilling medium into an experiencecreating medium. — Peter Sarkisian

Ink Blot, 2011, powdercoated steel and aluminum, found ink bottle, tinted polymer resin, notepad, and video projection, 16 x 11 x 22 inches

Peter Sarkisian, continued from Page 50 Each piece in the current exhibition is not a video work per se but better defined as video sculpture. “As a filmmaker, you’re dealing with light on surface, but when you start to create hybrid works that dabble a little in light on surface but also involve three-dimensional work, then you have to get into the studio and you use your hands and fabricate things. I find that experience enjoyable. I try to reinvent the wheel every time I start a new piece. For one of the pieces in the show, Extruded Video Engine, the editing process took six years in a dark room where I could project onto the back surface of a screen. The screen is actually contoured. The images fit into various facets of that contour. But how to do that? In terms of fabrication it was really intensive because there was a lot of CGI work, a lot of work on the computer to design the screen. I worked with industrial fabrication people in Albuquerque. I had a big piece of mahogany, and the screen is vacuum formed over that.” Extruded Video Engine is now in the museum’s permanent collection. One of the changes to the show is the introduction of work Sarkisian made in 1994, taking advantage of the video projection technology available at the time. “When I started creating work back in the mid-’90s, I was able to make very small pieces because there were very small projectors available at that time, and you could project small images.” For Chair and Glass, for instance, the small projector enabled a video image of a human eye projected onto a wine glass placed on a chair to fit perfectly within the diameter of the glass. “Gradually, what happened is that the electronics industry started to see that there was a bigger market in home theater and business presentation, so they started to increase the brightness and the scale of the projectors. They phased out all the small projectors, and I had to adapt the work, which became larger in scale. I started to do these room-sized installations. Then, once again, a change occurred. In the last three years, I’d say, projector manufacturers began to use LED light sources, and they shrunk the projectors back down to half the size I was using in the mid-’90s. As a result, I’ve been able to go into my sketchbooks and create work I never finished because I didn’t have the means to do it.” 52

PASATIEMPO I May 3 - 9, 2013

This technology enabled Sarkisian to create a 2011 piece called Book 1 depicting a small figure of a man (Sarkisian himself) projected onto a dictionary and making erroneous edits to, and critiques of, the dictionary entries. On the surface, it is a humorous piece, but it underscores concerns over the devaluing and misuse of language in the internet age, a consequence of belonging to an accelerated culture. Sarkisian has explored similar themes in earlier work. All of Sarkisian’s work explores video in innovative ways that run counter to common experience of the medium. Sarkisian’s work questions the way the passive experience of watching a medium such as television affects our lives. “When we sit and interact with a computer or a movie or a TV, we do a lot of sitting and staring. What we get is information, but there’s something that is missing in that process. All of my work is geared toward reintroducing real experience, and that involves consequence. Consequence is an inherent aspect of experience. Our actions mean something because they trigger a reaction. Without consequence I don’t know if we know what it means to interact with other human beings or to take action in the world. We don’t know what the ramifications of our actions are. I do try to diversify secondary conversations within each work, but overall, all the work has this one element in common. “Basically what I’m trying to do is transform television from an experiencekilling medium into an experience-creating medium,” Sarkisian said. “You see a video image on television, and you understand it to be an image that’s only referential. It references something that was photographed at some other time. What I’m trying to do is break down those frame lines and merge image and sculpture in such a way that it tricks the mind. No longer does the image appear to be mediated — it simply shares space with the viewer.” ◀

details ▼ Peter Sarkisian: Video Works, 1994-2011 ▼ Opening reception 5:30 p.m. Friday, May 3; through Aug. 18 ▼ New Mexico Museum of Art, 107 W. Palace Ave., 476-5072 ▼ By museum admission (no charge 5 to 8 p.m. Fridays)

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Join NMSA for an evening of Art, Dance, Music and Theater complemented by Sweet Treats, Champagne and a Live Auction

FRIDAY, MAY 10 5:00 pm New Work from the NMSA Visual Arts Department Georgia O’Keeffe Museum Education Annex

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week (including airfare) in the historical splendor of the Left Bank in an exclusive, 2,585 square feet apartment in the heart of Saint Germain des Pres

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MOVING IMAGES pasa pics

— compiled by Robert Ker

NO PLACE ON EARTH Director Janet Tobias’ documentary relies on diary entries, first-person interviews, and welldone dramatic recreations to tell the story of a group of 38 Ukrainian Jews who hid in isolated mountain caves for more than 500 days to avoid the Nazis during World War II. The catalyst for this story was the discovery of the remnants of the Ukranian cave camp in the 1990s by New York state worker Chris Nicola, who explores caves for a hobby. The picture often loses focus as it veers between Nicola’s story, the recreation of tense historical events, and a reunion of the survivors at the cave. Still, the film’s emphasis on survival in the face of grim adversity resonates — and the closing-credit images that highlight that theme are moving. Not rated. 83 minutes. The Screen, Santa Fe. (Robert Nott)

Limo sold separately: Iron Man 3, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week BLANCANIEVES Director Pablo Berger reimagines the fable of Snow White as a silent black-and-white film staged in the world of bullfighting and flamenco music in 1920s Spain. Maribel Verdú plays the title role — as in every telling, a woman who is orphaned and suffers incredible hardships and cruelty mixed with fleeting moments of a joy as she awaits a happiness that may or may not come ever after. Rated PG-13. 104 minutes. Regal DeVargas, Santa Fe. (Not reviewed) IRON MAN 3 Tony Stark (Robert Downey Jr.), once a cocksure genius ladies’ man, is suffering from anxiety attacks, insomnia, and an inability to relate to his live-in girlfriend, Pepper Potts (Gwyneth Paltrow). That’s when a terrorist-villain called the Mandarin (Ben Kingsley) starts blowing things up. Meanwhile, a billionaire inventor (Guy Pearce) Stark once dissed at a party has, with the help of one of Stark’s exes (Rebecca Hall), created a drug that regenerates human limbs (side effects include breathing fire and becoming a human bomb); he is plotting to kidnap the president. How’s Stark supposed to handle two baddies at once?

PASATIEMPO I May 3 - 9, 2013

Luckily, he has developed an army of Iron Man suits he can summon from afar and control remotely. He also enlists the help of a cute, precocious kid in Tennessee. This flick is fun at times, and the special effects are eye-popping. But Downey’s typically barbed jabs are dull, the jokes aren’t funny, and the villains’ motivations are muddy at best. There’s too much going on, yet it doesn’t add up to much. Rated PG-13. 130 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Laurel Gladden) KOCH Ed Koch was the irrepressible mayor of New York City through three terms, from 1978 to 1989. During that time this consummate New Yorker charmed more constituents than he alienated, though he had remarkable capacities in both directions. Neil Barsky’s documentary profile, which was released only weeks before Koch’s death on Feb. 1, provides an unvarnished portrait of a fascinating, frustrating, flawed, and forceful character. It mixes well-selected news footage from those years with commentary by friends and foes as well as late-in-life interviews with Koch, who right to the end refused to consign himself to irrelevancy. Not rated. 95 minutes. The Screen, Santa Fe. ( James M. Keller) See review, Page 60.

PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with a showing of Alice’s Adventures in Wonderland danced by members of London’s Royal Ballet. The performance, choreographed by Christopher Wheeldon, features music by Joby Talbot. The real stars may be the puppetry and costumes that bring Lewis Carroll’s world to life. 11 a.m. Sunday, May 5, only. Not rated. 150 minutes plus one intermission. The Screen, Santa Fe. (Not reviewed) ROOM 237 If you think you’re familiar with The Shining, Stanley Kubrick’s psychological thriller (based on the 1977 novel by Stephen King) about a family living in a deserted hotel for the winter, a new documentary suggests that a closer look may be in order. Narrated by several faceless voices, all Kubrick enthusiasts, Room 237 explores nine interpretations of what The Shining is really about — theories include the genocide of the Native Americans by Europeans, the Holocaust, and maybe even the faking of the moon landing. Shining fans and conspiracy theorists will be engaged, but other viewers may wonder if these Kubrick scholars have day jobs. While Room 237 can be far-fetched and eye-roll-inducing, it’s also a reminder that art is in part what we project onto it. Not rated. 102 minutes. Center for Contemporary Arts, Santa Fe. (Adele Oliveira) See review, Page 58.

now in theaters THE BIG WEDDING Diane Keaton, Susan Sarandon, and Robert De Niro used to be some of the most daring and versatile actors out there, appearing in such edgy, iconic films as Annie Hall, Raging Bull,

and The Rocky Horror Picture Show. Now they play the quirky parents in Katherine Heigl rom-coms. In this one, Keaton and De Niro play a divorced couple who, to appease their son, must pretend to be married — much to the frustration of De Niro’s new wife, played by Sarandon. Heigl and Robin Williams co-star. Rated R. 90 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) THE COMPANY YOU KEEP In Robert Redford’s latest directorial effort, he plays Jim Grant, a man enjoying a peaceful life as a lawyer. When a reporter uncovers his connection to the 1960s radical protest group the Weather Underground, Grant must go on the run to avoid arrest and clear his name. Shia LaBeouf, Julie Christie, Susan Sarandon, Nick Nolte, Chris Cooper, Terrence Howard, Stanley Tucci, Anna Kendrick, and Brendan Gleeson co-star. When the Sundance Kid asks you to be in his film, you say yes. Rated R. 121 minutes. Regal DeVargas, Santa Fe. (Not reviewed) THE CROODS Here’s a family film about members of a Neanderthal clan (voiced by Nicolas Cage, Ryan Reynolds, Emma Stone, and others) that just needs to get out of the cave. The land they live in is crumbling, which basically makes this Ice Age with people. Rated PG. 91 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) 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 — 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 wonderful movie. Much credit goes to the actors: Chadwick Boseman is every inch the movie star as Robinson, Harrison Ford delights in a rare characteractor 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 starstudded cast revels so completely in its oiled-up bravado, unrealistic gunplay, and pyrotechnic excess that it’s easy to feel sorry for the film’s characters. The plot places Dwayne “The Rock” Johnson, Bruce Willis, Channing Tatum, RZA, and others in what

has to be the stupidest world-domination narrative ever committed to a spring-release action film. A complete lack of dramatic development, an attentiondeficit-disorder 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 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Rob DeWalt) 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 of the same name who must protect her siblings from Allied troops in Germany after the fall of the Third Reich. When her 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) MUD Matthew McConaughey is in top form as Mud, an Arkansas Delta back-country hothead with a ton of charm who enlists the help of a couple of teenage boys (Tye Sheridan and Jacob Lofland) to help him elude the law and reunite with his sweetheart (Reese Witherspoon). Meanwhile, the law and the irate father of a man he has killed are out looking for him. It’s a colorful tale and a cautionary one. (“Women are tough, son,” one boy’s father tells him, and it could be the mantra for the movie.) Director Jeff Nichols does a good job with style and character, but he lets the story run on too long and loses the handle at the end. With Sam Shepard and Michael Shannon. Rated PG-13. 130 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards)

No Place on Earth

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) 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) continued on Page 56

