The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture February 15, 2013
$16 Any Dinner Entrée When You Order Any Appetizer
February 15 through February 23 (mention this offer when you order)
Thank you Santa Fe for 16 great years!
16 y e a r s i n s a n ta f e
$4 LUNCH GIFT CERTIFICATE Present certificate tues. - sat., 11:30 - 2:30 through february 23 One certificate per person 548 Agua Fria, Santa Fe | 982-8608 | RistraRestaurant.com
Happy Hour Special - 50% off OUR FAMOUS CLASSIC APPETIZERS
CALAMARI, DUMPLINGS, SPRING ROLLS
Wines-by-the-glass,‘Well’ cocktails, House Margarita! - $5.00 each FULL BAR with FREE WI-FI
Monday thru Friday from 4:30 – 6:30 p.m. …
Let’s freshen up that bedroom energy. Re claimed woods. Clean lines yet warm. Organic Mattress. Organic sheets. Silk filled Pillows and Comforters.
3 – Course Dinner Special / 35.00 per person Sunday thru Thursday From 5:30
Functionals and Fine Art. New fleece caps are in! See on:
www.
231 washington avenue santa fe, nm 505•984•1788
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February 15 - 21, 2013
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201 Galisteo St, Santa Fe, NM 87501 Tel 505 982 7000
Sale! 20% OFF Furniture & Doors Saturday & Monday February 16 & 18, 2013
Monday - Saturday 9 - 5 2414 Cerrillos Road 505-473-1114 www.santaferestore.org
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OPENING SUNDAY, FEBRUARY 17, 1–4 PM • • • •
Diné weaving demonstrations by Roy Kady (Blommer Gallery) All-ages, hands-on art activities (Discovery Centery) Oak Canyon Dancers of Jémez Pueblo (1:30 and 3 p.m.) Artists’ talk: “Painting and Printmaking,” with Marla Allison and Linda Lomahaftewa (2 p.m., Kathryn O’Keeffe Theatre)
Let’s Dance! The SFCO’s Annual Swing and Ballroom Dance Event
Saturday, February 16, 2013 7:00 - 10:00 pm (free dance lessons 6 pm)
ALSO ON VIEW: The Friends of Indian Art celebrate twenty years of support with a newly dedicated display case, highlighting selected Native works of art purchased for the permanent collection. Reception hosted by Women’s Board of the Museum of New Mexico. NM residents with I.D. free on Sundays, children under 17 always free. PICTURED: DOMINIQUE TOYA (JÉMEZ PUEBLO), SWIRL VASE, C. 2004. BEQUEST OF MARTHA KATE THOMAS. PHOTOGRAPH BY BLAIR CLARK.
Museum of Indian Arts & Culture
Museum Hill off Old Santa Fe Trail | (505) 476-1250 | indianartsandculture.org |
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February 15 - 21, 2013
Santa Fe Convention Center • A live orchestra - the SFCO! • The Santa Fe Great Big Jazz Band • Santa Fe’s biggest dance floor • Table reservations & info: 466-4879* • Silent auction and other activities • Affordable food and cash bar • Dance competitions
*Other seating space is limited; reservation guarantees seating
One of Santa Fe’s great annual events!
Free admission – Donations appreciated email: sfcoinfo@gmail.com SFCO projects are made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, the National Endowment for the Arts; the Santa Fe Arts Commission, and the 1% Lodger’s Tax.
Poteet Victory AbbreViAted PortrAit SerieS
G eo rgia O ’keeffe G eo rgia O ’keeffe mclarrymodern.com
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M cLArry M o d e r n McLArry 225 Canyon Road Santa Fe, NM •
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505.983.8589
PROJECT PARTY
Santa Fe Community Orchestra Oliver Prezant, Music Director
A Fundraiser for the Santa Fe Farmers Market
TOMORROW NIGHT!! Saturday, February 16th, 6:30-10:30
~Farmers Market Pavilion - 1607 Paseo de Peralta~
TICKETS: $25 now $30 at the door Tickets available at the Market or online
New Works by New Mexico’s Composers Readings of Works by
Janice Simmons and
Help us raise money to finish our New “Cafe Fresh” featuring Local, Farm Fresh food...
Ticket Includes Dinner and a Drink from our AWESOME SPONSORS : Santa Fe’s Premier Teahouse
Charles Blanchard Friday, February 22, 6:00 pm Stieren Hall at The Santa Fe Opera Free admission, Donations appreciated Call 466-4879 for more information or to submit works for consideration
Farmto Restaurant A Program of Farm to Table
www.santafefarmersmarket.com
SFCO’s New Works by New Mexico’s Composers program is sponsored by a generous grant from The Mill Foundation.
This and other SFCO projects made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, and the National Endowment for the Arts; the Santa Fe Arts Commission and the 1% Lodger’s Tax.
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THE SANTA FE NEW MEXICAN
February 15 - 21, 2013
On the cOver 32 eah-ha-Wa and Jonathan Warm day coming When Eva Mirabal (born Eah-Ha-Wa) left New Mexico to join the Women’s Army Corps in 1943, she was already an established artist in her home state. During the war, she drew a comic strip to entertain her fellow soldiers, and after the fighting was over, she spoke out about the importance of including Native art in U.S. art-education programs. Work by Mirabal and her son, Jonathan Warm Day Coming, is the focus of an ongoing exhibit at the Harwood Museum of Art in Taos. On the cover is Warm Day Coming’s The Awakening, acrylic on canvas. Image courtesy Harwood Museum.
bOOks
mOving images
14 in Other Words Close encounters 16 James hansen A global warning 18 southwest evangelism James F. Brooks
48 Pasa Pics 52 The Waiting Room 53 Masquerade
mUsic and PerFOrmance 22 24 25 26 28 31 63
calendar
hilary hahn Showcase of encores Pasa reviews Beauty of the Father Pasa reviews The Warriors Pasa tempos CD Reviews terrell’s tune-Up Buck Owens rides again Onstage this Week Lori Carsillo at SJC sound Waves Congress does something right
56 Pasa Week
and 11 mixed media 13 star codes 54 restaurant review
art 36 shepard Fairey Risk and reward 40 When worlds collide Two sides of Jamie Chase
hUmOr in POlitics 44 razor’s edge Bill Maher
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
shepard Fairey: mural on bateman’s row, london, 2012, © shepard Fairey
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art director — marcella sandoval 986-3025, msandoval@sfnewmexican.com
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assistant editor — madeleine nicklin 986-3096, mnicklin@sfnewmexican.com
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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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advertising directOr Tamara Hand 986-3007
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art dePartment directOr Scott Fowler 995-3836
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graPhic designers Rick Artiaga, Dale Deforest, Elspeth Hilbert
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advertising sales mike Flores 995-3840 stephanie green 995-3820 margaret henkels 995-3820 cristina iverson 995-3830 rob newlin 995-3841 Wendy Ortega 995-3892 art trujillo 995-3852
Rob Dean editor
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GREGORY HELTMAN, GENERAL DIRECTOR STEVEN SMITH, MUSIC DIRECTOR
S
THE
ANTA FE
GREGORY HELTMAN, GENERAL DIRECTOR STEVEN SMITH, MUSIC DIRECTOR Rossini,
YMPHONY ...bringing great music to life
featuring
Birds & Brahms La Gazza Ladra Smetana, Moldau Vaughan Williams, Lark Ascending Brahms, Symphony No. 2
The Symphony's own concertmaster
David Felberg
Call
SUNDAY
FEBRUARY 17 SPONSORED IN PART BY
Emily Zants,
in memory of Rodman A. Sharp and
983-1414 4:00 PM
Steven Smith Conducts
Free preview talk an hour before the concert.
AT THE LENSIC ! $20 — $70
Half priced tickets for children 6 - 14 with adult purchase. The 2012–2013 season is funded in part by the Santa Fe Arts Commission, and the 1% Lodger’s Tax, New Mexico Arts, a division of the Office of Cultural Affairs, and the National Endowment for the Arts.
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ARTsmart presents the 16th Annual ™
Santa Fe A weekend of fine ART, FOOD, WINE, FASHION & HOMES benefiting ART programs for Santa Fe’s youth February 22-24 Purchase your tickets at artfeast.com today! Tickets
• Fashion Show - $100 • Edible Art Tour - $35 ($40 day of event) • Feast or Famine Free admission with EAT ticket or $15 • Gourmet Dinner - $175 • Artists’ Brunch - $75 • Home Tour - Free Admission
505.603.4643 • info@artfeast.com ARTsmart office, 102 E. Water Street, Santa Fe, NM 87501
EAT Tickets
Edible Art Tour tickets are also available at participating galleries and through Tickets Santa Fe, Lensic Box Office, 505.988.1234, ticketssantafe.com
Journey An exhibition of new paintings by
JOE ANNA ARNETT
February 22nd through March 23rd, 2013
Opening Reception Friday, February 22nd 5 p.m.
651 Canyon Road Santa Fe, New Mexico 87501 zaplinlampert.com 505-982-6100 8
February 15 - 21, 2013
In for Repairs, Rocky Neck
SOUTHWEST ANTIQUES & ARTS GREAT DEALS! Restaurant Week is your opportunity to try Chef Deena Chafetz’s fresh, contemporary cuisine at the Quail Run Grille. The Grille serves lunch and dinner during the week and brunch on the weekends. Try the Grille and learn about our dining memberships for those with the most distinguished tastes! Call today for reservations and more details.