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OLYMPUS HAS FALLEN Director Antoine Fuqua (Training Day) delivers an explosionsand-patriotism movie in the mold of the Die Hard franchise. Scottish actor Gerard Butler plays Mike Banning, the Secret Service agent who alone can save civilization when the White House (code name: Olympus) and the president of the United States (code name: Aaron Eckhart) fall into the hands of North Korean terrorists. Most of the other big names in the cast — 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. ( 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 2-D at Regal Stadium 14, Santa Fe. (Laurel Gladden) PAIN & GAIN It doesn’t get more blue-blooded American than this movie, which struts out Old Glory, booming bass, muscle cars, Miami beach, numerous lessons about pursuing the American dream, steroid-jackedup weight lifters, and fake-boob-sporting strippers. Furthermore, the film is directed by our leading expert in blowing stuff up good (Michael Bay), and stars a former rap star and underwear model (Mark Wahlberg) and a former professional wrestler (Dwayne Johnson). What they’ve made is a somewhat ironic, partly satirical telling of a true story

spicy

medium

bland

heartburn

mild

Read Pasa Pics online at www.pasatiempomagazine.com

PASATIEMPO I May 3 - 9, 2013

about three musclemen who kidnap and extort a businessman (Tony Shalhoub), only to have the plan go wrong. The running time is pumped on ’roids, and sure, it’s a dumb movie. But it’s so colorful and goofy and slyly dark that it would be unpatriotic to hate it. Rated R. 130 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) 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 (Gosling) 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 probably doesn’t end well. Bradley Cooper, Eva Mendes, and Ray Liotta co-star. Rated R. 140 minutes. Regal DeVargas, Santa Fe. (Not reviewed) 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 U.S. troops. Full of music and humor and loosely based on a true story, this could potentially be the most feel-good story set during the Vietnam War since Forrest saved Lieutenant Dan. Rated PG-13. 99 minutes. Regal DeVargas, Santa Fe. (Not reviewed) SCARY MOVIE 5 If the title of this movie — which comes fresh on the heels of the similar horror-spoof A Haunted House — doesn’t clue you in on exactly what to expect, perhaps the fact that in the trailer, Charlie Sheen gets hit in the groin by a ghost numerous times will. Lindsay Lohan, Snoop Dogg, Heather Locklear, and Mike Tyson put in appearances. Not rated. 85 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) 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)

TO THE WONDER If you’re not familiar with the films of esteemed writer-director Terrence Malick, this is probably not the place to start. The “plot” consists of the ebb and flow of interactions between Marina (Olga Kurylenko), a divorcée with a young daughter (Tatiana Chiline); her American lover Neil (Ben Affleck); Oklahoma rancher Jane (Rachel McAdams); and a priest ( Javier Bardem) having a crisis of faith. You won’t learn much about anyone. Dialogue is practically nonexistent and is replaced by whispered voice-over. The breathtaking, eye-opening cinematography of Emmanuel Lubezki (The Tree of Life) does the heavy lifting, with Hanan Townshend’s hypnotic score as a good spotter. Malick asks thorny questions, but don’t expect him to provide answers. Rated R. 112 minutes. In English, French, Spanish, and Italian with subtitles. Center for Contemporary Arts, 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 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)

other screenings Center for Contemporary Arts 8:15 p.m. Friday, May 3: 1st Night. 4 p.m. Sunday, May 5: Through the Eye of the Needle. Screens as part of the Santa Fe Jewish Film Festival. 7 p.m. Wednesday, May 8: Sneakers. Introduced by astrophysicist and mathematician Simon DeDeo as part of Santa Fe Institute’s Science on Screen series. Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 2 p.m. and 7 p.m. Saturday, May 4: Wild & Scenic Film Festival. Sunday-Tuesday, May 5-7: Hunky Dory. ◀

“BOUNCY, SPIRITED ENTERTAINMENT. IT SINGS WITH EXUBERaNT CHaRM.” CHRIS O’DOWD

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 1st Night Fri. 8:15 p.m. No (R) Fri. to Sun. 12:45 p.m., 5:15 p.m. Tue. 4:45 p.m. Wed. 4:15 p.m. Thurs. 4:45 p.m. Room 237 (NR) Fri. 1:30 p.m., 3:45 p.m., 6 p.m. Sat. 1:30 p.m., 3:45 p.m., 6 p.m., 8:15 p.m. Sun. 1:30 p.m., 6 p.m., 8:15 p.m. Tue. to Thurs. 3:15 p.m., 5:30 p.m., 7:45 p.m. Sneakers (NR) Wed. 7 p.m. Through the Eye of the Needle:The Art of Esther Nisenthal Krinitz (NR) Sun. 4 p.m. To the Wonder (R) Fri. to Sun. 3 p.m., 7:30 p.m.

Tue. 2:30 p.m., 7 p.m. Wed. 2 p.m. Thurs. 2:30 p.m., 7 p.m. regAl deVArgAS

562 N. Guadalupe St., 988-2775, fandango.com Blancanieves (PG-13) Fri. and Sat. 1:40 p.m., 4:30 p.m., 7:30 p.m., 10:05 p.m. Sun. to Thurs. 1:40 p.m., 4:30 p.m., 7:30 p.m. The Company You Keep (R) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:55 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:10 p.m. Mud (PG-13) Fri. and Sat. 1:10 p.m., 4 p.m., 7 p.m., 9:50 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. The Sapphires (PG-13) Fri. and Sat. 1:50 p.m., 4:40 p.m., 7:40 p.m., 10 p.m. Sun. to Thurs. 1:50 p.m., 4:40 p.m., 7:40 p.m. Silver Linings Playbook (R) Fri. to Thurs. 1:30 p.m., 7:20 p.m. Trance (R) Fri. and Sat. 4:20 p.m., 10 p.m. Sun. to Thurs. 4:20 p.m. regAl StAdium 14

3474 Zafarano Drive, 424-6296, fandango.com 42 (PG-13) Fri. to Sun. 10 a.m., 1:35 p.m., 4:30 p.m., 7:35 p.m., 10:30 p.m. Mon. to Wed. 1:35 p.m., 4:30 p.m., 7:35 p.m., 10:30 p.m. The Big Wedding (R) Fri. to Sun. 10:35 a.m., 1:40 p.m., 4:30 p.m., 7:10 p.m., 9:45 p.m. Mon. to Wed. 1:40 p.m., 4:30 p.m., 7:10 p.m., 9:45 p.m. The Croods (PG) Fri. to Sun. 10:50 a.m., 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:15 p.m. Mon. to Wed. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:15 p.m. G.I. Joe: Retaliation (PG-13) Fri. to Sun. 11 a.m., 1:45 p.m., 4:35 p.m., 7:25 p.m., 10:10 p.m. Mon. to Wed. 1:45 p.m., 4:35 p.m., 7:25 p.m., 10:10 p.m. The Great Gatsby 3D (PG-13) Thurs. 10 p.m. The Great Gatsby (PG-13) Thurs. 10:15 p.m. Iron Man 3 3D (PG-13) Fri. and Sat. 10:15 a.m., 10:45 a.m., 12:30 p.m., 1:30 p.m., 3:15 p.m., 3:45 p.m., 4:45 p.m., 5:15 p.m., 7 p.m., 8 p.m., 8:30 p.m., 9:45 p.m., 10:15 p.m., 11:15 p.m., 11:45 p.m. Sun. 10:15 a.m., 10:45 a.m., 12:30 p.m., 1:30 p.m., 3:15 p.m., 3:45 p.m., 4:45 p.m., 5:15 p.m., 7 p.m., 8 p.m., 8:30 p.m., 9:45 p.m., 10:15 p.m. Mon. to Wed. 12:30 p.m., 1:30 p.m., 3:15 p.m., 3:45 p.m., 4:45 p.m., 5:15 p.m., 7 p.m., 8 p.m., 8:30 p.m., 9:45 p.m., 10:15 p.m. Iron Man 3 (PG-13) Fri. to Wed. 12 p.m., 1 p.m., 4:15 p.m., 6:30 p.m., 7:30 p.m., 10:45 p.m. Jurassic Park 3D (PG-13) Fri. to Sun. 10:10 a.m., 1:15 p.m., 4:20 p.m., 7:20 p.m., 10:15 p.m. Mon. to Wed. 1:15 p.m., 4:20 p.m., 7:20 p.m., 10:15 p.m. Oblivion (PG-13) Fri. to Sun. 10:20 a.m., 1:35 p.m., 4:40 p.m., 7:40 p.m., 10:35 p.m. Mon. to Wed. 1:35 p.m., 4:40 p.m., 7:40 p.m., 10:35 p.m. Olympus Has Fallen (R) Fri. to Wed. 2 p.m. Oz the Great and Powerful (PG) Fri. to Sun. 10 a.m., 1:05 p.m., 4:05 p.m., 7:15 p.m., 10:15 p.m. Mon. to Wed. 1:05 p.m., 4:05 p.m., 7:15 p.m., 10:15 p.m. Pain & Gain (R) Fri. to Sun. 10:25 a.m., 1:20 p.m., 4:20 p.m., 7:20 p.m., 10:20 p.m. Mon. to Wed. 1:20 p.m., 4:20 p.m., 7:20 p.m., 10:20 p.m.

B A S E D O N T H E I N C R E D I B LE T R U E STO RY

Scary Movie 5 (PG-13) Fri. to Sun. 11:30 a.m.,

2 p.m., 4:40 p.m., 8:10 p.m., 10:25 p.m. Mon. to Wed. 2 p.m., 4:40 p.m., 8:10 p.m., 10:25 p.m. the SCreen

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, thescreensf.com Koch (NR) Fri. to Sun. 6 p.m. Mon. 5 p.m. Tue. to Thurs. 6 p.m. Lore (NR) Fri. to Sun. 2 p.m. No Place on Earth (PG-13) Fri. and Sat. 4:15 p.m., 8 p.m. Sun. 4:15 p.m. Mon. 3:15 p.m. Tue. to Thurs. 4:15 p.m., 8 p.m. Alice’s Adventures in Wonderland: London’s Royal Ballet (NR) Sun. 11 a.m. mitChell dreAmCAtCher CinemA (eSpAñolA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087 42 (PG-13) Fri. 4:50 p.m., 7:40 p.m. Sat. and Sun. 2:05 p.m., 4:50 p.m., 7:40 p.m. Mon. to Thurs. 4:50 p.m., 7:40 p.m. The Croods (PG) Fri. 4:35 p.m., 7 p.m., 9:45 p.m. Sat. 2 p.m., 4:35 p.m., 7 p.m., 9:45 p.m. Sun. 2 p.m., 4:35 p.m., 7 p.m. Mon. to Thurs. 4:35 p.m., 7 p.m. G.I. Joe: Retaliation (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:25 p.m., 4:50 p.m., 7:30 p.m. Mon. to Thurs. 4:50 p.m., 7:30 p.m. Iron Man 3 3D (PG-13) Fri. 4:25 p.m., 7:10 p.m., 9:55 p.m. Sat. 1:45 p.m., 4:25 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:45 p.m., 4:25 p.m., 7:10 p.m. Mon. to Thurs. 4:25 p.m., 7:10 p.m. Iron Man 3 (PG-13) Fri. 4:25 p.m., 5 p.m., 7:10 p.m., 8 p.m., 9:55 p.m. Sat. 1:45 p.m., 2:15 p.m., 4:25 p.m., 5 p.m., 7:10 p.m., 8 p.m., 9:55 p.m. Sun. 1:45 p.m., 2:15 p.m., 4:25 p.m., 5 p.m., 7:10 p.m. Mon. to Thurs. 4:25 p.m., 7:10 p.m. Jurassic Park 3D (PG-13) Fri. 4:55 p.m., 7:35 p.m. Sat. and Sun. 2:20 p.m., 4:55 p.m., 7:35 p.m. Mon. to Thurs. 4:55 p.m., 7:35 p.m. Oblivion (PG-13) Fri. 4:45 p.m., 7:25 p.m., 10 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:25 p.m., 10 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:25 p.m. Mon. to Thurs. 4:45 p.m., 7:25 p.m. Pain & Gain (R) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:50 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:50 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m. Scary Movie 5 (PG-13) Fri. 4:55 p.m., 7:20 p.m., 9:40 p.m. Sat. 2:30 p.m., 4:55 p.m., 7:20 p.m., 9:40 p.m. Sun. 2:30 p.m., 4:55 p.m., 7:20 p.m. Mon. to Thurs. 4:55 p.m., 7:20 p.m. mitChell Storyteller CinemA (tAoS)