Saturday: 8-3 Sunday:10-4 Be our guest and enjoy a three-course prix fixe dinner for $30 or a two-course prix fixe lunch for $15 during Restaurant Week, Feb 24 - Mar 3 3101 Old Pecos Trail 505.795.7224 quailrunsantafe.com
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Yom Limmud:
A Day of Jewish Learning, Arts, & Culture
Keynote Speaker: Alan Morinis
“Change Yourself, Change the World: The Jewish Spiritual Tradition of Mussar”
Acoma Jar with Negative Designs by Sarah Garcia, c. 1980. 6.5” tall by 8.5” diameter
Sunday, March 10, 2013, 1-‐4:30pm
St. John’s College, Petersen Student Center
We’re moving again. Please join us to p (505) 577-0835 celebrate our time together at Arroyo Inside Arroyo Gallery gallery with good friends and great prices. 200 Canyon Road Reception / Friday, Feb. 15 / 5-7PM
Register at limmud2013.org • (505) 428-‐9522 $18 (Early Registration $12 by Feb. 25) A Joint Project of the Jewish Communities of Northern New Mexico
LAST CALL 1 Sale Item 15% Off 2 Sale Items 20% Off 3 Sale Items 30% Off
A New Beginning Again
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Clearance Sale
PianoWerkes is dedicated to making a contribution to our community by loaning fine pianos to local schools and arts organizations at no charge. These pianos along with overstocked new and used pianos, are gathered one time a year and sold to the public at drastically reduced prices. Thursday, Friday & Saturday - Feb. 21, 22 & 23 - 10am - 5pm All Days
4 Sale Items 40% Off
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New Yamaha, Bösendorfer, Schimmel, Estonia and Vintage Steinway, Yamaha Disklavier Player Pianos, Yamaha Clavinova Digitals Used and Trade-in Models including Steinway, Baldwin, Yamaha and Boston
Call Now for Appointment or Information: 505.884.5605 PianoWerkes 4640 Menaul Blvd. NE, Albuquerque www.pianowerkes.com 505.884.5605
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February 15 - 21, 2013
MIXED MEDIA
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MAThilda, the Art-o-mat: she take your money
Addicted to art Cigarette vending machines have gone the way of dinosaurs. No longer do they grace the lobbies of restaurants, hotels, and bus stations, providing easy access to their deleterious products. Art-o-mat vending machines, on the other hand, are growing in popularity (and their contents are much healthier, too). Art-o-mats are cigarette machines that have been retired and converted into devices to dispense art. More than 100 machines are currently in use across the United States, and a few are in operation overseas. This month, Santa Fe adds its name to the roster of locations when an Art-o-mat (nicknamed MAThilda) comes to the hallway of El Centro de Santa Fe (102 E. Water St.). For the art collector in you who can’t afford high-end gallery prices, the Art-o-mat offers an opportunity to purchase an original cigarette-box-sized artwork for $5 — that’s cheaper than most packs of cigarettes these days. Clark Whittington, founder and creator of the Art-o-mat, and Victoria Brown, the program’s Santa Fe host, conduct a meet-and-greet at the Santa Fe launch on Saturday, Feb. 16, from 1 to 5 p.m. Local artists interested in participating are invited to attend. If you’re on the road and jonesing for a fix that only art can provide, check out www.artomat.org to find a location near you. The website is also a great place to view the art, see the vintage vending machines, and, if you are an artist, learn how to submit your work. The Santa Fe Art-o-mat, as yet the only one in the state, is turquoise and features New Mexico’s iconic Zia sun symbol. For information, call Brown at 795-1783. — Michael Abatemarco
JAPANESE TAPAS & SUSHI
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All premium draft4:30-6:30pm beers $3.50 Draft Pints $3.50 MENTION THIS AD FOR DISCOUNT
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Hate Your CPAP?
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Chef Joseph Wrede of acclaimed restaurant Joseph’s Table now behind the line at Tomme.
Join us Febuary 20th for our monthly wine dinner featuring the
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February 15 - 21, 2013
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STAR CODES Heather Roan Robbins As the moon enters Taurus on Friday, we look for action — not just intention. Say less and do more; success is all in the body language and follow-through, both in romance and business, as Mars sextiles Pluto and trines Saturn this weekend. We need pragmatic solidity to help anchor us, because we’re still floating around in a sensitive cloud with Mars, Mercury, Chiron, Neptune, and soon the sun — all lined up in ephemeral, intuitive Pisces. People need their boundaries respected. This Taurus moon encourages us to be open. Express feelings with tangible actions; say “I love you” with a well-cooked meal. Over the weekend, feel an urge to change in some clear way. Be prepared to do some Mars work — to look at ambitions, desires, and irritations. Even the wind may pick up. These supportive Mars aspects ask us to move out of any oppressive situation while we’re in a kind and compassionate mood rather than wait until the sparks fly as spring begins and most of the Pisces planets head into fiery Aries. On Monday, the sun enters mutable water sign Pisces and deepens our inward turn. Our energy may be low for a while, but this can help us do less and process more. It’s time to review the story of our year, compost its lessons, and dream about the future before we begin a new cycle.
final markdowns! come and get ’em! On Your Little Feet Get it Together On Your Feet
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Friday, Feb. 15: Do what we say we’re going to do. Midday, we can build trust or disappoint others depending on our consistency as Mars sextiles Pluto. Chemistry sparks in the strangest places as we head into a mellow, stubborn, comfort-seeking evening. Saturday, Feb. 16: Morning may be achy and warm-bed-seeking. Later, a pragmatic trine between Mars and Saturn offers easy control, a chance to add discipline to our crafts, and a desire to get things done. Some delay may prove fortunate. Ease around a shy moment midafternoon and be open to change without pushing it tonight. Sunday, Feb. 17: Morning may have a taciturn, thoughtful vibe as some old feelings float to the surface. Mood and humor pick up as the moon enters Gemini midday and offers nervous energy, curiosity, and acceptance.
Changing Faces, Saving Lives
Monday, Feb. 18: The mood becomes fuzzy and disoriented as the sun enters Pisces. Our mind floats as organized Saturn turns retrograde. Don’t rush anything; work with the magic of the day. Feel the connection to the numinous, but get grounded before driving or sending important emails. An edgy evening needs extra kindness to help us integrate with one another as Venus challenges unsettling Uranus.
You Owe it to Your Child
Tuesday, Feb. 19: Communication glitches are likely this morning as the moon squares Mercury. If people seem busy and out of synch, slow things down and listen carefully or wait to collaborate until sympathy aligns us midday as the moon trines Venus. Wednesday, Feb. 20: We may feel raw and want a thicker shell this morning as the moon enters Cancer. If we give one another space and respect, magic unfolds midday as the moon trines the sun and Neptune and infuses us with intuition and understanding. If plans feel like they’re going off track, anchor the boat rather than try to control the circumstances. Watch those hair-trigger defenses later on. Thursday, Feb. 21: The mood is sensitive, impressionable, inspired, and permeable as the moon, sun, and Saturn form a grand trine in emotional water signs. We can easily misconstrue our situation as the sun conjuncts Neptune. Confirm the facts. The morning is serious and thoughtful as the moon opposes Pluto. Share visions midday. Later, choose carefully what we want to absorb. ◀ www.roanrobbins.com
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PASATIEMPO
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In Other wOrds Encountering America: Humanistic Psychology, Sixties Culture & the Shaping of the Modern Self by Jessica Grogan, Harper Perennial, 412 pages America after World War II was awash in subdivisions, new appliances, Cold War anxiety, and applied psychology. Conformity was everything, and psychology, more popular than at any time in its history, was there to guarantee it. At the same time, as suggested by David Riesman’s 1950 book The Lonely Crowd and by William Whyte’s 1956 bestseller The Organization Man, Americans felt alienated. In her clear and insightful book Encountering America: Humanistic Psychology, Sixties Culture & the Shaping of the Modern Self, American history and psychology professor Jessica Grogan examines in detail a revolutionary movement in psychology — championed by Abraham Maslow, Carl Rogers, Rollo May, Gordon Allport, and others — that developed in response to postwar culture. Along the way, she demonstrates how psychological principles influence culture as much as culture influences psychological belief. In explaining the roots of humanistic psychology, Grogan cites a ’50s-era Life magazine series, “The Age of Psychology in the U.S.,” subtitled “Less Than a Century Old, the Science of Human Behavior Permeates Our Whole Way of Life — At Work, in Love, in Sickness and in Health.” The article explained how psychology had affected advertising, industry, politics, warfare, education, and entertainment in a way that was “strictly American.” But where was the individual in all this? To be well adjusted at that time meant living as a functioning member of society. Any deviation from cultural norms was considered unhealthy and was treated with a return to normalcy in mind. The pressure to conform was also a central reason for a plague of American anxiety. Beginning in the 1950s, Maslow, Rogers, May, and others observed that psychology, rather than concentrating on an individual’s strengths and potential, focused on illness and adjustment. This negative focus, they believed, completely overlooked the positive view of humans as motivated by a desire for wholeness or “self-actualization.” As Grogan states, the idea was simple, but its implications were not. While most psychologists in the movement agreed with Freud’s concept of the id, they refused to limit it to dark or evil desires. Instead, they expanded the notion to include characteristics that Rousseau had cited years earlier: inspiration, creative impulses, humor, and love. May’s belief slightly differed. He agreed with the idea of positive human motivation but attributed it to more philosophical, even spiritual desires. What developed from this positive view of human motivation altered the course of psychology for a