110 Old Talpa Canon Road, 575-751-4245 42 (PG-13) Fri. 4:50 p.m., 7:30 p.m. Sat. and Sun. 2:05 p.m., 4:50 p.m., 7:30 p.m. Mon. to Thurs. 4:50 p.m., 7:30 p.m. The Croods (PG) Fri. 4:35 p.m., 7 p.m., 9:45 p.m. Sat. 2 p.m., 4:35 p.m., 7 p.m., 9:45 p.m. Sun. 2 p.m., 4:35 p.m., 7 p.m. Mon. to Thurs. 4:35 p.m., 7 p.m. Iron Man 3 3D (PG-13) Fri. 4:25 p.m., 7:10 p.m., 9:55 p.m. Sat. 1:45 p.m., 4:25 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:45 p.m., 4:25 p.m., 7:10 p.m. Mon. to Thurs. 4:25 p.m., 7:10 p.m. Iron Man 3 (PG-13) Fri. 4:25 p.m., 7:10 p.m., 9:55 p.m. Sat. 1:45 p.m., 4:25 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:45 p.m., 4:25 p.m., 7:10 p.m. Mon. to Thurs. 4:25 p.m., 7:10 p.m. Jurassic Park 3D (PG-13) Fri. 4:55 p.m., 7:35 p.m. Sat. and Sun. 2:15 p.m., 4:55 p.m., 7:35 p.m. Mon. to Thurs. 4:55 p.m., 7:35 p.m. Oblivion (PG-13) Fri. 4:45 p.m., 7:25 p.m., 10 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:25 p.m., 10 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:25 p.m. Mon. to Thurs. 4:45 p.m., 7:25 p.m. Pain & Gain (R) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:50 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:50 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m.

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Even the carpet is evil: Danny Lloyd in Stanley Kubrick’s 1980 film The Shining

Seeing redrum Adele Oliveira I The New Mexican Room 237, documentary, not rated, Center for Contemporary Arts, 2 chiles Long a staple of middle-school sleepovers and filmbuff circles, Stanley Kubrick’s 1980 film version of Stephen King’s novel The Shining (King reportedly detested the adaptation) has become part of our cultural shorthand; when someone says, “Here’s Johnny!” and flashes a diabolical grin, you can be fairly certain he’s referring to Jack Nicholson’s homicidal Jack Torrance and not the affable Tonight Show host. If you’ve taken The Shining — a psychological thriller about a family living at a deserted Colorado resort for the winter in which Dad is possessed by ghosts and slowly goes insane — at face value, a new film suggests you haven’t watched closely enough. Room 237 (the title refers to the scariest room in the hotel) is technically a documentary but functions more as a critical study of the film, delivered by Kubrick enthusiasts. Director Rodney Ascher identifies the talking heads the first time they speak, but we’re not given more than their names (no context or credentials) and never see their faces. Among the “experts” that narrate Room 237 is the author of a book called The Wolf at the Door: Stanley Kubrick, History, and the Holocaust and the director of a film titled Kubrick’s Odyssey: Secrets Hidden in the Films of Stanley Kubrick. It’s a specialized group. If The Shining is one of your favorite movies or if you’re into conspiracy theories, Room 237 makes for 58

PASATIEMPO I May 3 - 9, 2013

an engaging hour and 40 minutes. But for the casual viewer, the film may leave you thinking (a) Do these Shining scholars have day jobs? And (b) Really? These people think The Shining is Kubrick’s veiled confession that he helped to fake the moon landing? More on that in a minute. Some of the interpretations presented in Room 237 are more credible than others. Bill Blakemore, an ABC news correspondent, believes that The Shining is about the genocide of the Native Americans by European settlers. There’s some evidence for this: characters talk about the Overlook Hotel being built on an Indian burial ground. There are references to Native Americans in the hotel’s décor (posters, rugs, photographs), and Calumet baking powder cans, which feature the profile of a Native American man wearing a headdress, are displayed in the background during several pivotal scenes in the hotel’s kitchen. Another narrator believes that The Shining is really about the Holocaust and Kubrick’s failure to address it in other films. Geoffrey Cook, author of Wolf at the Door and a professor at Albion College in Michigan, latches on to the significance of the number 42, which appears in one scene on a jersey worn by the family’s psychic son, Danny (Danny Lloyd). The number 42 also shows up on a license plate, the film Summer of ’42 is shown on a television set, and in one overhead shot, there are 42 cars and trucks in the parking lot. (And as Cook points out, two times three times seven equals 42.) Cook believes that the use of 42 is a reference to 1942, the year the Nazis decided to exterminate as many Jewish people as possible. When we get to the faking-of-the-moon-landing theory, Room 237 really goes off the rails. Jay Weidner,

the filmmaker behind Kubrick’s Odyssey, presents this theory. He comes across as a crackpot, going on about refracted lights he’s found in the Apollo footage (which supposedly prove that the footage could not have been shot in space), and he points to a scene in which Danny wears an Apollo 11 sweater as a deliberate clue placed by Kubrick to entice sharpeyed viewers. Weidner also thinks the presence of Tang in the hotel’s well-stocked pantry is significant, ostensibly because astronauts drank Tang in space. Room 237 begins with a disclaimer that no one associated with Kubrick’s estate or the making of The Shining was involved in the documentary. Recently, Leon Vitali, a longtime aide of Kubrick’s who worked on the production (and cast the role of Danny), spoke to The New York Times about Room 237. “I was falling about laughing most of the time,” Vitali said. “There are ideas espoused in the movie that I know to be total balderdash.” He went on to explain the Apollo sweater as something that was used at the last minute and said it was knitted by a friend of the costume designer. Vitali acknowledged Kubrick’s deliberateness, but also said the director was open to spontaneity and that much of Nicholson’s dialogue was improvised by the actor on the spot. Toward the end of the film, one of the narrators, John Fell Ryan, a writer-artist-musician type from Los Angeles, says that a close critical reading of The Shining is “a way of opening doors from a hermetically sealed reality into other possibilities.” While Room 237 can be far-fetched and eye-roll-inducing, it’s also a reminder that art is in part what we project onto it. Whether or not Kubrick laced The Shining with complex subtexts, the film is so wonderfully strange and dimensional that we’re still teasing out its meaning. ◀

SangredeCristo Sangre de Cristo Chorale 2013 Spring Concert “Celebrating our Past, Present and Future”

Los Alamos: Saturday, May 11 at 5:00 p.m. Bethlehem Evangelical Lutheran Church 2390 North Road 87544 Tickets — Available at the door — Call 505.988.1234 — Visit ticketssantafe.org $20 Adults; $10 Students; Under 18 free if accompanied by an adult

“GriPPiNG AND MOviNG. A Substantial contribution to Holocaust cinema.” -John Anderson, Variety “ASTONiSHiNG. Let those who think they’ve heard every inspiring take of Holocaust survival see this film.” -John Defore, The Hollywood Reporter

Santa Fe: Sunday, May 12 at 3:00 p.m. First Presbyterian Church 208 Grant Avenue 87501

Hear the 45-member chorale perform Antonio Vivaldi’s “Gloria” and several other pieces, including a choral drama and a new commissioned work.

Creating

Community

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NO PLACE ON EARTH

No Place oN earth: Fri aNd Sat at 4:15 aNd 8:00; SuN at 4:15; MoN at 3:15; tueS Wed aNd thurS at 4:15 aNd 8:00

P.O. Box 4462, Santa Fe, New Mexico 87502 | www.sdcchorale.org

r e h t O h c a E r o f e d Two… Ma s e k a T It

for a U O Y d an ous Doglici g! Evenin

Koch: Fri, Sat, aNd SuN at 6:00; MoN at 3:15; tueS, Wed aNd thurS at 6:00

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SUNDAY 11:00AM SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com

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

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How he did James M. Keller I The New Mexican Koch, documentary, not rated, The Screen, 3.5 chiles

★★★★! ‘PINES’ TOUCHES GREATNESS!”

“

CHICAGO SUN-TIMES

“ONEOFTHEYEAR’SBESTFILMS! ARIVETINGCRIMETHRILLER! BRADLEYCOOPER is superb. RYAN GOSLING is pitch-perfect.

He and EVA MENDES have palpable chemistry. Brilliantlyacted.”

“AHELLOFARIDE!

RYAN GOSLING is spectacular. BRADLEYCOOPER’S ferocityand feeling pullyou in. Pines stickswithyou. Hold on tight.”

“★★★★! ATHRILLTOWATCH!

RYAN GOSLING electrifies.” RYAN GOSLING BRADLEY COOPER EVA MENDES AND RAY LIOTTA

THE PLACE BEYOND THE PINES #ThePlaceBeyondThePines

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NOW PLAYING IN THEATRES EVERYWHERE CHECK LOCAL LISTINGS FOR THEATRE LOCATIONS AND SHOWTIMES MOBILE USERS: For Showtimes – Text PINES with your ZIP CODE to 43KIX (43549). Msg & data rates may apply. Text HELP for info/STOP to cancel.

For more on THE PLACE BEYOND THE PINES and other great crime movies: iTunes.com/FocusFeatures 60

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The late Ed Koch spent three terms as mayor of New York City, from 1978 to 1989, and the fact that he won each of his elections by impressive margins spoke to how effectively his abrasive candor resonated among the populace. He strengthened the financial security of a city that had flirted with bankruptcy under his predecessor. He kept the place from careering totally out of control as it had during the blackout that provided fodder for his first campaign. He grappled with issues of housing, wrestled striking transit workers into submission, and struck some balance among constituencies of extreme social, cultural, and economic diversity. Neil Barsky’s documentary Koch gives its subject due credit, but it also removes the rosy tinge that in ensuing decades may have altered the grittier reality. Well-selected news footage is skillfully interspersed with later interviews to revivify events and provide perspective. Early in his tenure, Koch decided to close the Sydenham Hospital in Harlem — a justifiable budgetary decision but a flash point for racial tension. He failed to appreciate that it was one of the few New York hospitals where black physicians could hope to be admitted to the house staff. In a late-in-life interview, he grudgingly allowed that the episode was “a costly mistake. ... I should have given in to the same terror that the three mayors before me [gave into].” His lukewarm response to the AIDS crisis enraged the gay community, which increasingly resented his unwillingness to identify himself as one of them, notwithstanding widespread assumptions about his sexuality. Koch overcame an assault from supporters of his rival Mario Cuomo — they papered subway cars with signs reading “Vote for Cuomo, Not the Homo” — by parading about with former Miss America Bess Myerson on his arm. “I had for a very long time animus toward both Mario and Andrew Cuomo,” he admits, “because I believed they were responsible for those signs.” The film does a worthy job of explicating some of the smarmier back corridors of the powerful. A grim chapter focuses on bribery and extortion in the fiefdoms of such characters as Meade Esposito, the cigar-chomping political boss of Brooklyn, and Donald Manes, the borough president of Queens who committed suicide in the wake of a scandal involving kickbacks from the parking violations bureau. Eventually, New Yorkers felt ready for a change. “How’m I doin’?” pipes Hizzoner repeatedly, with such cheerful enthusiasm that you want to shout “Great!” even when you’re thinking “Terrible!” So was it in real life, but something about the fellow was hard to resist. “Here was a guy who really represented the rough and tumble of New York, and he was just haunted and damned by one hell of a personality,” says Dr. Calvin O. Butts III, perhaps the most charismatic among the talking heads who offer insights. New York was a tougher town then than it is today, and Barsky’s film shows an unvarnished Ed Koch who really did manage to govern it. ◀

Saturday, May 4: 8pm CHERYL CHERYL is a four-member, semi-anonymous, often cat-masked artist collective based in Brooklyn, New York, known for its video art, museum installations, performances and dance parties. For Eventua’s finale, CHERYL invites audiences to “revel in the joyous power of dance-induced psychosis/euphoria” in an experimental, interactive performance.