generation. The humanistic psychology movement and all its surrounding therapies, effective and not, placed individuals above cultural norms. So wide and varied were the principles of the movement that divisions soon appeared within its ranks. Rogers’ emphasis on therapy and how the individual operates inside his or her environment put off neo-Freudians, who saw a lack of science in his approach. The humanists were also at odds with the behaviorists, whose goal to understand and change behavioral response appealed to rationalists as well as social scientists. The schism between behaviorism and humanism was highlighted at a 1962 debate, entitled “Education and the Control of Human Behavior,” between the best known of the behaviorists, B.F. Skinner, and Rogers, who saw behaviorism as a challenge to individual freedoms. The counterculture that sprang up in the ’60s embraced humanistic psychology, including encounter groups, sensitivity training, and self-actualization. Humanism’s emphasis on individual choice and experience in pursuit of actualization was popularized in the counterculture cliché “Do your own thing.” Most humanists, at least early on, saw value in drug-induced psychedelic experiences. Some, such as Maslow, took utopian social visions to extremes. He envisioned an island paradise called Eupsychia, inhabited by a thousand families organized around a kind of loving anarchism. But it wasn’t all good. Constructive therapy, with techniques that included sensitivity training, became a way to humiliate and destroy defenses. In chapters that examine countercultural excesses and the corruption of the movement’s methods (one is titled “The Sledgehammer Approach to Human Growth”), Grogan demonstrates how even the best intentions can be undermined. Grogan’s well-written and well-researched book is as much a cultural study as it is a psychological one. While mapping the movement’s rise and decline, she makes a case for its legacy. Common wisdom holds that the humanistic psychology movement disappeared in the ’70s. But who today hasn’t heard of encounter groups or self-actualization? What remains of humanistic psychology, namely individual counseling, social-work interventions, and the “personcentered” approach to therapy, are almost all applied products of Carl Rogers’ theories. Formed at the height of the humanistic movement, they are now, Grogan claims, seamlessly integrated into American psychological practice. Writing late last year in Psychology Today, Grogan made the case that today’s psychologists, with their overreliance on pharmacology, suffer from the same sort of narrow cultural focus they did in the 1950s. At the same time, Americans suffer anxiety — 21st-century style — at astounding rates. Maybe it’s time for another reconsideration of psychology’s role in contemporary culture. — Bill Kohlhaase
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February 15 -21, 2013
book reviews
SubtextS Great walls of China Weiwei-isms is not another trite collection of quotes gathered for the casual reader. From a man who admonishes “Say what you need to say plainly, and then take responsibility for it” comes this short, frank, and thoughtful collection that does just that. Sadly, one suspects that Weiwei-isms won’t be available in China anytime soon. The book, published by Princeton University Press, is a selection of writings by Chinese artist and activist Ai Weiwei, whose exhibition, Circle of Animals/Zodiac Heads, opened on the Princeton University campus last August. The “isms” compiled by editor Larry Warsh speak to trials faced by Weiwei as an advocate for freedom of expression in a land where just typing his name in an email can bring you unwanted government attention. Weiwei is an outspoken critic of China’s communist policies and a champion of human rights. He was placed under arrest in Beijing in April 2011 and held without charge for 81 days. “Writers, artists, and commentators on websites are detained or thrown into jail when they reflect on democracy, opening up, reform and reason,” Weiwei writes. “This is the reality of China.” Opening Weiwei-isms with quotes on freedom of expression provides a context for the chapters on art, activism, history, and government that follow, and the quotes are carefully chosen to reflect the themes of each chapter. Inherent in Weiwei’s unerring quest to state the truth is a message of hope, that China can and will change. “There were so many moments when I felt desperate and hopeless,” Weiwei writes of his time in detention. “But still, the next morning, I heard the birds singing.” — Michael Abatemarco
“The Mortgage Experts” Men in Eden: William Drummond Stewart and Same-Sex Desire in the Rocky Mountain Fur Trade by William Benemann, University of Nebraska Press, 344 pages Early American gay history might be an obscure emerging genre in nonfiction, yet authors like William Benemann are claiming its place. His third book on the mid-19th century carries the oft-overlooked narrative of the Rocky Mountain fur-trading era and some of the homosexual men who found freedom to express themselves as what society identified as perpetual bachelors in an untamed landscape, “an Eden filled only with Adams.” You might have heard of William Drummond Stewart, and much of what has been said about him in the last century was written before homosexuality was considered a fit subject for modern historians. That’s why the author wants this study on the Scottish aristocrat to restore “his place at the table” and to explore other gay men in this chapter of the American story. Stewart spent the prime years of his adult life, between 1833 and 1846, traveling what would become the Western United States. The book features anecdotes about his trysts and adventures — including his penchant for young men of a lower social or economic standing and his appreciation for some Native American tribal values about sexuality. Benemann relies heavily on original sources, filling the book with excerpts from letters, journals, and newspaper reports. As was the tradition of many wealthy travelers from Europe, Stewart also penned two autobiographical novels, Altowan and Edward Warren. The books, though in Benemann’s opinion poorly written, show how Stewart’s own perspectives on homosexuality evolved. Consider the Cree/French Canadian hunter Antoine Clement. Characters with his likeness appear in both of Stewart’s novels in a homoerotic light, and in the historical record he is repeatedly at Stewart’s side. When Clement goes to Scotland with Stewart as his lover, he must by day pretend to be a valet. Gays in the American West knew relatively safe spaces on the open plains and mountains, away from society, the author writes, but when they returned to “civilization,” that part of life was back to the shadows. Of local interest in the account is that after a last hurrah that culminated in a wilderness costume party, Stewart retired to his family home and Clement joined the U.S. Army under the command of General Stephen Kearny, marching on Santa Fe at the start of the Mexican American War. Kit Carson also makes a brief appearance in the tale — not quite outed by the author, who proffers the idea that Carson might have spent one night with Stewart sharing a buffalo hide bed. — Julie Ann Grimm
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What would you do if you knew what I knew? — James Hansen
James Hansen
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ike most superheroes, climatologist James Hansen has a disarming weakness: he is not a big talker. He is, however, an excellent communicator, as the audience that attends his talk at the Lensic Performing Arts Center on Wednesday, Feb. 20, will find out. In the index to his 2009 book Storms of My Grandchildren, Hansen includes references to his “tactlessness” and “dislike of public speaking.” He writes, “I try to speak up if something seems important. But I have always been shy, a poor communicator, and lacking in tact.” The record does not fully support Hansen’s assertion. Consider the body of work. In 1981 Hansen became director of NASA’s Goddard Institute for Space Studies in New York City, a position he has held for more than 30 years. That year he was lead author of a technical article on the connection between global climate change and carbon-dioxide emissions from human sources accumulating in the atmosphere. Many of his scientific papers include some version of the fundamental assertion, “Humanity is now the dominant force driving changes of Earth’s atmospheric composition and thus future climate” — a position that has been strengthened by each new report by the Intergovernmental Panel on Climate Change, widely recognized as the leading international authority on the subject. In high-profile congressional hearings at the end of the ’80s, Hansen sounded the alarm that the planet was heating up faster than had been thought. He also predicted that the warming “should emerge from the noise level of natural climate variability by the end of the century” and that the 21st century would begin to experience “drought-prone regions in North America and central Asia ... erosion of the West Antarctic ice sheet,” with rising seas, and “opening of the fabled Northwest passage,” all of which have come to pass. Hansen recalls that after the hearings, he was still not comfortable as a spokesperson. Interviews seemed a waste of time compared to what he really wanted to do, which was research. And so he spent 15 years in the background, deferring to colleagues when it came to the press and applying himself to the task at hand, to the data, and to “the pleasure of finding things out.” Eventually, he had to come out of his tower. He tells the story of his emergence in what is probably the clearest 18-minute summary of the global warming discussion ever produced, a video recorded for TED.com in February 2012, “Why I Must Speak Out About Climate Change.” “What would you do if you knew what I knew?” he asked. He realized that he had to do something for his grandchildren, because they were part of an innocent generation that would bear the brunt of the problem if nothing was done, and nothing would be done without an informed public. He started talking again in 2004, despite interference from those in high levels of the government at first, and then against a mounting barrage of well-funded opposition, skepticism, and what Hansen and most other climate scientists call denial. Subhankar Banerjee, an environmental photographer, human-rights activist, and former resident of Santa Fe now living in Port Townsend, Washington, helped coordinate Hansen’s visit as a part of the Lannan Foundation In Pursuit of Cultural Freedom series. He introduces Hansen and discusses his talk afterward. “There are so many things wrong with America,” he said, “but we have Jim Hansen.”