Friday, May 3: 8pm Laura Goldhamer | Cole Bee Wilson

CCA presents the Eventua Finale with two nights of unforgettable cutting-edge performance

H. THUNDERBOLT is a sonic project by Cole Bee Wilson that investigates and recontextualizes the life and times of Hannibal Barca 247-183 B.C.E. through various musical techniques and stylings. Combining shoe-gazing sentiments, lost and found sound, live cellular tapestry, automated egg beater droning, and book-stacked organ roaring, H. THUNDERBOLT tells a story of passion, vengeance, pride, blood lust, despair, remorse, fraternity, achievement, and crushing failure.

$15 general admission $10 students / CCA members for both shows: $25 / $20 http://ccasantafe.org Image: The Big Hoot (detail), an exhibition of giant comic drawings by David Leigh and Larry Bob Phillips on view at CCA through May 12.

E VA LUAT I O N • T R E AT M E N T • CO N T I N U E D C A R E

Sleep Seminar

Do you having problems sleeping? Are you constantly tired or told you snore? Do you want to learn about sleep disorders and their treatments from a medical perspective?

You are invited to the FREE Southwestern Ear, Nose and Throat Sleep Seminar! SWENT physicians and sleep professionals will explain sleep disorders and the different therapies and technologies used to address these problems.

Wednesday, May 15 from 5:30–7:00 pm Inn and Spa at Loretto • 211 Old Santa Fe Trail

Light snacks and drinks will be provided and parking is free at the hotel.

You must RSVP to attend this event: 505-438-3101. Space is limited!

Learn the facts from a physician and not a salesman!

Southwestern Ear, Nose and Throat is proud to have served the people of northern New Mexico for 25 years with offices in Santa Fe, Española, Las Vegas, and Los Alamos.

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RESTAURANT REVIEW Bill Kohlhaase I For The New Mexican

Truth in cooking Bouche 451 W. Alameda St. (entrance on West Water Street); 982-6297 Dinner 5-9:30 p.m. Tuesdays-Saturdays; closed Sundays & Mondays Noise level: conversational to strong conversational Handicapped-accessible Wine & beer Credit cards, no checks

•

The Short Order Charles Dale’s neo-bistro Bouche offers French classics — onion soup, escargot, steak tartare, foie gras, and steak with frites — done exceedingly well and without the overindulgence of butter and sauces found in classic French cooking. The small room fills up quickly with those seeking duck confit, pan-seared halibut, short ribs pot-au-feu, macaroni au fromage, and wonderful crusty house-baked bread. Service is cordial and on-the-spot. The wine list is just comprehensive enough. Recommended: the charcuterie plank, sautéed foie gras, steak tartare, seven-herb ravioli and crispy frog legs, black mussels in white wine and red chile, and tarte Tatin.

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

PASATIEMPO I May 3 - 9, 2013

Charles Dale’s Bouche bistro takes to heart revered chef Richard Olney’s declaration that “good and honest cooking and good and honest French cooking are the same thing.” At Bouche, honesty is reflected in what comes out of the kitchen — nothing is hidden under sauces or extreme seasoning — and goodness comes of attentive preparation. French cooking, as Nice native Dale must know after stints in New York and Aspen, travels well. His cooking embraces classical and nouvelle styles, with the fresh, less-heavy qualities of the latter accomplishing the sensory, even sensual completeness of the former. Dining at Bouche — could there be a better name for such a pleasurable establishment? — is a tactile experience. When a bowl of ravioli in tomato broth arrives with its crispy frog leg, you’re greeted with the beautiful pale color of the sauce, the aroma of the herbs inside the plump stuffed pasta, and the roughness against your fingers of the breaded leg’s golden, greaseless skin before it crunches between your teeth to reveal the tender, delicately flavored meat beneath. The bistro’s modest space, which seats no more than 40 inside, is the former location of Aqua Santa restaurant and, before that, The Noon Whistle. The room has a pleasant, well-worn feel, with attractive wood-plank floors uneven enough to require shims under a few tables. The kitchen is open and fronted by a tall table and stools that give five lucky diners a view to the best show in the house: your server breaking and separating an egg before sliding the yolk carefully atop a patty of steak tartare. Uncooked beef and yolks seem something out of the past; my last such plate was in a Parisian café so old that Karl Marx reputedly fortified himself with the dish there. Dale’s tartare needs no nostalgic seasoning. The velvety smoothness of the fresh organic yolk, locally sourced from Pollo Real, coupled with the texture of the Dijon-spiked chopped tenderloin is something to savor. A glass of gentle Côtes du Rhone that didn’t compete with the meat’s flavor (our server had suggested the stouter, younger Malbec) was exactly what we expect of great dining: the coming together of exceptional ingredients expertly prepared and accompanied by a complex, empathetic wine. Bouche features classic French bistro selections like escargot, roast chicken, and a cheese course for dessert. The onion soup was smooth, dark, and only slightly sweet, a piece of wonderful crusty house-baked bread serving as an island for rich, stringy Gruyère cheese. Everything on the charcuterie plank was first rate, right down to the cornichons, but especially the bowl of duck rillettes, the dark shreds of meat tender and tasty. The macaroni au fromage, served in a rectangular cast-iron vessel, was so rich with white cheddar and Gruyère that I had to forgo dessert. Beef short ribs, done pot-au-feu style, were fall-apart tender. Dale doesn’t shy away from traditional dishes no matter what politically incorrect reputation they might have developed in recent years. Foie gras, seared and served with a strudel-like apple roll and a tangle of curly friseé, was a meltin-the-mouth experience, a crisp rush of its browned surface followed by the slow dissolve of concentrated flavors on the tongue. A special of sweetbreads, perfectly pan-finished,

made us forget why we hadn’t searched out this exquisite dish for the last decade or so. The Bouche wine list, not so long that it’s overwhelming, emphasizes French and California bottles with a few outliers, and it has enough by-the-glass selections to match with almost anything. A glass of the 2011 Simonnet-Febvre Saint-Bris Sauvignon Blanc swam beautifully with the black mussels in white wine with bits of scallion and red chile. The 2010 Clos La Coutale Cahors Malbec made a nice match with a savory duck confit, its skin perfectly done. The 2009 Row 11 “Tres Viñas” Pinot Noir gave soft contrast to the shallot glaze on an exactly rare tenderloin. The frites that came with the steak, done with just a bit of duck fat, were exceptional. Dessert choices caused some good-natured disagreement at our table. We resisted the Nutella chocolate mousse in favor of a buttery, beautifully formed tarte Tatin with a scoop of caramel ice cream. Then there was a trio of firm profiteroles, each sandwiching a scoop of ice cream over which our server poured a warm vessel of chocolate. Service here isn’t stuffy or terribly formal but welcoming, attentive, and knowledgeable in ways one expects from a restaurant of this quality. Dale works the floor with sincerity, describing ingredients and technique, and taking compliments graciously. No matter how cordial the place is, it’s the food that takes center stage. It may be the best you’ll have all year. ◀

Check, please

Dinner for four at Bouche: Charcuterie plank with terrine of foie gras.................$ Onion soup “Les Halles” ........................................... $ Seven-herb ravioli and crispy frog leg ........................$ Sweetbreads................................................................$ Black mussels in white wine and red chile .................$ Braised beef short ribs pot-au-feu...............................$ Duck confit with white beans and kale ......................$ Glass, 2011 Simonnet-Febvre Saint-Bris Sauvignon Blanc.....................................................$ Glass, 2009 Row 11 “Tres Viñas” Pinot Noir ............$ Glass, 2010 Clos La Coutale Cahors Malbec .............$ Tarte Tatin & caramel ice cream.................................$ Trio of profiteroles with warm chocolate sauce..........$ TOTAL........................................................................$ (before tax and tip) Dinner for one, another visit: Tenderloin steak tartare ..............................................$ Salade César................................................................$ Macaroni au fromage with wild mushrooms ..............$ Glass, Kermit Lynch Côtes du Rhone 2009................$ TOTAL........................................................................$ (before tax and tip)

See more Restaurant Reviews @ www.pasatiempomagazine.com

30.00 10.00 16.00 18.00 24.00 26.00 24.00 9.00 12.00 13.00 9.00 9.00 200.00

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

January 20, 2012

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pasa week

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

3 Friday gallery/museum openings

Blue rain gallery 130-C Lincoln Ave., 954-9902. Tammy Garcia: New Works in Clay, Bronze, and Glass, reception 5-7 p.m. Chiaroscuro Contemporary art 702½ and 708 Canyon Rd., 992-0711. Spatial Order, paintings and wall installations by Bebe Krimmer; Daniel Price’s Works on Paper, receptions 5-7 p.m., through June 1. De la serna Fine arts El Farol, 808 Canyon Rd., 507-6585. Not What They Seem, paintings by Rémy Rotenier, reception 5-7 p.m., through May 24. evoke Contemporary 130-F Lincoln Ave., 995-9902. Figurative paintings by Sean Cheetham (see story, Page 42) and Lee Price, reception 5-7 p.m. galerie Züger 120 W. San Francisco St., 984-5099. Work by Father John Giuliani, reception 5-8 p.m. Hillside market 86 Old Las Vegas Highway, 982-9944. Desert Academy seniors’ art exhibit, reception 3:30-5 p.m., through Sunday, May 5. Jane sauer gallery 652 Canyon Rd., 995-8513. Ancient Presence, figurative sculpture by Bob Clyatt, reception 5-7 p.m., through June 4. Kristin Johnson Fine art 323 E. Palace Ave., 428-0800. Grand-opening group show, reception 5-7 p.m. legends santa Fe 125 Lincoln Ave., 983-5639. New Blood, works by Marla Allison, Chris Pappan, and De Haven Solimon Chaffins, reception 5-7 p.m., through May 29. lewallen galleries Downtown 125 W. Palace Ave., 988-8997. Line, Form and Color: Harmonic Convergence, encaustic paintings by Brad Ellis, reception 5-7:30 p.m., through June 2. manitou galleries 123 W. Palace Ave., 986-0440. Jerry Jordan and Tom Perkinson, landscape paintings, watercolors, and pastels, reception 5-7:30 p.m., through May 17. marigold arts 424 Canyon Rd., 982-4142. Affectionately Observed, woodcut prints, watercolors, and sculpture by Nancy Frost Begin, reception 5-7 p.m., through June 5. new mexico museum of art 107 W. Palace Ave., 476-5072. Peter Sarkisian: Video Works 1994-2011, installations, through Aug.18, free 5:30-7:30 p.m. reception (see story, Page 50). noiseCat on Canyon 618 Canyon Rd., 412-1797. Hip and Happening, new works by Ryan Singer, Cloud Medicine Crow, and Liz Wallace, reception 4-7 p.m., through June 4. nüart gallery 670 Canyon Rd., 988-3888. Full Circle, mixed-media work by Randall Reid, reception 5-7 p.m., through May 19.