Roger Snodgrass I For The New Mexican
NASA’S JAMES HANSEN SPEAKS OUT ON CLIMATE CHANGE
On Martin Luther King Day this year, at a “pray-in” at the White House, Hansen joined many others in proposing a new dream: “That our president will understand the intergenerational injustice of human-made climate change — that he will recognize our duty to be caretakers of creation, of the land, of the life on our planet — and that he will give these matters the priority that our young people deserve.” In his first inaugural speech four years ago, Obama dealt lightly with the subject, promising to “harness the sun and the winds and the soil to fuel our cars and run our factories.” On Jan. 21, he made climate change a prominent subject, as if he had heard Hansen’s plea. “We will respond to the threat of climate change,” Obama said in a lengthy passage, “knowing that the failure to do so would betray our children and future generations.” Hansen’s most recent research has reexamined the question of climate sensitivity, or how quickly present warming can get out of control and reach critical tipping points. In an email, as he had just finished a paper assessing the potential hazard of burning deeply into remaining reserves of fossil fuels, Hansen wrote, “The implications are obvious — we are at a fork in the road. The road to development of unconventional fossil fuels with increasing invasive, destructive and polluting mechanized techniques (mountaintop removal and longwall mining for coal, tar sands, tar shale, Arctic and deep-ocean drilling) is guaranteed to leave a disastrous situation for young people.” In the other direction, Hansen has proposed a solution involving a direct fee on carbon production, which has found little support inside the government. “We need to honestly price fossil fuels, including their costs to society, by collecting a gradually rising carbon fee from the fossil fuel companies and distributing the proceeds to all legal residents of the country,” he wrote in his message. Rushing forward with existing subsidies for fossil fuel extraction will lead to massive famine and economic decline, he warns. For Hansen, who has made the battle over global warming a personal matter on behalf of his grandchildren, the science is clear and the solution is obvious. ◀
Subhankar Banerjee
details ▼ James Hansen speaks with Subhankar Banerjee, a Lannan Foundation In Pursuit of Cultural Freedom event ▼ 7 p.m. Wednesday, Feb. 20 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $6; $3 students & seniors; 988-1234, www.ticketssantafe.org
Top, gas flare at the Endicott facility in the Prudhoe Bay, Alaska, oil fields, 2002; photo by Subhankar Banerjee, editor of Arctic Voices: Resistance at the Tipping Point, 2012 PASATIEMPO
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Paul Weideman I The New Mexican
James F. Brooks discusses evangelism in the Southwest James F. Brooks, president of the School for Advanced Research, delves into a pithy subject in “Cycles of Evangelism in the Southwest Borderlands,” a public lecture on Thursday, Feb. 21. Working with material he wrote for the upcoming July issue of The American Historical Review, he questions accepted notions about changes in prehistoric Pueblo communities, with a special emphasis on the role of women. Is it possible, he wonders, that Catholicism was not the only major evangelical blip in this history? For Brooks, it’s just one of four big ideas — also including the “Chaco phenomenon,” the katsina religion, and Po’pay’s 1680 revolt — that resulted in profound societal reorganization. “The overall arc of this talk and paper is that all of us think about the arrival of Franciscan Catholicism as a major moment in evangelical change in the Southwest, but I’ve wondered what if it wasn’t the first? What if the Franciscans were only one in a cycle of evangelicals who showed up here?” Brooks’ use of the evangelism concept is broader than what is commonly encountered. “It’s simply the attempt to persuade others of a new form of numinous organization, numinous being, the way the cosmos and the spirit world are organized.” That makes sense. People have always been on the hunt for a better, or clearer, or more meaningful explanation about that part of life. To that motivation Brooks adds the fact that “there are also some of us who are not fully enfranchised, who are eager for an alternative form of power. “I begin with Chaco Canyon, which takes time to develop, but once it’s full-blown, starting in about 1050, it becomes this massive community. If indeed it’s a pilgrimage center, as some believe, it may have only been full a couple times a year to coincide with the agricultural cycles or the solar or lunar calendar. But where does the idea for this sudden explosion of complexity come from? Does it grow out of the ground, or is it an evangelical impulse from the south?”
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To back up the southern-influence theory, Brooks points to Mesoamerican artifacts at Hohokam sites in Arizona and at Chaco — including evidence of lots of macaws and, following from recent investigations by University of New Mexico anthropologist Patricia Crown, the enjoyment of chocolate. He asks several questions about the Chaco phenomenon. Did it represent what he calls “a new kind of evangelical movement”? If so, how did the locals respond? And what exactly was the role of women? “When Tim A. Kohler at Washington State University looked at the sex distribution of burials in Chaco, there are many more women than men. That suggests it’s possible that the priestly elite at Chaco was recruiting women from the region as laborers or mates or just captives.” Isn’t there a record of women’s status in petroglyphs, pictographs, or pottery decorations? “That kind of daily-life stuff doesn’t show up much in rock art,” Brooks said. “The women aren’t represented all that often until Chaco is over and the Southwest devolves into a landscape with a lot of violence and conflict, with whole villages destroyed, and there appears to be what some have called a women’s movement developing in the Southwest that is expressed in ceramics and perhaps in rock art that celebrates women as childbearers. “In scattered communities, women seem to be making an attempt to create new communities. Look at Grasshopper Pueblo in Arizona, which some say is made up of scattered people that have been blown apart by the violence. Grasshopper is a refugee community, maybe where women have attempted to stitch things back together.” The second big idea in Brooks’ concept of cycles of evangelism is the arrival of the katsina religion. “These [figures] appear to be associated with conflict, and, at least in the eastern pueblos, are almost entirely in the men’s domain. If you look at Hopi accounts of the arrival of the katsinas, it’s so violent. The katsinas descend from the San Francisco Peaks, and they see this village that’s corrupted by gambling — often associated with women, who have taken up the men’s sport — and these fire katsinas walk across the plains, and they consume this village in fire to purify it. So again, are the women experiencing a kind of disenfranchisement from the ceremonial sphere?” The next evangelical incident in Brooks’ hypothesis is the one most people might associate more easily with the idea of evangelism: the coming of Franciscan Catholicism with the Spanish in the late 16th century. Brooks poses what may be a common query, that of the visitor from out of state witnessing a feast-day dance at one of the pueblos and wondering why, just to the side, there is a Catholic mission church. “Tewa anthropologist Edward Dozier of Santa Clara put forth an explanation of what he called compartmentalization, which was a survival strategy to deal with the fact that these Pueblo groups had two religious systems side by side. I have wondered if that compartmentalization happened only since 1598, or is it also how people dealt with tensions at Chaco and with the arrival of the katsina religion? If you look at some of the early accounts, you see the Spanish showing up, and you don’t see the Pueblo people saying like, ‘Wow! Oh my god.’ It was more like, ‘OK, who’s this now?’ ” continued on Page 20
Pueblo Bonito great house ruins, Chaco Canyon, photo Tom Till PASATIEMPO 19
James F. Brooks, continued from Page 18
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The fourth episode Brooks posits in the cycle is Po’pay’s rebellion (aka the Pueblo Revolt) of 1680, which he sees as “a powerful new form of evangelism, casting back to an imagined perfect past that may never have existed. Yes, it’s a reaction to the Spanish and Franciscans, but he also wants everyone to reject Spanish livestock and Spanish agricultural products, and he annuls all marriages that took place in the Catholic Church and promises to reward anyone who kills a Spaniard with multiple wives. It’s as if he’s trying to redistribute the womenfolk.” If women in Pueblo societies, and perhaps equally disenfranchised younger men, found something in Franciscan Catholicism that empowered them, it would help explain why the rebellion “very quickly descends into nasty internal conflict all over the region. “What I love about all of this is that there’s the common idea of indigenous peoples in the Southwest in a kind of timelessness, that they’ve been this way forever, and isn’t it wonderful. But why can’t indigenous peoples, like everyone else in the world, have histories that are complicated and messy, and they’re inventing and experimenting and borrowing from things that work and rejecting the things that don’t?” That sense of intelligence and restlessness recalls the ideas in Winds From the North: Tewa Origins and Historical Anthropology, the new book by anthropologist Scott G. Ortman, an Omidyar Fellow at the Santa Fe Institute. “I think his work on the Tewa migration is stunning,” Brooks said. “It appears that whatever If you look around the world at the way form of ceremonial practice is in place in the Four Corners suddenly did not work, Catholic evangelism worked, the primary and they had to completely reimagine way to attract women into your ranks themselves during this migration. People who don’t agree with the migration theory was to emphasize the female saints. have always said their pottery and architecture looks nothing like Mesa Verde — James F. Brooks when they get down here, but Scott’s argument is that they left all that behind because it had failed them. They were reinventing themselves. I think what he has done is given a reason for indigenous history to have the same kind of complexity and texture that we expect history all over the world to have.” Brooks explores this sort of individual-initiative-driven evolution particularly in the role of women. “In 1598, you have the Spanish and a few padres and not a lot of soldiers, and by 1620 you have these huge mission churches and convento complexes all over the region. It could not have been done by coercion alone. I suspect that the Franciscans reached out to the young men and women. If you look around the world at the way Catholic evangelism worked, the primary way to attract women into your ranks was to emphasize the female saints. One of my favorite cases is the Mi’kmaq veneration of St. Anne in New France [in eastern Canada] in the 16th and 17th centuries.” The ethnohistorian is the author of Captives & Cousins: Slavery, Kinship and Community in the Southwest Borderlands and is editor of Women and Gender in the American West and Keystone Nations: Indigenous Peoples and Salmon in the North Pacific. During the past year, he did a manuscript workshop review for the Clements Center for Southwest Studies at Southern Methodist University; was session chair for the workshop “War and Slavery” as part of the annual American Historical Society meetings in New Orleans; and, with Bonnie Martin of Pacific Lutheran University, convened a seminar with 10 colleagues at SAR on “Uniting the Histories of Slavery in North America.” His next book, Mesa of Sorrows: Archaeology, Prophecy, and the Ghosts of Awat’ovi Pueblo, is slated for publication by W. W. Norton in the spring of 2015. Brooks’ research and cogitation demonstrate a high acumen and an ability to look through and around paradigms, but he stressed that his intention with “Cycles of Evangelism” is simply to make suggestions that may be pursued by “other scholars who are not the president of SAR.” ◀
details ▼ James F. Brooks lecture, “Cycles of Evangelism in the Southwest Borderlands,” presented by the School for Advanced Research ▼ 6:30 p.m. Thursday, Feb. 21 ▼ New Mexico History Museum Auditorium, 113 Lincoln Ave. (use Washington Ave. entrance)
*some restrictions may apply
▼ $10 at the door; phone SAR, 954-7203, for information
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THE HILARY HAHN
E NCO R E S
Peter Miller
ike someone who has no qualms about starting a meal with dessert, violinist Hilary Hahn, who appears at a Santa Fe Concert Association engagement at the Lensic Performing Arts Center on Tuesday, Feb. 19, believes that encores belong at the beginning, middle, and end of a concert. Her commissioning project, In 27 Pieces: The Hilary Hahn Encores, not only offered 27 contemporary composers a crack at a genre that is sometimes seen as tried-and-true, but it also gives Hahn an opportunity to add spice to recital concerts — to break up sonatas and partitas with short flights of fancy. Expect up to nine encores throughout the Hahn recital, not counting the ones offered normally, like dessert, at the end. “I’ve been exploring the questions of what is a movement, what it is an encore,” she said. “About 10 years ago, collections of great, iconic encores were being released. These were old chestnuts, but I didn’t
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see anything new. I thought it would be nice to do new encores and to focus on those in the future. I asked composers to write whatever they wanted to write. “I’m always interested in trying things. That might mean working on older pieces that are new to me, collaborating with a new colleague, doing a show with a songwriter. One thing leads to another. I don’t have a particular place I’m trying to get to. I just try to keep myself open.” In addition to playing the standard repertory with orchestras around the world — she appears with the Seattle Symphony, Philadelphia Orchestra, Vienna Philharmonic, and Spanish National Orchestra in the next few months — Hahn has developed a reputation for more experimental projects. A recent CD was an all-improvised collaboration with the prepared-piano artist Hauschka. She appeared on two alt-rock albums with the band ... And You Will Know Us By the Trail of Dead, and she toured with folk artist Josh Ritter.
Hahn is an artist of the new generation. She publishes her musings about travel, packing, practicing, and more on her website, www.hilaryhahn.com. She has her own YouTube channel, where she regularly posts interviews with conductors, colleagues, and composers. She tweets from the point of view of her violin case at @violincase. Although 26 of the new encores were commissions from composers she discovered through her own research, the 27th was the winner of an online contest, open to composers anywhere in the world. She received 409 entries. The winner, Jeff Myers, whose piece is entitled The Angry Birds of Kauai, was announced on Hahn’s Facebook page. “I didn’t know what I was looking for, but I had been thinking about the idea of an encore in which the violin and piano parts were completely equal, and Angry Birds of Kauai is like that. Myers was in Hawaii for a while and kept a sketchbook, writing down ideas based on birdsong. It doesn’t sound like birdsong, but it’s quick, quirky, and the lines are tossed back and forth between the piano and violin.” Hahn gave only a couple of creative stipulations to the composers commissioned for the project. The pieces had to be between one and a half and five minutes, and they had to involve acoustic violin and piano only. “The composers represented a range of writing styles. I listened to many hours of music and made a list. I finally made myself stop, because I could have come up with 200 composers easily. There are so many interesting things going on in contemporary music,” she said. Among the chosen composers, Kala Ramnath (Aalap and Tarana) is an Indian classical violinist whose piece is based on improvisation. David Lang (Light Moving) is a Pulitzer Prize-winning composer often associated with minimalism. “In his piece the violin is accompaniment to the piano. It’s ingenious,” she said. “Elliott Sharp [Storm of the Eye] has a jazz background, and his piece invokes the sounds he makes on his jazz guitar. Antón García Abril [First Sigh and Third Sigh] is old-guard Spanish. He composes for film and writes song cycles and chamber music. His encore is beautiful, idiomatic. It’s a free-form piece. It changes every time. Richard Barrett [Shade] was exploring ways that violin and piano can interact. He was also exploring the definition of pitch. There are shifting pitches.” In between encores, Hahn’s concert in Santa Fe will feature three cornerstones: the Fauré Violin Sonata No. 1 in A Major, op. 13, Corelli’s Violin Sonata No. 4 in F Major, op. 5, and Bach’s Ciaconna from Partita No. 2 in D Minor. “The Bach chaconne is the most epic single movement for violin I know,” she said. “The Corelli is one of the shortest I’ve played — five movements in 10 minutes. It’s Baroque, unusual in a recital like this, but it represents the early part of violin history. The Fauré just sweeps you away. I wanted to play it because I can relax into it completely. After all the individual statements in the encores, I wanted to have a piece that just flowed.” ◀
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Total orchestral concerts .............................................. 945 Total recitals................................................................. 311 Cities visited ................................................................ 288 Countries visited............................................................ 42 Continents visited............................................................ 5 Conductors worked with ............................................. 193 Hotel rooms ......................................................at least 786 Post-concert meet-and-greets .....approximately 670 hours
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Hahn, born in Lexington, Virginia, in 1979, is a seasoned touring performer at age 33. She began a Suzuki class at 4 and was admitted to study at the Curtis Institute in Philadelphia at 10, the age at which she gave her first full recital. She made her first appearance with a major orchestra at 12, playing the third movement of Saint-Saëns’ Concerto No. 3 in B Minor with the Baltimore Symphony Orchestra. Since then, according to her website, she has played 1,437 concerts. She tallies:
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February 15 -21, 2013
he life and work of the poet and playwright Federico García Lorca, who was executed in 1936, at the beginning of the Spanish Civil War, hover over Beauty of the Father, a play written in 2004 by the Pulitzer Prize-winning Cuban-American author Nilo Cruz. Not only the poetry but also the ghost of the poet is placed onstage in the play. Questions of family and art are at the center of things, but the drama, basically a love rectangle complicated by modern sexuality in all its variations, aspires to universality by attaching itself to the brilliance that was García Lorca, the tragedy that was his death, and the drama of the times he lived in. Unfortunately, the world of Cruz’s play is much smaller, not particularly political, and fraught with cliché. Set in 1998, 100 years after García Lorca’s birth, Beauty of the Father offers a domestic situation not unlike something to be found in a film by Pedro Almodóvar. An aging painter, Emiliano, lives near the southern coast of Spain with a female lover, who seems content to play cook, and a much younger male partner who is conflicted about his homosexuality but comfortable with the idea of being kept. Just to make things more interesting, the painter’s two lovers are married to each other, a convenient way for the young man, an emigrant from North Africa, to stay in Spain. And then there is García Lorca’s ghost, part narrator, part confidante, who mostly hangs out in the painter’s studio, helping the self-absorbed artist navigate his love life. The arrival of Emiliano’s long-estranged daughter from the United States sets up the action of the play. “I want to father you,” the painter tells his adult child right off the bat. Perhaps it is the influence of García Lorca’s ghost that causes his language to veer from the prosaic toward the poetic, as he tells her a few minutes later, referring to the recent demise of his ex-wife, her mother, “Her death is like a hood over my face.” Cruz aims high, but for all the allusions to García Lorca and the wildly modulated prose, the dramatic thrust of the play is poetically earthbound. After the relationships between the characters explode, thanks in part to a dose of ecstasy and some sex on the beach, Cruz decides to take time out for an eclipse. Sunglasses are handed out, and the actors stand in profile, as if something profound is happening. Production values are high, as is usual with Theaterwork pieces. The sets by Richard Gonzales, humbly listed as props, are provocative, artful, and yet somehow unobtrusive. The objects of Emiliano’s studio (he is obsessed with birds’ nests) are blended in a seemingly random display that captures the disorder and logic of a creative mind. Jonathan Dixon, as García Lorca, underplays the ghostly aspects of his character, adding a touch of humor to the proceedings. Tad Jones, as Emiliano, sheds real tears at several moments, perhaps a nod to his character’s artistic temperament. Jones is unable, however, to shine much light on the playwright’s intentions in a work that is ostensibly about fatherhood. Vanessa Rios y Valles and Trish Vecchio, as the daughter and lover, respectively, are mainly relegated to trying on hats, explaining Spanish holidays, and expressing their frustrations with men. Isaiah Rodriguez, making his stage debut, is out of his league, attempting to play a boy-toy with multiple dimensions — not an easy task. — Michael Wade Simpson “Beauty of the Father” continues at 7:30 p.m. Friday and Saturday, Feb. 15 and 16, and at 2 p.m. Sunday, Feb. 17, at the James A Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Road. Tickets are $15; $10 for students. Call 471-1799 for reservations.