Pasa’s Little Black Book......... 65 Exhibitionism...................... 66 At the Galleries.................... 67 Libraries.............................. 67 Museums & Art Spaces........ 67 In the Wings....................... 68

PASATIEMPO I May 3 - 9, 2013

Pink Orchids, by Marla Allison, Legends Santa Fe

sugarman-peterson gallery 130 W. Palace Ave., 982-0340. New paintings by Forrest Solis, reception 5-7:30 p.m., through June 20. Tishman Hall SFUAD, 1600 St. Michael’s Dr., 473-6500. Juvenilia: A Freshman’s One-Year Perspective, exhibit and interactive critique with art student Phat Lê, viewing 5:30-9:30 p.m. through Sunday, May 5. Touching stone gallery 539 Old Santa Fe Trail, 988-8072. Origin, work by ceramicist Jonathan Cross, reception 5-7 p.m., through May 25. Tune up Café 1115 Hickox St., 983-7060. A Solar Installation: Sun and Sun-Inspired Images by Brian Arthur, reception 3:30-5:30 p.m.

ClassiCal musiC

Chancel Bell Choir Music of Mouret and popular hymns, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544, Ext. 16.

in ConCerT

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

THeaTer/DanCe

Eureka! National Dance Institute New Mexico’s science-themed end-of-school student showcase; 5 and 7 p.m., The Dance Barns, 1140 Alto St., call 983-7661 for tickets, continues Saturday, May 4, and Thursday-Saturday, May 9-11.

Elsewhere............................ 70 People Who Need People..... 71 Under 21............................. 71 Pasa Kids............................ 71 Sound Waves...................... 71

Eventua Center for Contemporary Art and Theater Grottesco’s performance series continues with a staged multimedia piece by Laura Goldhamer and H. Thunderbolt, musician Cole Bee Wilson’s production, 8 p.m., Muñoz Waxman Gallery, 1050 Old Pecos Trail, $15 at the door, students $10, 982-1338. sFuaD student-produced music theater Staged excerpts from Broadway musicals, 7 p.m. today and Saturday, Weckesser Studio Theatre, 1600 St. Michael’s Dr., no charge, 473-6511. See/Saw The circus-arts troupe Wise Fool New Mexico presents an outdoor, Santa Fe Railyard Park Performance Green, Guadalupe St. at Paseo de Peralta, 8 p.m., wisefoolnewmexico.org, donations accepted, continues Saturday (see story, Page 36). Trey mcintyre project The contemporary dance company presents Arrantza and Queen of the Goths, 7:30 p.m., the Lensic, $20-$45, discounts available, 988-1234, ticketssantafe.org, encore Saturday (see story, Page 22). Venus in Fur Aux Dog Theater presents David Ives’ sexually charged comedy, 8 p.m. today through Sunday, Teatro Paraguas Studio, 3205 Calle Marie, $18 in advance, discounts available, auxdog.com, 505-254-7716. Zircus erotique Burlesque Company Cinco de Mayhem, 9 p.m., The Lodge at Santa Fe, 750 N. St. Francis Dr., $15 in advance and at the door, VIP seating $20, zeburlesque.com.

BooKs/TalKs

gail storey The author reads from and signs copies of I Promise Not to Suffer: A Fool for Love Hikes the Pacific Crest Trail, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

evenTs

2013 Jewish arts Festival The multimedia weekend show and sale kicks off with an artist Sabbath service followed by a reception and Israeli folk dancing, 5:30-7:30 p.m., Temple Beth Shalom, 205 E. Barcelona Rd., no charge, 982-6151. 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., Santa Fe Farmers Market Pavilion, $40, 983-5984, manymothers.org. Chefscapades Local chefs prepare a four-course dinner in support of the Interfaith Community Shelter; also, live and silent auctions; guest of honor Mayor David Coss, and co-host Ali MacGraw; reception 6:30 p.m., dinner accompanied by pianist Charles Blanchard follows, Hotel Santa Fe, 1501 Paseo de Peralta, $120, 505-795-7494. 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., $60 in advance

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.

at the museum gift shop, 706 Camino Lejo, Museum Hill; 877-567-7380, or online at worldfolkart.org.

Nightlife

(See addresses below) 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 Americana/blues guitarist Jim Almand, 5-7:30 p.m.; C.S. Rockshow with Don Curry, Pete Springer, and Ron Crowder, 8:30 p.m.; no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. hotel Santa fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la fiesta lounge at la fonda R & B band The Pleasure Pilots, 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’ music, 6-9 p.m., no cover.

Santa fe Sol Stage & grill Cosmic Convergence, Adem Joel, Carrion Kind, Banjo Kazzoie, Lydian Gray, and Amongst the Chaos is Clarity, 6 p.m., $5 cover. Second Street Brewery Classic-rock band High Altitude, 6-9 p.m., no cover. Second Street Brewery at the Railyard Anthony Leon & The Chain, rockabilly, 7-10 p.m., no cover. the Underground at evangelo’s Reggae Dancehall Fridays with Brotherhood Sound System, 9 p.m., call for cover.

4 Saturday galleRy/MUSeUM oPeNiNgS

2013 Jewish arts festival gala reception Temple Beth Shalom, 205 E. Barcelona Rd., 982-1376. 5:30-7:30 p.m., $10 includes wine, hors d’oeuvres, dessert, and live music; tickets available in advance and at the door, show and sale runs through Sunday, May 5. Barkin’ attic 851 St. Michael’s Dr., 428-0223. Wild Places, Wild Things, photographic exhibit of work by Bruce Papier in support of the Española Valley Humane Society, reception 4-7 p.m.

iN CoNCeRt

funk/R & B, Rock, and Metal ensembles SFUAD Contemporary Music Department’s student performances, 7 p.m., outdoors at the Quad Bandshell, 1600 St. Michael’s Dr., no charge, 473-6196.

Santa fe youth Symphony The Spring Concert Series continues with a jazz recital, 7 p.m., Warehouse 21, 1614 Paseo de Peralta, $10, discounts available, 467-3770, sfys.org, or at the door.

theateR/daNCe

CheRyl The Brooklyn-based artist collective presents an interactive dance party in conjunction with the Center for Contemporary Art’s exhibit The Big Hoot, 8 p.m., Muñoz Waxman Gallery, 1050 Old Pecos Trail, $15 at the door, students $10, 982-1338, final event of the CCA and Theater Grottesco Eventua series. Eureka! National Dance Institute New Mexico’s science-themed end-of-school student showcase; 2:30 p.m. performance; 5:30 p.m. gala performance, dinner, and dance follows; The Dance Barns, 1140 Alto St., call 983-7661 for tickets, call 983-7646, Ext. 116 for gala information; continues Thursday-Saturday, May 9-11. SfUad student-produced music theater Staged excerpts from Broadway musicals, 7 p.m., Weckesser Studio Theatre, 1600 St. Michael’s Dr., no charge, 473-6511. SeeSaw Circus-arts troupe Wise Fool New Mexico performs outdoors, 1 and 8 p.m., Santa Fe Railyard Park Performance Green, Guadalupe St. at Paseo de Peralta, wisefoolnewmexico.org, donations accepted (see story, Page 36). trey Mcintyre Project The contemporary dance company in Arrantza; Pass, Away; and Queen of the Goths, 7:30 p.m., the Lensic, $20-$45, discounts available, ticketssantafe.org, 988-1234 (see story, Page 22).

Venus in Fur Aux Dog Theater presents David Ives’ sexually charged comedy, 8 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $18 in advance, discounts available, auxdog.com, 505-254-7716, concludes Sunday. Womens Voices II: The Choices We Make A production by local playwrights and actors; also, students of Santa Fe University of Art & Design and New Mexico School for the Arts, 2 p.m., Warehouse 21, 1614 Paseo de Peralta, $18, discounts available, presented by Santa Fe Rep, 629-6517, sfrep.org, finale Sunday.

BookS/talkS

Mercedes kirkel The local author discusses and signs copies of Mary Magdalene Beckons: Join the River of Love, 2 p.m., Ark Bookstore, 133 Romero St., 988-3709.

oUtdooRS

geology hike Led by local rockhound Scott Renbarger, 10 a.m., 16 miles south of Santa Fe off NM 14, parking area one half-mile north of the village of Cerrillos, $5 per vehicle, 474-0196. historic fort Marcy site event Unveiling ceremony of an interpretive exhibit and a brief tour of the remains of the fort in conjunction with Heritage Preservation Month, 10 a.m., Prince Park, Kearny Ave., near the Cross of the Martyrs.

eveNtS

2013 institute of american indian arts Pow Wow Annual all-day event beginning at 11 a.m.; dance and drum contests and vendor booths, 83 Avan Nu Po Rd., no charge, 424-2300.

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 69

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

exhibitionism

A peek at what’s showing around town

Randall Reid: Steeple Chase, 2013, wood, steel, and paint. Randall Reid’s mixed-media work explores aesthetic values, memories, and history in objects. “The memories are evoked by the textures I create, and they reside within the materials as well,” Reid says. Full Circle, an exhibit of Reid’s work, opens at Nüart Gallery (670 Canyon Road) on Friday, May 3. The reception is at 5 p.m. Call 988-3888.

Forrest solis: Chapter V: Breathing, 2013, oil and acrylic on canvas. SugarmanPeterson Gallery (130 W. Palace Ave.) presents an exhibit of new paintings by Forrest Solis. Solis’ work pairs contemporary portraiture with illustrations based on mid-20th-century books that provided instruction in manners to children. The juxtaposition of imagery conveys a sense of social commentary and humor. The show opens Friday, May 3, with a reception at 5 p.m. Call 982-0340.

PASATIEMPO I May 3 - 9, 2013

brad ellis: Matador, 2013, encaustic, oil, collage, and mixed media on birch panel. An exhibit of abstract paintings by Brad Ellis opens with a 5 p.m. reception on Friday, May 3, at LewAllen Galleries Downtown (125 W. Palace Ave.). Line, Form and Color: Harmonic Convergence includes examples from three bodies of the artist’s work: Currents, Dash, and Organic. Call 988-8997.

Jonathan Cross: Shift II, 2012, wood-fired white stoneware. Ceramist Jonathan Cross began his career by crafting containers for rare cacti and now crafts minimalist sculptures in clay. Origin, an exhibit of Cross’ earthy, textured sculptures, opens at Touching Stone (539 Old Santa Fe Trail, 988-8072) on Friday, May 3. There is a reception at 5 p.m.

bob Clyatt: Woman Holding Grain, 2013, raku-fired stoneware. Jane Sauer Gallery presents Ancient Presence, an exhibition of figurative ceramics by Bob Clyatt made using the Japanese raku process. Clyatt’s work makes subtle reference to ancient traditions while expressing a sense of the human condition. Ancient Presence opens Friday, May 3, with a reception at 5 p.m. The gallery is at 652 Canyon Road. Call 995-8513.

At the GAlleries Beals & Abbate Fine Art 713 Canyon Rd., 438-8881. 60/40, sculpture by Gino Miles, through Monday, May 6. Carol Kucera Gallery 112 W. San Francisco St., Suite 107, 866-989-7523. Work by Santo Domingo Pueblo potter Julian Coriz, through May. Commissioner’s Gallery — New Mexico State Land Office 310 Old Santa Fe Trail, 827-5762. Gus Pacheco’s photographic exhibit of New Mexico wildflowers, through May. David Richard Gallery 544 S. Guadalupe St., 983-9555. Carol Brown Goldberg: Color in Space; Phillis Ideal: Overlap; Tom Martinelli: Out of Register; through Saturday, May 4. Eight Modern 231 Delgado St., 995-0231. Dogs Are Forever, mixed-media work by Nancy Youdelman, through May 18. Hunter Kirkland Contemporary 200-B Canyon Rd., 984-2111. Three Painters Paint, Peter Burega, Gregory Frank Harris, and Rick Stevens, through Sunday, May 5. Independent Artists Gallery 102 W. San Francisco St., second floor, 983-3376. Photography by Peter Wagner, through May 30. 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. The Sum of Its Parts, group show, through June 1. Verve Gallery of Photography 219 E. Marcy St., 982-5009. Works by Henry Horenstein, Linda Ingraham, and Brigitte Carnochan, through Saturday, 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 May 13. William Siegal Gallery 540 S. Guadalupe St., 820-3300. Selections, group show of works by gallery artists, through May 25. Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111. European Perspectives: The Radiant Line, group show, through May 24.

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. $40 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.

Tom Swift and His Giant Robot, by trina Badarak, in the santa Fe Book Arts Groups’ exhibit Celebration of the Book, Meem community room, New Mexico history Museum, 120 Washington Ave.

New Mexico State Library 1209 Camino Carlos Rey, 476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. Monday-Friday. Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 467-6825. Rare books and collections of metaphysical materials. Open Monday-Friday, call for hours. Santa Fe Community College Library 6401 Richards Ave., 428-1352. Open MondayFriday, call for hours. Santa Fe Institute 1399 Hyde Park Rd., 984-8800. Open 1-5 p.m. Monday-Friday to current students (call for details). Visit santafe.edu/library for online catalog. Santa Fe Public Library, Main Branch 145 Washington Ave., 955-6780. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday, 1-5 p.m. Sunday. Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 955-4860. Open 10 a.m.-8 p.m. Monday-Wednesday, 10 a.m.6 p.m. Thursday-Saturday. Closed Sunday. Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 955-2810. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday. Closed Sunday. Supreme Court Law Library 237 Don Gaspar Ave., 827-4850. Online catalog available at supremecourtlawlibrary.org. Open 8 a.m.-5 p.m. Monday-Friday.

MuseuMs & Art spAces refer to the daily calendar listings for special events. Museum hours subject to change on holidays and for special events. Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. The Big Hoot, large-scale drawings by Larry Bob Phillips and David Leigh, through Saturday, May 5, Muñoz Waxman Front Gallery • Collect 10: Lucky13, annual fundraising exhibit showcasing New Mexico artists’ works, through May 19,

Spector Ripps Project Space. Gallery hours available online at ccasantafe.org or by phone, no charge. Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Annie Leibovitz: Pilgrimage, through Saturday, May 5 • Georgia O’Keeffe and the Faraway: Nature and Image, through Saturday, 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 • Thicker Than Water, lens-based group show • Burial, mixed media by Jason Lujan, all exhibits through May 12. Open 10 a.m.-5 p.m. Monday and Wednesday-Saturday, noon-5 p.m. Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250. What’s New in New: Recent Acquisitions, annual exhibit celebrating the gallery’s namesake, Lloyd Kiva New, through 2013 • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. TuesdaySunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200. Plain Geometry: Amish Quilts, textiles from the museum’s collection and collectors, through Sept. 2 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and traditional folk art. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with

ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226. Stations of the Cross, group show of works by New Mexico artists, through Sept. 2 • Filigree and Finery: The Art of Spanish Elegance, an exhibit of historic and contemporary jewelry, garments, and objects, through May 27 • 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. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. Celebration of the Book, Santa Fe Book Arts Group’s display of hand-made book art, 10 a.m.4 p.m. Friday and Saturday, May 3-4 in the Meem Community Room, 120 Washington Ave. • 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. Peter Sarkisian: Video Works 1994-2011, mixed-media installations, through Aug.18, free opening reception 5:30-7:30 Friday, May 3 (see story, Page 50) • Mont St. Michel and Shiprock, Santa Fe photographer William Clift’s landscape studies, through Sept. 8 • 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. Rotunda Gallery State Capitol, Old Santa Fe Trail and Paseo de Peralta, 986-4589. New Mexico: Unfolding, group show of mixed-media fiber art, through Aug. 16. 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. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. Case Trading Post. Open 10 a.m.5 p.m. Monday-Saturday, 1-5 p.m. Sunday. Docent tours 2 p.m. Mondays, Wednesdays, Fridays, and Saturdays.

PASATIEMPOMAGAZINE.COM

In the wings MUSIC

Sangre de Cristo Chorale The 45-member chorale presents Celebrating Our Past, Present and Future, 3 p.m. Sunday, May 12, First Presbyterian Church of Santa Fe, 208 Grant Ave., $20, ticketssantafe.org, 988-1234. Zia Singers Sweet Nothings, 4 p.m. Sunday, May 12, Elks Lodge of Santa Fe, 1615 Old Santa Fe Trail, $20 in advance or at the door, 225-571-6352. Primus 3D Rock band, 7:30 p.m. Friday, May 17, doors open at 6:30 p.m., Santa Fe Community Convention Center, 107 W. Marcy St., $38, 988-1234, ticketssantafe.org. Steve Miller Band 8 p.m. Friday, May 17, Legends Theater, Route 66 Casino, 14500 Central Ave. S.W., Albuquerque, $48-$125, holdmyticket.com. 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 Symphony Orchestra and chorus Orff’s Carmina Burana, 5 p.m. Saturday, May 18, 4 p.m. Sunday, May 19, featuring soprano Mary Wilson, tenor Sam Shepperson, and baritone Jeremy Kelly; pre-concert lectures 3 p.m.; the Lensic, $20-$70, ticketssantafe.org, 988-1234. New Mexico Bach Society John Donald Robb’s Requiem and Gounod’s St. Cecilia Mass, 7 p.m. Thursday, May 23, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$55, 988-1234, ticketssantafe.org. Lyle Lovett and Robert Earl Keen An acoustic evening with the Texas musicians, 7 p.m. Sunday, May 26, Santa Fe Opera, 301 Opera Dr., $27-$89, santafeopera.org, 986-5900. Joshua Breakstone KSFR Radio’s Music Café series continues with the master jazz guitarist joined by Earl Sauls on bass and John Trentacosta on drums, 7 p.m. Thursday, May 30, Museum Hill Café, Milner Plaza, 710 Camino Lejo, $20, 428-1527. Santa Fe Women’s Ensemble Fiesta de Musica, music of Casals and Victoria, and international folk songs, 3 p.m. Saturday, June 1, First Presbyterian Church of Santa Fe; 3 p.m. Sunday, June 2, Immaculate Heart of Mary Retreat and Conference Center Chapel; $25, discounts available, 954-4922. Emmylou Harris and Rodney Crowell The former bandmates reunite in support of their album, Old Yellow Moon, 7 p.m. Saturday, June 15, The Downs of Santa Fe, $40, ages 14 and under $10, 988-1234, ticketssantafe.org. Santa Fe Bandstand Outside In Productions and the City of Santa Fe present the 11th annual free performance series featuring national and local performers on the Plaza community stage June 21, weekly through Aug. 23. Eliza Gilkyson, A Hawk & A Hawksaw, and Max Baca y Los Texmaniacs round out the line-up. Schedules and updates available online at santafebandstand.org. Portugal. The Man Portland-based rock band, 7:30 p.m. Tuesday, July 2, Santa Fe Sol Stage & Grill, $21, 988-1234, ticketssantafe.org.

PASATIEMPO I May 3 - 9, 2013

Santa Fe Desert Chorale 2013 Summer Festival The thirty-first season, July 11-Aug.19, features Romance to Requiem with Susan Graham and an evening of cabaret with Sylvia McNair, Santa Fe and Albuquerque, advance tickets available at the box office, 311 E. Palace Ave., 988-2282, or online at desertchorale.org. New Mexico Jazz Festival The eighth annual event takes place in Santa Fe and Albuquerque July 12-27; includes Stanley Clarke Band, Lionel Loueke Trio, Terence Blanchard Quintet, and Catherine Russell, $20-$50, tickets available online at the Lensic box office, ticketssantafe.org, 988-1234. Santa Fe Chamber Music Festival The 41st season (July 14-Aug. 19) includes performances by pianists Inon Barnatan and Jeremy Denk, violinists Ida Kavafian and L.P. How, and the Orion String and Shanghai Quartets, call 982-1890 for advance tickets, for more information visit santafechambermusic.com.

THEATER/DANCE

National Theatre of London in HD The series continues with This House, a play about Parliament by James Graham, 7 p.m. May 16; The Audience, starring Helen Mirren, 7 p.m. June 13; the Lensic, $22, student discounts available, 988-1234, ticketssantafe.org.

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. Julie Brette Adams One Woman Dancing 2013, 8 p.m. Friday and Saturday, 2 p.m. Sunday, May 17-19, Santa Fe Playhouse, 142 De Vargas St., $20, 986-1801. 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. Stand Up Revolution Tour Dillon Garcia, Shaun Latham, Alfred Robles, and Edwin San Juan on stage to help the Santa Fe Fiesta Council raise money for the 301st Fiesta de Santa Fe, 7:30 p.m. Saturday, May 18, Santa Fe Community Convention Center, 201 W. Marcy St., $22-$44, 988-1234, ticketssantafe.org. Chapter Two Santa Fe Playhouse presents Neil Simon’s comedy, June 14-30, 142 E. De Vargas St., $20 at the box office, discounts available, santafeplayhouse.org, 988-4262. Juan Siddi Flamenco Theatre Company The season opens July 2 running 8 p.m. Tuesdays-Sundays through Sept. 1, The Lodge at Santa Fe, $25-$55, discounts available, 988-1234, ticketssantafe.org. Kicking a Dead Horse Fusion Theatre presents Sam Shepard’s drama, 2 and 8 p.m. Saturday, July 20, the Lensic, $10-$40, ticketssantafe.org, 988-1234.

Lyle Lovett (pictured) joins Robert earl Keen on stage may 26, at the santa Fe opera.