PASA REVIEWS The Warriors: A Love Story, Arcos Dance Center for Contemporary Arts, Feb. 9
Lovers and fighters
L
ess than 60 seconds after entering the Muñoz Waxman Gallery, where Arcos Dance is staging its multimedia production The Warriors: A Love Story, you recognize that you are about to experience something much more complex than a slice of bare-bones community theater. The Warriors is based on the lives of J. Glenn Gray and Ursula Gray, Arcos multimedia director Eliot Gray Fisher’s maternal grandparents. The work explores the couple’s courtship and perseverance over the course of generations, beginning around the time of the Allied bombing of Dresden during World War II. Fisher, who serves as primary scriptwriter, videographer, and composer, collaborates with Arcos choreographers Erica Gionfriddo and Curtis Uhlemann to present a near-seamless production that blends live music, dance, video projection, and theater in a performance setting that, under the command of less dedicated creative visionaries, might have been too cold and sterile to draw an audience in. White wooden furnishings adorned with retractable screens make for a seemingly sparse setting, but once the video projections, carefully considered lighting, and sounds kick in, the audience is transported to another time and place. The crux of the story rests on Fisher’s desire to honor his grandparents — a former army intelligence officer and philosopher, and a modern dancer — in song. Throughout the production, Fisher, playing himself, struggles to reconcile the ravages of war with the profound love and affection that defined his grandparents’ relationship. Justin Golding as J. Glenn Gray follows a fairly straight line with his character, displaying a stoic, pensive nobility that finally rises to the emotional occasion when he stares down his soldiering self in the mirror. It’s a mind-bending marriage and mirage of video and live performance. Karen Leigh shines as Ursula Gray, entirely consuming the role and delivering the production’s most inspired dialogue. The sounds and sights of a city ashen and ablaze, and the fear and uncertainty that accompany such horror come to life in Leigh’s performance, aided by Fisher’s wellresearched writing. Seven of Arcos’ finest honor Ursula’s past as a dancer. But the well-costumed ensemble does much more than that. Throughout the piece, they triumphantly relay the scourge of warfare as well as the human capacity for love using every surface available to them on the stage, including the walls. While some dancers stand out as younger versions of the main characters (the only male dancer, Arcos veteran Wes Jansen, is in top form while abstractly referencing a much younger J. Glenn Gray), the ensemble as a whole ties the theatrical and visual elements of The Warriors together with subtlety and grace. Fisher and company took a big risk combining classical performance modes with the unpredictability of multimedia live theater. It’s worth noting, then, that the people onstage performed better than the equipment. Technology enhances both creation and destruction, but they’re impossible without the imperfect touch of man, who currently holds both art and war to the same level of inspiration. The Warriors strongly and passionately suggests that we can do without one of them. — Rob DeWalt “The Warriors: A Love Story” continues 7:30 p.m. Friday and Saturday, Feb. 15 and 16, and 2 p.m. Sunday, Feb. 17, at the Center for Contemporary Arts, 1050 Old Pecos Trail. Tickets are $20, students $15; call 473-7434 or email info@arcosdance for reservations.
A Musical Offering The New Mexico Performing Arts Society Chapel Series Concerts
Third Annual Valentine’s Concert Chamber Music of Johann Sebastian Bach
◆ ◆ ◆ ◆ ◆ ◆ ◆ ◆ ◆
The Immaculate Heart of Mary Chapel 50 Mount Carmel Road / Santa Fe IHM Retreat and Conference Center
Sunday, February 24, 2013 at 4:00 P.M. Program
Sonata in G major for Violin and Keyboard, BWV 1019 Sonata No.2 in D major for Gamba and Harpsichord, BWV 1028 Sonata in b minor for Flute and Obbligato Harpsichord, BWV 1030 Trio Sonata from “The Musical Offering”. for Flute, Violin, Cello and Keyboard, BWV 1079, No. 8
Guest Artists Kerri Lay, Violin Linda Marianiello, Flute Sally Guenther, Cello Susan Patrick, Harpsichord Tickets: $25 Adults / $22 Seniors / $17 Parent with Student / $15 Students
Reservations and Information:
beakspeak@alla-breve.us or 505-474-4513 NMPAS: www.nmperformingarts.org
Credit Card Purchases at: www.ihmretreat.com PASATIEMPO
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PASA TEMPOS
album reviews
KiTTy Maurice Greene D.A.I.S.Y. Rage (selfSpenser’s Amoretti (naxos) released) Self-proclaimed as Maurice Greene’s reputation has “the white girl ruining hip-hop,” subfaded since the first half of the 18th urban Florida teenage rapper Kitty courts century, when he served as organist controversy in spades. Until Marvel Comics’ for London’s St. Paul’s Cathedral and lawyers stepped in, her stage name was Kitty the Chapel Royal and as Master of Pryde, a reference to the Valley-speaking X-Men the King’s Music. He may have been character of the same name; this was a fitting the “most appointed musician” in choice, as Kitty’s rap delivery is equally cartoonish, spoken England at the time, but he nonetheless labored in bitter in Mary-Kate and Ashley Olsen cadences, with rhymes hinged rivalry with a still more popular figure, George Frideric Handel, by ifs, whatevers, and likes. Hip-hop purists hate her even as she who worked in commercial arenas and was therefore not so intergleefully collaborates on this new album with left-field urban rappers ested in appointments. Greene mostly wrote sacred music, but Danny Brown and Riff-Raff. Complaints about her authenticity miss beginning in the 1730s he capitalized on the fashion for English the point entirely. Her hip-hop isn’t a co-opting of anything, just a poetical classics. The result was his setting 25 poems from the Amoretti handy form to express some rhyming couplets evidently copped from her (Little Loves) that had been published in 1595 by Sir Edmund Spenser, Twitter account. Here she is on “Okay Cupid,” her breakout hit from last more famous as the author of The Faerie Queene. Young British tenor-onyear, a song Rolling Stone included in its top 50 tracks of 2012. On this new the-rise Benjamin Hulett offers a complete traversal of this little-known EP and free mix tape download, she debuts some surprisingly sophisticated song set, ably assisted by harpsichordist Luke Green and theorbo player beats over a saucy delivery that sounds like Lindsay Lohan channeling Nicki Giangiacomo Pinardi. Hulett’s clear, precise singing and immaculate diction Minaj on karaoke night. Kitty is aware of her novelty, her shelf life, and make up for what his voice may lack in native luxuriousness. Spenser’s her Hot Topic appearance. This delightfully light EP is the best elegant sonnets cover a broad range of allusions and emotions, and sort of novelty act, holding up a mirror to the teenage world of Greene was attuned to their subtleties, his vivid word painting Facebook oversharing and drunken text-based hookups. The underscoring their momentary insinuations. Spenser’s poems Kitty debuts some killer track? “R.R.E.A.M.” — a nod to the Wu-Tang CLAN are included in the CD booklet, inviting aficionados to experiIt’s an inspired cut about allergies, Benadryl, ence them in both literary and musical form and making this surprisingly sophisticated hitand“C.R.E.A.M.” anxiety attacks induced by social-networking faux release a delight for devotees of both arts. — James M. Keller “I like to be the trending topic, the pound key/Even beats over a saucy delivery pas: though I break out when they hound me.” — Casey Sanchez PVT Homosapien (Felte Sounds) Sydney, Australia-based outfit PVT — which changed its name from Pivot in 2010 that sounds like Lindsay Lohan Thao & The GeT Down STay Down We The to avoid a legal battle with a musically challenged American Common (ribbon Music) Thao Nguyen should have rock band of the same name — is back with its fourth fullchanneling Nicki Minaj achieved mainstream success by now. She’s a bold singer length release. The trio, which started adding vocals to its on karaoke night. with a firecracker sense of percussion and a proclivity toward music with the release of its last album, 2010’s Church With big, big, big choruses. And in “the things that shouldn’t No Magic, takes a less experimental approach on Homosapien, matter but do” department, she’s also a beautiful, stylish woman, eschewing a lot of the psychedelic rock-based arrangements so which never hurt anyone’s career. Outside of a lack of a millionprevalent in albums past in favor of a more synth-pop-oriented dollar marketing push, her problem with finding a wider audience may sound. Lead-off track “Shiver” reveals frontman Richard Pike to be have to do with the inconsistent quality of her records. She’s written monster an agile and commanding vocal presence — a sort of masculine-sounding pop songs like “Bag of Hammers” and “When We Swam,” but her albums Alison Moyet — while his bandmates conjure up the spirits of ethereal haven’t been compelling start-to-finish listens. We the Common is easily her synth-pop’s past. (Yaz, OMD, and Soft Cell come to mind.) Drenched in steadiest record to date, but it lacks some of those towering highs. This glitch and fuzzed-out guitars, the title track perfectly showcases the is a fair trade-off, in part because she showcases more versatility. There’s band’s new direction, while “Casual Success” harks back to earlier, a special emphasis on Americana here, from the Mumford and Sonsmore reverb-rock-centric PVT material. One of the album’s greatest esque propulsion of the title track to the gentle bluegrass duet with attributes is the careful fusion of electronic beats and traditional Joanna Newsom on “Kindness Be Conceived.” A liberally deployed percussion, which is most noticeable on the title track, as well horn section gives a South American flavor to “We Don’t Call” as “Electric” and “Vertigo.” (Plenty of contemporary electroand a hint of jazz to “Holy Roller,” while a slide guitar adds pop bands attempt to pull off this rhythmic alchemy, but some Beck-like blues to “Move.” There are a few the experiment too often blows unappealing spots floating around — typically up in their faces.) Some tracks when she resorts to shouting rather than fall flat, either because their synth singing, an approach best saved for the stage and drum lines are too static and — but We the Common often finds her adding uninspired in relation to the rest of welcome new details to the sturdy the album, or because they try too foundation of her songwriting. hard to bleed ’80s-pop nostalgia Success may follow. à la Giorgio Moroder. — Robert Ker — Rob DeWalt
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February 15 -21, 2013
PHOTO: BRIGITTA SCHOLZ
SAR School for Advanced Research
Cycles of Evangelism in the Southwest Borderlands A lecture by James F. Brooks (SAR President & CEO)
Thursday, Feb. 21, 6:30 pm
NM History Museum Auditorium (Washington Ave. entrance)
FREE for SAR members • $10 for nonmembers • 954-7203 • sarweb.org Sponsored by Karen Walker Real Estate, Lannan Foundation, and Daniels Insurance, Inc. Lecture series sponsored by The William H. Donner Foundation, The Donner Fund of the Pikes Peak Community Foundation, Lannan Foundation, Thornburg Investment Management, and Betty and Luke Vortman
Gareth Armstrong’s
Lensic Presents L I V E
Starring Guy Masterson
Sunday, March 3; 7 pm, $15–$35
Shylock: Villain or victim? Gareth Armstrong’s witty one-man play explores the many ways Shakespeare’s famous Jew (from The Merchant of Venice) has been portrayed over the centuries. Tickets: 505-988-1234 www.TicketsSantaFe.org S E R V I C E C H A R G E S A P P LY AT A L L P O I N T S O F P U R C H A S E
th e lensic is a non profit, member-supported organ ization
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TERRELL’S TUNE-UP Steve Terrell
Two for the Hee Haw
All fans of real country music — the kind current Nashville hat Blake Shelton would call “grandpa’s music” — should drop whatever they’re doing right now and go get their hands on two new releases from Omnivore Records: Honky Tonk Man by Buck Owens and Don Rich Sings George Jones. That’s right — new albums by Buck Owens and his longtime sidekick and ace picker Don Rich. Of course, these aren’t actually new. Owens died in 2006, and Rich was killed in a motorcycle accident in 1974. All the music here was recorded in the 1970s. But these aren’t rereleases. They’ve never been released before. Owens’ album is a compilation of tunes Buck and his Buckaroos recorded for TV’s Hee Haw. As for the Jones covers record, which was recorded in 1970, this was intended to be Rich’s first solo album. Owens, born Alvis Edgar Owens Jr. in Sherman, Texas, and Rich, whose real name is Donald Ulrich, first teamed up in Rich’s home state of Washington in the 1950s. After Owens left Washington and Rich relocated to California, the two became the architects of the Bakersfield sound. This twangy honky-tonk music was a hip hillbilly back-tobasics alternative to the slicker “countrypolitan” productions coming out of Nashville in those days (which, in retrospect, was 10 times better at its worst than the slicker sounds coming out of Music City today — but that’s another story). With Owens handling lead vocals and Rich backing him up on lead guitar and fiddle and those classic high harmonies — best heard on the choruses of “Together Again”and “Crying Time” — The Buckaroos arguably became the best-known country band in the ’60s. (Credit where it’s due: steel-guitar monster
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February 15 -21, 2013
Tom Brumbley, a Buckaroo for most of the ’60s, was also largely responsible for the group’s success. Unfortunately he bailed on The Buckaroos before the music on these new releases was recorded.)
The 18 songs selected for the ‘Honky Tonk Man’ represent an incisive overview of country music between the late 1920s and the mid-’70s.
The new Owens compilation features songs recorded between 1972 and 1975. The CD liner notes explain that for Owens’ musical performances on Hee Haw, the instrumental backing was recorded in advance. “Buck would sing live while The Buckaroos pretended to be playing their instruments. The purpose for this process was to guarantee a balanced sound and to keep from having to stop the tape every time somebody in the band hit a wrong note.” Wait a minute. I can’t imagine a bunch of musical aces like The Buckaroos hitting enough wrong notes to cause any serious concerns. This is why I preferred the music on the syndicated The Buck Owens Ranch Show, shot live — at least in the early years — at WKY studios in Oklahoma City. Those rare times someone did muff a note or a lyric, you’d see band members grinning and rolling their eyes. Back to Hee Haw; when the band recorded those songs, Owens recorded what’s known in the biz as a “reference” vocal. (“It’s a lot harder to mix a track with no vocals,” Buckaroos keyboard player Jim Shaw explains in the liner notes. This allows the band members to know exactly where to put in the instrumental fills, Shaw says.) The subtitle of Honky Tonk Man is Buck Sings Country Classics. And indeed, the 18 songs selected for the album represent an incisive overview of country music between the late 1920s (there’s a righteously rollicking version of Jimmie Rodgers’ “In the Jailhouse Now”) and the mid-’70s ( Johnny Russell’s working-class barroom ode “Rednecks, White Socks, and Blue Ribbon Beer”). There’s “Swinging Doors,” originally done by fellow Bakersfield badass Merle Haggard (he and
Buck shared an ex-wife), an early Waylon Jennings hit (“Only Daddy That’ll Walk the Line”), some tunes that virtually every saloon band in the ’70s did — Faron Young’s “Live Fast, Love Hard, Die Young” and Charlie Pride’s “Is Anybody Going to San Antone” among them — songs made famous by Bob Wills, Hank Snow, Webb Pierce, and Ray Price, and three Hank Williams classics. My favorites in the batch are Owens’ versions of “Oklahoma Hills,” co-written by Woody Guthrie and his cousin Jack Guthrie, who had a hit with it in 1945, and “I Washed My Hands in Muddy Water,” originally recorded by Stonewall Jackson though it’s been performed by Elvis, Lonnie Mack, Charlie Rich, George Thorogood, and others. I’ve always been partial to the rock ’n’ roll version by Johnny Rivers. As for the Rich album, this project is something Owens encouraged Rich to do. Owens had just built his own recording studio in Bakersfield, and he was eager to try it out. And apparently Owens was a huge George Jones fan, which shouldn’t be that much of a surprise. The reasons Rich’s album was shelved for 40 years have been forgotten. I’m just happy it resurfaced. Rich’s voice wasn’t as rich or powerful as Jones’ was during his prime, but it did the job. Rich, with Owens’ son Buddy Allen on harmony vocals and The Buckaroos as his band, does a fine job on many of the Possum’s best-known work — “The Window Up Above,” “She Thinks I Still Care,” “White Lightning,” “Walk Through This World With Me,” and “The Race Is On.” There are no radically different arrangements or startling revelations here — just enthusiastic covers by a talented admirer. Besides the obvious selections, Rich threw in some relative obscurities by Jones like the Harlan Howard-penned “Your Heart Turned Left (And I Was on the Right)” and “Too Much Water,” which Jones co-wrote with Sonny James. Apparently Rich cut only 10 songs, which wasn’t unusual for an album during the LP era but is pretty skimpy for a CD. However, this release is filled out with four Jones songs performed by Owens. (These all are Hee Haw reference recordings.) Two of these are songs Rich also did (“The Race Is On” and “Too Much Water”), but the other two are wonderful lesser-known songs: “Four-0Thirty-Three” and “Root Beer,” a non-alcoholic take-off on “White Lightning.” You have to wonder whether there’s more great music lurking in the mysterious Buck Owens vaults. I hope Buck and Don are looking down from Hillbilly Heaven smiling as old fans hear these freshsounding tracks from so many decades gone by. ◀
Wander in to La Fiesta Lounge on Sunday for
Open Mic Night.
COMMUNITY EVENTS GREAT BOOKS...GREAT COMMUNITY PROGRAMS Chopin and Schoenberg Peter Pesic, Piano Friday, February 15, 12:10 – 1:15 p.m. Junior Common Room, Peterson Student Center Free Admission
Music on the Hill Elevated Bay Area Jazz Vocalist Lori Carsillo Saturday, February 16, 7:30 p.m. The Great Hall, Peterson Student Center Tickets $25 (small plates, beer, and wine, $7 ea.) 505-984-6199
An Evening of Solo Piano Chip Miller, piano Sunday, February 17, 7 p.m. The Great Hall, Peterson Student Center Free Admission
7 - 10 pm Sundays • 10 0 E. San Francisco St. Santa Fe
Beethoven, Debussy, and Shostakovich Atrium String Quartet Friday, February 22, 7:30 p.m. The Great Hall, Peterson Student Center Free Admission 1160 Camino Cruz Blanca | Santa Fe | New Mexico 87505 | 505-984-6000 | www.stjohnscollege.edu
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The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
January 20, 2012
January 4, 2013
February 17, 2012
The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
April 20, 2012
The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture June 22, 2012
The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture August 10, 2012
The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture January 27, 2012
The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture February 8, 2013
The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture November 30, 2012
The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture August 31, 2012
&
Theater Grottesco
Santa Fe ConCert aSSoCiation
Aspen sAntA Fe BAllet
Out of Context orchestra
Storm
Currents events: New Media Festival
Virgil Ortiz • Cochiti Chic
The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture January 11, 2013
The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
January 25, 2013 The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture September 21, 2012
The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture May 4, 2012
Cinderella
The Santa Fe Concert Association
The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
March 23, 2012
The New Mexican’s Mexican’s Weekly Magazine of Arts, Entertainment & Culture
Septemter Septemter 14, 14, 2012
November 9, 2012
.com The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
October 19, 2012
The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture The New Mexican’s Mexican’s Weekly Magazine of of Arts, Arts, Entertainment & & Culture Culture
November 2, 2012
July 6, 2012
April April 13, 13, 2012 The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
November 16, 2012
The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture January 6, 2012
Armistead Maupin & Christopher Turner W.S. MerWin
24th AID & Comfort Gala Honorary Co-chairs
To tell the truthiness @ SITE Santa Fe
The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture February 3, 2012
The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture March 16, 2012
Square None
•
Aspen Santa Fe Ballet
March 2013 30
February 15 - 21, 2013
ON STAGE Peter Mulvey, aboveground
THIS WEEK
At 7:30 p.m. Friday, Feb. 15, Wisconsin singer-songwriter Peter Mulvey kicks off a series of concerts at the Music Room, a new music venue at Garrett’s Desert Inn (311 Old Santa Fe Trail, 982-1851). Mulvey, who cut his teeth busking on the streets of Dublin and in the subway systems of the northeast U.S., won the 1994 Acoustic Underground Competition in Boston for his unique, highly percussive approach to guitar playing. Mulvey’s live-performance style straddles sardonic folk and mellow rock, though he’s also performed music for theater and modern dance. Garrett’s Desert Inn’s restaurant will stay open to offer concertgoers food and beverage options. Advance tickets, $20, are available at www.brownpapertickets.com/event/317435. Tickets are $22 at the door. — RDW
Whatever Lori/Lola wants: singer Lori Carsillo
Modernism, minimalism, and Mozart: Serenata of Santa Fe
Concerto for Piano and Woodwind Quintet by
Recognized in his time as one of the most articulate exponents of American musical modernism, Wallingford Riegger (18851961) is today a rather obscure figure. Serenata of Santa Fe offers a rare revival of his Concerto for Piano and Woodwind Quintet, from 1953, a rhythmically propulsive work whose themes display his enthusiasm for Schoenberg’s 12-tone method but whose harmonic behavior hews to a freer atonality. Also on the program are Changes of Phase for woodwind quintet, a minimalist work written by Kenji Bunch in 1999, plus a beloved classic: Mozart’s ineffable Quintet for Piano and Winds (K.452). Following the premiere of this quintet, in 1784, Mozart reported in a letter to his father, “I myself consider it the best thing I have ever written in my life” — an appealing recommendation. The music gets going at 3 p.m. on Sunday, Feb. 17, at the Scottish Rite Center, 463 Paseo de Peralta. Tickets, $25 (discounts available), may be purchased from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org). — JMK