HAPPENINgS

Savor the Flavor Nonprofit organization Delicious New Mexico and the Museum of International Folk Art present an event 10 a.m.-5 p.m. Sunday, June 2, in conjunction with the exhibit New World Cuisine: The Histories of Chocolate, Mate y Más; includes food booths, a cooking demonstration with chef Rocky Durham, a book fair, baking demonstrations on an outdoor horno, and beer and wine tastings ($20), Museum Hill, by museum admission, call 505-217-2473 for more information. Santa Fe Botanical garden Tours 2013 Pre-tour luncheon (private venue) Sunday, June 2, $25, registration deadline May 30; self-guided tours Sunday, June 2 and 9, $35 for one day; $65 for both days; tickets on tour days $40 for one day; $75 for both days; advance tickets available at the Lensic box office, 988-1234, ticketssantafe.org, call 471-9103 for more information. SITE Santa Fe events The experimental exhibit series SITElab, presented primarily in the lobby gallery space, begins Saturday, June 8 with Marco Brambilla: Creation (Megaplex); other shows are scheduled in November, December, and January 2014. Enrique Martínez Celaya: The Pearl opens July 12; My Life in Art series (held at the Armory for the Arts) begins with Lowery Stokes Sims with Jaune Quick-to-See Smith July 16, visit sitesantafe.org for updates. 64th Annual Santa Fe Rodeo Downtown rodeo parade 10 a.m. Saturday, June 15; rodeo 6:30 p.m. Wednesday-Saturday, June 19-22, Santa Fe Rodeo Grounds, $10-$37, 988-1234, ticketssantafe.org. Santa Fe Opera opening night benefit The opening-night performance of Offenbach’s The Grand Duchess of Gérolstein is preceded by a gala buffet dinner and a talk by Tom Franks, Friday, June 28, Dapples Pavilion, 301 Opera Dr., $80, hosted by the Santa Fe Opera Guild, 629-1410, Ext. 113, guildsofsfo.org. Santa Fe Opera tailgate contest Held opening night Friday, June 28; prizes in several categories, only ticketholders eligible; visit santafeopera.org for information about categories, prizes, celebrity judges, and how to enter. 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. Santa Fe Wine Festival New Mexico wine samples and sales, music, food booths, and arts & crafts, noon-6 p.m. Saturday and Sunday, July 6-7, El Rancho de las Golondrinas, 334 Los Pinos Rd., $13 includes wine glass for adults 21+, youth discounts available, 471-2261. 2013 Santa Fe International Folk Art Market More than150 artists offer goods at the 10th annual event hosted by the Museum of International Folk Art; pre-market events begin July 10-11, opening party July 12, market July 13-14, visit folkartmarket.org for schedule and ticket information.

pasa week

from Page 65

4 Saturday (continued)

Baile de Mayo Find out which contestants are chosen for the roles of Don Diego de Vargas and La Reina de la Fiesta de Santa Fe and dance to the music of country band Sierra, 7:30 p.m., Santa Fe Community Convention Center, $10, 988-1234, ticketssantafe.org. Battlefield New Mexico: The Civil War and More Reenactments of military drills and camp life; also, lectures and demonstrations, 10 a.m.-4 p.m. today and Sunday, El Rancho de las Golondrinas, 334 Los Pinos Rd., $8, discounts available, 471-2261. Candyman Strings & Things’ Fourth Annual Wanna Play? Experience Mini-music lessons; interactive demonstrations by music professionals, drum and harp circles, games, and kids’ craft area, 10 a.m.-4 p.m., 851 St. Michael’s Dr., 983-5906. Contemporary Clay Fair Works by New Mexico potters and clay artists, 10 a.m.-5 p.m. today and Sunday, Santa Fe Woman’s Club, 1616 Old Pecos Trail, no charge, contemporaryclayfair.com. Embody Dance Santa Fe’s 13th anniversary Spring costumes encouraged; hat contest, silent auction, and dance-prize raffle, 7 p.m.-midnight, Railyard Performance Center, 1611 Paseo de Peralta, embodydancesantafe.org, donations accepted. Folk Art Flea Market Annual event hosted by the Museum of International Folk Art, 10 a.m.4 p.m., 706 Camino Lejo, Museum Hill, no charge, 476-1200. Free Comic Book Day Noon-7 p.m., Big Adventure Comics, 801 Cerrillos Rd., 992-8783. Freestyle pilsner release party Live music by Mariachi Differencia, contests, and prizes, 2-6 p.m., Santa Fe Brewing Company, 35 Fire Pl., no charge, 424-3333. Grow a Tomato Home Grown New Mexico and Milagro Community Garden present the class, 10 a.m., Milagro Community Garden, off Rodeo Rd. at 2481 Legacy Ct., $5 suggested donation. La Tierra Torture Mountain-bike race; 9 a.m., La Tierra open space; for fees, prize information, and registration visit latierratorture.com. Paws for a Cause Annual fundraiser for the Santa Fe Animal Shelter & Humane Society and the St. Vincent Hospital Foundation; outdoor activities for dog owners, pet contests, 10-K run and 5-K dog walk, and vendor market, 7 a.m.-1 p.m., Bicentennial Park, 1043 Alto St., run/walk registration $25, kids under 12 no charge, register online at active.com or call 983-4309, Ext. 203. Santa Fe Artists Market 8 a.m.-1 p.m. Saturdays at Railyard Park across from the Farmers Market through November, 310-1555. Santa Fe Farmers Market SFUAD Contemporary Music Department’s Acoustic Americana Ensemble in concert, 10 a.m.; market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098.

NiGhTLiFE

(See Page 65 for addresses) ¡Chispa! at El Mesón Flamenco Conpaz, 7 p.m.-close, call for cover. Cowgirl BBQ Singer/songwriter Shantel Leitner, 2-5 p.m.; roots-rock duo Todd & The Fox, 8:30 p.m.; no cover.

El Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. La Fiesta Lounge at La Fonda R & B band The Pleasure Pilots, 8-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio with Dave Anderson on alto flute, Andy Zadrozny on bass, and Malone on guitar, 6 p.m., Fuego Restaurant, no cover. Molly’s Kitchen & Lounge Post-punk rock band Man Hurls Hedgehog’s CD-release show, 9 p.m., bellydance troupe Desert Darlings open; DJs Dirt Girl and Feathericci close, $5 cover. The Palace Restaurant & Saloon C.S. Rockshow with Don Curry, Pete Springer, and Ron Crowder, 9:30 p.m., call for cover. Second Street Brewery Folk-rockers The Bus Tapes, 6-9 p.m., no cover. Second Street Brewery at the Railyard Swing Soleil, Gypsy jazz and 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. Vanessie Jimmy Stadler Band, Americana/rock, 8 p.m.-close, call for cover.

5 Sunday CLASSiCAL MuSiC

Santa Fe Youth Symphony The Spring Concert Series continues with the Youth Symphony Orchestra, Youth Philharmonia, Intermezzo String Orchestra, and Preparatory String Orchestra, 1 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $10 in advance, discounts available, 467-3770, sfys.org, or at the door. Serenata of Santa Fe Chamber music ensemble in Gate Into Infinity, 6 p.m., Junior Common Room, St. John’s College, 1160 Camino de Cruz Blanca, $25, discounts available, ticketssantafe.org, 988-1234.

iN CoNCERT

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., the Lensic, $25-$45, ticketssantafe.org, 988-1234, (see story, Page 26).

ThEATER/DANCE

Venus in Fur Aux Dog Theater presents David Ives’ sexually charged comedy, 6 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $18 in advance, discounts available, auxdog.com, 505-254-7716. Womens Voices II: The Choices We Make A production by local playwrights and actors; also, students of Santa Fe University of Art & Design and New Mexico School for the Arts, 2 p.m., Warehouse 21, 1614 Paseo de Peralta, $18, discounts available, hosted by Santa Fe Rep, 629-6517, sfrep.org.

BooKS/TALKS

New Mexico Water Laws, Rights, and Conflicts Attorneys Peter White and Denise D. Fort in conversation, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

New Mexico Series No. 21, 4 Mile Mesa, by Peter Burega, Hunter Kirkland Contemporary

Rosemary Zibart The author reads from and signs copies of Forced Journey: The Saga of Werner Berlinger, 2 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. We’re All Shape Shifters Sometimes Institute of American Indian Arts’ Creative Writing graduating students Byron Aspaas, Paige Buffington, and Anna Nelson read from their works, 2-4 p.m., reception follows, Museum of Contemporary Native Arts, 108 Cathedral Pl., by museum admission, 428-5907. What’s New Contemporary Native Artists Speak series Ross Chaney and Cliff Fragua discuss their work in conjunction with the exhibit What’s New in New: Recent Recent Acquisitions, 2 p.m., O’Keeffe Theater, Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, no charge, 476-1250.

EVENTS

2013 Jewish Arts Festival Show and sale 10 a.m.-4 p.m.; poetry reading 1 p.m.; artists’ panel presentation 2 p.m., Temple Beth Shalom, 205 E. Barcelona Rd., no charge, 982-6151. Battlefield New Mexico: The Civil War and More Reenactments of military drills and camp life; also, lectures and demonstrations, 10 a.m.-4 p.m., El Rancho de las Golondrinas, 334 Los Pinos Rd., $8, discounts available, 471-2261. Contemporary Clay Fair New Mexico potters and clay artists, 10 a.m.5 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, contemporaryclayfair.com, no charge. Railyard Artisans Market Singer/songwriter Daniel Link 10 a.m.-1 p.m.; saxophonist Brian Wingard 1-4 p.m.; Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 983-4098, railyardartmarket.com, market 10 a.m.-4 p.m.

NiGhTLiFE

(See Page 65 for addresses) Café Café Guitarist Michael Tait Tafoya, 6-9 p.m., no cover. El Farol Nacha Mendez and guests, pan-Latin music, 7 p.m.-close, no cover. Second Street Brewery at the Railyard Joe West’s Santa Fe Revue, eclectic folk-rock, 1-4 p.m., no cover. Vanessie Sunday Open Mic with pianist David Geist, 5-7 p.m.; Bob Finnie, piano and vocal classics, 7 p.m.-close, no cover.

6 Monday BooKS/TALKS

Chiles and Cuisine in the Ancient Southwest A Southwest Seminars lecture with Paul Minnis, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.

EVENTS

SiTE Santa Fe Biennial Exhibition 2014 presentation Led by chief curator Irene Hofmann; refreshments and music, 6:15 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, sitesantafe.org, no charge.

NiGhTLiFE

(See Page 65 for addresses) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. La Fiesta Lounge at La Fonda Blues band Night Train, 7:30-11 p.m., no cover. Vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close, no cover. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM

7 Tuesday

la boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la casa sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Cathy Fabers’ Swingin’ Country Band, 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., Fuego Restaurant, no cover. the Matador DJ Inky spinning soul/punk/ska, 8:30 p.m.-close, no cover. steaksmith at el gancho Mariachi Sonidos del Monte, 6:30-8 p.m., no cover. vanessie Bossa Nova and jazz duo Rio!, 7 p.m.-close, call for cover. Zia diner Swing Soleil, Gypsy jazz and swing, 6-8 p.m., no cover.

in concert

Jazz and Afro-cuban ensembles SFUAD Contemporary Music Department’s student performances, 7 p.m., outdoors at the Quad Bandshell, 1600 St. Michael’s Dr., no charge, 473-6196.

theAter/dAnce

Humble Boy opening night Fusion Theatre presents Charlotte Jones’ comedy, 8 p.m., the Lensic, $20-$40, students $10, ticketssantafe.org, 988-1234, encore Wednesday (see story, Page 34).

books/tAlks

kevin Fedarko The New Mexico author reads from and signs copies of The Emerald Mile, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see Subtexts, Page 16).

events

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. santa Fe Farmers Market on tuesdays 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098.

▶ Elsewhere albuquErquE

nightliFe

(See Page 65 for addresses) ¡chispa! at el Mesón Argentine Tango Milonga, 7:30-11 p.m., call for cover. cowgirl bbQ Singer/songwriter Chris Chickering, 8 p.m., no cover. el Farol Canyon Road Blues Jam, with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover. la Fiesta lounge at la Fonda Blues band Night Train, 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 Bob Finnie, pop standards piano and vocals, 7 p.m.-close, no cover.

8 Wednesday theAter/dAnce

Humble Boy Fusion Theatre presents Charlotte Jones’ comedy, 8 p.m., the Lensic, $20-$40, students $10, ticketssantafe.org, 988-1234 (see story, Page 34). sFUAd Performing Arts students’ spring dance Repertoire includes ballet, jazz, and contemporary dance, 7 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., no charge, 473-6511.

books/tAlks

bonnie buckner The author discusses and signs copies of Dream Your Self Into Being, 4:30 p.m., Ark Bookstore, 133 Romero St., 988-3709. roger landry The author discusses Live Long, Die Short: A Guide for Authentic Health and Successful Aging, 7 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., no charge, reservations 995-2110. taos society of Artists: buck dunton The New Mexico Museum of Art docent talks series continues with a discussion of William Herbert “Buck” Dunton, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5072.

PASATIEMPO I May 3 - 9, 2013

Museums/Art spaces

Rancho Milagro Collection shows works by Jim Wagner, 127 Bent St., Taos

nightliFe

(See Page 65 for addresses) ¡chispa! at el Mesón Jazz guitarist Pat Malone, 7-9 p.m., no cover. cowgirl bbQ Folk-rock singer/songwriter James Houlahan, 8 p.m., no cover. la Fiesta lounge at la Fonda Cathy Fabers’ Swingin’ Country Band, 7:30 p.m., no cover. la Posada de santa Fe resort and spa Wily Jim, Western swingabilly, 7 p.m., no cover. the Pantry restaurant Acoustic guitar and vocals with Gary Vigil, 5:30-8 p.m., no cover. tiny’s Mike Clymer of 505 Bands’ electric jam, 7 p.m., no cover. vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close, no cover.

9 Thursday in concert

brenna noonan SFUAD student saxophonist, 7 p.m., High Mayhem Emerging Arts, 2811 Siler Ln., $5 suggested donation at the door benefits the Limbs for Life Foundation in support of Boston’s bombing victims.

theAter/dAnce

Eureka! National Dance Institute New Mexico’s science-themed end-of-school student showcase continues, 6 p.m., The Dance Barns, 1140 Alto St., call 983-7661 for tickets, encores Friday and Saturday, May 10-11.

books/tAlks

the Minds of children A Santa Fe Institute Community Lecture by UC Berkeley psychology professor Alison Gopnik, 7:30 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., no charge. the Museum’s dilemma: culturally Appropriate conservation A lecture by Kelly McHugh, National Museum of the American Indian, Smithsonian Institution, noon, School for Advanced Research Boardroom, 660 Garcia St., 954-7203, no charge. nickel stories Open five-minute prose readings, sign-in 6 p.m., Op. Cit. Bookstore, 500 Montezuma Ave., Suite 101, Sanbusco Center, 428-0321.

events

the sound of sunset: how to Write About the edge of time Poetry workshop led by Lauren Camp in conjunction with Santa Fe Art Institute’s group show Earth Chronicles Project — The Artist’s Process: New Mexico, 6:30 p.m., SFAI, 1600 St. Michael’s Dr., $25, 424-5050.

nightliFe

(See Page 65 for addresses) ¡chispa! at el Mesón Jazz pianist John Rangel, 7-9 p.m., no cover. cowgirl bbQ John Kurzweg Band, alt. folk-rock, 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.

516 Arts 516 Central Ave. S.W., 505-242-1445. Flatlanders & Surface Dwellers, international multimedia show, through June 1. harwood Art center 1114 Seventh St. N.W., 505-242-6367. I Have a Question and There’s No One Left to Answer It, encaustic paintings by Evey Jones and Harriette Tsosie, reception 6-8 p.m. Friday, May 3, through May 30. Original home of the Harwood Girls School (1925-1976). Open 10 a.m.-4 p.m. Monday-Friday, no charge. inpost Art space Outpost Performance Space, 210 Yale Blvd. S.E., 505-268-0044. Near & Far, photographs by Erin Parker, reception 5-8 p.m. Friday, May 3.

events/Performances

sunday chatter Jesse Tatum and Jeff Cornelius: flute and percussion recital, 10:30 a.m. Sunday, May 5; plus, a poetry reading by Marilyn Stablein, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterchamber.org. new Mexico symphonic chorus The season closes with music of Brahms and Orff, 3 p.m. Sunday, May 5, National Hispanic Cultural Center, 1701 Fourth St. S.W., $15-$60, students 20 percent discount, 505-724-4771.

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

Borromeo String Quartet Music of Dvoˇrák, Stravinsky, and Beethoven, 7 p.m. Saturday, May 4, Duane Smith Auditorium, Los Alamos High School campus, 1300 Diamond Dr. $30 in advance and $35 at the door, 988-1234, ticketssantafe.org.

madrid Museums/Art Spaces

Johnsons of Madrid 2843 NM 14, 471-1054. Exhibits in conjunction with the town’s 40th Rebirth-Day celebration, reception 3-5 p.m. Saturday, May 4. Metallo Gallery 2863 NM 14, 471-2457. In Microscale, annual group show of miniatures, reception 4-8 p.m. Saturday, May 4, through May.

Events/Performances

Madrid’s 40th Rebirth-Day Celebration Exhibit openings, entertainment, and scheduled events every weekend through May, details available online at visitmadridnm.com.

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 Sunday, May 5. Open 10 a.m.-5 p.m. Tuesday-Saturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday. Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 11 a.m.-5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Open 10 a.m.-5 p.m. daily. NM residents $5; non-residents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge with ID. Rancho Milagro Collection 127 Bent St., 575-758-3733. Paintings and furniture by Jim Wagner, gala-opening reception 4-6 p.m. Saturday, May 4. 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.

Events/Performances

Wild & Scenic Film Festival Western Environmental Law Center hosts the fourth annual showcase of environmental films, 2 and 7 p.m. Saturday, May 4, Taos Community Auditorium, 133 Paseo del Pueblo Norte, $8, youth $5, 575-758-2052, westernlaw.org.

▶ People who need people Artists

Nominations for the 2013 Mayor’s Awards for Excellence in the Arts Any member of the public may nominate an artist, writer, performer, philanthropist (individuals ages 21 and older), or an organization or business for consideration;

also, nominations for the Melissa Engestrom Youth Arts Award are being accepted (ages 21 or younger); information and forms available online at santafeartscommission.org or call 955-6606; deadline is 5 p.m. Friday, May 31. Santa Fe Public Libraries’ exhibits Month-long exhibits open to local artists; all two-dimensional work considered; no commissions taken, for information call 955-4862 or 955-6784; visit santafelibrary.org for application process details.

Contest

Santa Fe Opera’s tailgate contest Visit santafeopera.org for information about categories, prizes, celebrity judges, and entry details for the June 28 opening-night event; entries accepted after June 1 by emailing tailgatecontest@santafeopera.org; include name, email address, phone number, and approximate number in your group.

Donations/Volunteers

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

Filmmakers/Performers

New Mexico Dance Coalition student scholarships Three scholarships awarded to New Mexico residents aged 8 to adults in the amount of $400; visit nmdancecoalition.org for guidelines and application forms; applications accepted through Friday, July 26; direct questions to Dyan Yoshikawa, nmdancecoalition@gmail.com. Santa Fe Independent Film Festival Submissions sought for the Oct.16-20 festival; deadline July 1; final deadline Aug. 1. Visit santafeindependentfilmfestival.com for rules and guidelines.

▶ Under 21 Santa Fe Youth Symphony The Spring Concert Series continues with a jazz recital; 7 p.m. Saturday, May 4, Warehouse 21, 1614 Paseo de Peralta, $10, discounts available, 467-3770, sfys.org, or at the door. 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.

▶ Pasa Kids May Pole dancing with Annie Rose the Flower Fairy Children’s event, noon Saturday, May 4, Farmers Market Pavilion, 1607 Paseo de Peralta, no charge, 983-4098. Bee Hive Kids Books Storytelling and signings by Joe Hayes, 4 p.m. Saturday, May 4, 328 Montezuma Ave., 780-8051. Student-Produced Opera Free staged performance by local elementaryschool students 6 p.m. Thursday, May 9, Scottish Rite Center, 463 Paseo de Peralta, a collaborative effort between the Santa Fe Opera and Santa Fe Public Schools, for more information contact Andrea Walters, 986-5955. ◀

Goin’ Dutch Consider the following an example of the power of music: On April 30, Prince Willem-Alexander of the Netherlands ascended to the king’s throne, and a song was commissioned by special committee for his coronation. Numerous popular Dutch artists worked on the composition, and children throughout the country were asked to perform the song in unison on the big day. The song, which was composed by John Ewbank and includes lyrical submissions From left: Mohit Dubey, Jake Montiel, Sam Mozley, by various Netherlanders, didn’t rest well and Luke Griffin with some. And one listen to “Koningslied” explains why. A wacky rap interlude, a forgettable melody, and lyrics that appear to be written by an über-patriotic preschooler make for a messy endeavor that plays like a Disney-constructed satire of Dutch piety. Case in point, this bit of English translation from Dutch writer Stefan Keerssemeeckers: W for William/Three fingers in the air, come on, come on/The W for William is the W for We ... W for Water, which we face without relenting/We make the water dry and build dikes/I’ll wear a banner with your name! … I’ll believe in you, as long as we exist!/I’ll build a dike with my bare hands!/And keep the water away from you! Well, alrighty then. The song was unveiled in April and was also worked into a cringe-worthy music video on YouTube. The backlash was immediate. As of coronation day more than 41,000 people in the Netherlands had signed a petition calling for the song’s head, the petition stating, “In protest at this imbecilic King’s Song, I hereby abdicate as a Dutch subject.” Overreaction? Probably. The inauguration committee initially withdrew the song, but the decision was reversed on April 22. So you see, music can stir an entire nation, albeit in multiple directions. The “Koningslied” is dead. Long live the “Koningslied.” You can check out the music video by searching YouTube for “Koningslied (Officiële uitgave).” You can then immediately call your therapist. Shreddin’ ready, Brozart! There’s little chance of such embarrassment occurring in the United States anytime soon. First of all, we sort of have an ingrained aversion to the whole kingdom thing. Second, our emerging musicians tend to kick butt. Take, for instance, the folks performing at 6 p.m. Friday, May 3, as part of New Mexico School for the Arts’ year-end guitar recital at High Desert Guitars (1807 Second St., Suite 107, 983-8922). The evening’s program includes “Variations on a Theme by Mozart” by Fernando Sor, performed by Mohit Dubey; “La Catedral” by Agustín Barrios, performed by Jake Montiel; and John Dowland’s “My Lord Willoughby’s Welcome Home,” performed by Luke Griffin and Sam Mozley. There are a few surprises, but Dubey and company aren’t spilling the beans. The program runs about an hour, there’s no cover, and no one will be asked to explain in song what a particular “W” stands for. An instrumental role The Candyman Strings & Things (851 St. Michael’s Drive, 983-5906) is geared up for its Fourth Annual Wanna Play? Experience, which takes place from 10 a.m. to 4 p.m. Saturday, May 4. Each year, Candyman owners Cindy and Rand Cook invite people of all ages who don’t play an instrument to come in, get their hands on one, and have some fun without the pressure that can arise in many musical-learning environments. Grab a mini lesson or two. Visit the instrument “petting zoo.” Play games for prizes. Stepbridge Studios is bringing its interactive recording suite, pro musicians will be on hand, and there will be art and music activities for the whole family. You can also check out some cool gadgets, like the ChordBuddy guitar-learning system. The event is free, and it’s a ton of fun. — 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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