AMERICAN MUSICAL MODERNISM’S
Wallingford Riegger
The dynamic San Francisco singer Lori Carsillo is out front with John Trentacosta’s Straight Up combo at St. John’s College (1160 Camino de Cruz Blanca) at 7:30 p.m. Saturday, Feb. 16. Carsillo is a feature of the Bay Area jazz scene, with a longtime gig at Café Claude. She grew up studying classical music and moved on to appreciate jazz stars Julie London, Miles Davis, Nancy Wilson, Peggy Lee, and Paul Desmond, as well as R & B and electronica. She has recorded a handful of CDs under her own name in the jazz genre and as Lola Bombay in Project: Pimento, which has a theremin as the lead instrument; that group’s most recent album is Space Age Love Songs. In Santa Fe, Carsillo and Trentacosta (drums), Arlen Asher (saxophones and clarinets), Bert Dalton (piano), and Rob “Milo” Jaramillo (bass) perform standards such as “Skylark,” “I’ve Got You Under My Skin,” and “The Look of Love,” and a few Brazilian jazz pieces. The concert is in the Great Hall at Peterson Student Center. Admission is $25; proceeds support financial aid for New Mexico students at St. John’s College. Call 984-6199 for tickets until 5 p.m. Friday, Feb. 15; after that, tickets are available at the door. — PW
Birdsong: Santa Fe Symphony
The Santa Fe Symphony, conducted by Steven Smith, offers a program of pastoral inspiration. Two of the works have to do with birds: the Overture to Rossini’s opera La gazza ladra (The Thieving Magpie) and Vaughan Williams’ The Lark Ascending, inspired by a Romantic poem by George Meredith in which a circling lark “drops the silver chain of sound,/Of many links without a break,/In chirrup, whistle, slur and shake.” Violinist David Felberg, the orchestra’s concertmaster, portrays the lark. Also on the program are Smetana’s tone poem The Moldau, which depicts the river that flows through Prague, and Brahms’ serene and radiant Second Symphony. The concert takes place at 4 p.m. on Sunday, Feb. 17 (with a preconcert lecture at 3 p.m. free to ticket holders), at the Lensic Performing Arts Center, 211 W. San Francisco St. Tickets ($20 to $70, discounts available) may be purchased by calling 988-1234 and from www.ticketssantafe.org. — JMK PASATIEMPO
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Paul Weideman I The New Mexican
“Eva Mirabal (Eah-Ha-Wa) had the ability to translate everyday events
Lines
lineage
Eah-Ha-Wa and Jonathan Warm Day Coming
Eva Mirabal (Eah-Ha-Wa) in the Women’s Army Corps, circa 1940s; background, Mirabal painting mural at the Buhl Planetarium in Pittsburgh 32
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into scenes of warmth and seminaturalistic beauty,” noted arts instructor Dorothy Dunn wrote in her 1968 book American Indian Painting of the Southwest and Plains Areas. “She was an unintentional portraitist, achieving character with a few deft lines.” A trove of diverse works by the artist and by her son is on display in the exhibition Eah-Ha-Wa (Eva Mirabal) and Jonathan Warm Day Coming at the Harwood Museum of Art in Taos. Mirabal (1920-1968) was an acclaimed artist from Taos Pueblo. Her birth name was Eah-Ha-Wa (“Fast-Growing Corn”), and her artworks, at least into the early 1940s, bear that name — but most of her paintings were signed Eva Mirabal, and that’s how she is known in the art world. Her father, Pedro Mirabal, worked as a model for Nicolai Fechin and other artists, so his daughter grew up with some knowledge of art and that it was a possible career. She was educated in a variety of arts, and when she embarked on a career in the visual arts, she chose to draw and paint scenes from daily life on the pueblo rather than anything thematically European. At the Harwood on the last day of January, Warm Day Coming marveled at the variety of his mother’s work, which was being framed and installed. He offered some insights about her. “After eighth grade at the Taos Pueblo Day School — that’s as far as they went back then — she went to the Santa Fe Indian School.” She was in Dunn’s Studio School for fine arts at SFIS. He pointed to a poster for a World War II-era war bond campaign. “Because it was a government-run school, they used the talents of the art students there to do these posters. This part of it [a painting of a young man sending the smoke signal ‘Buy War Bonds’] is what she did.” She was also commissioned by the Association of American Indian Affairs to do part of an illustrated map of Native American tribes. Eah-Ha-Wa’s 1940 painting Picking Wild Berries won the Museum of New Mexico’s Margretta S. Dietrich Award and was selected for inclusion in the 1953 exhibition Contemporary American Indian Painting at the National Gallery of Art in Washington, D.C. She served in the Women’s Army Corps from 1943 to 1947, and during that time she developed a comic strip, based around the G.I. Gertie character of her own creation, for WAC publications. She was quite possibly the first published Native American cartoonist and one of the country’s first female cartoonists. Upon her return from the war, she was an artist in residence at Southern Illinois Normal University in Carbondale. Then she enrolled at the Taos Valley Art School, which was run by Beatrice Mandelman and Louis Ribak.
Warm Day Coming picked up a plaster figurine of a robed Native person, which she made during this period. Perhaps this is an example of sculpture skill she learned working clay as a young girl. “I imagine that’s right,” her son said. “A lot of the kids are introduced to micaceous clay at that time. She probably did some clay work, like most of the kids growing up at the pueblo. This is a plaster piece, and she did an accompanying painting, The Cacique’s Wife.” The Harwood show includes artifacts from Mirabal’s life. One is a 1949 exhibition program from the Thomas Gilcrease Foundation (now the Gilcrease Museum) in Tulsa. She shared exhibition space with Oscar Berninghaus, Frederic Remington, George Catlin, Joseph Henry Sharp, Pop Chalee, and Maria and Julian Martinez. On at least one occasion, Mirabal spoke out about a wrong. On an Illinois radio program in 1946, she said schoolchildren in the United States were done a disservice by being educated about Mexican, Asian, and European art but not about “the one that is really most important” to Americans, Native American art. She painted large-scale works from the 1930s into the 1960s. Her murals could be seen at the Santa Fe Indian School, the Wright-Patterson Air Force Base in Ohio, the Buhl Planetarium in Pittsburgh, and the library of the Veterans’ Hospital in Albuquerque. Some of these have been lost; a building-length mural was destroyed when the All Indian Pueblo Council demolished most of the old buildings at the Santa Fe Indian School in 2008. “That’s craziness,” her son said. “They could have saved that somehow.” Warm Day Coming graduated from Taos High School, attended Diné College in Tsaile, Arizona, and studied art at the University of New Mexico. He is the author of Taos Pueblo: Painted Stories, published in 2002 by Clear Light. In a statement about his paintings, he said he hopes “to help preserve a record of the traditional life of our people and to educate those who know little of us, desiring that increased knowledge and understanding will help all of us to live better with one another and with the natural world.” One of the best known of his brightly colorful acrylic paintings is A Night for Songs and Stories. “I did this for the then-very-alive Taos Talking Picture Festival. I was the inaugural festival poster artist. I was commissioned to do this in 1994. I’m glad it’s here in Taos. It belongs to Ed and Trudy Healy, who are great supporters of the arts in New Mexico.” He also does paper castings; one in the Harwood show is titled Taos Plum Harvest. “I did the original in Plasticine, the oil-based clay, then a rubber mold continued on Page 35
Left, Jonathan Warm Day Coming at the Harwood Museum of Art, Taos, holding a plaster figurine made by his mother; right, Warm Day Coming: The Last Supper, 1991, acrylic on canvas, 38 x 47.5 inches PASATIEMPO
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Mary Chelton Mendenhall: Untitled, 1930, oil on canvas, 24 x 38 inches
Also at the Harwood
B
esides the Eah-Ha-Wa (Eva Mirabal) and Jonathan Warm Day Coming exhibition, other shows — in various galleries, display cases, and on the Curator’s Wall — are also running through May 5 at the Harwood Museum of Art (238 Ledoux St., 575-758-9826) in Taos. Entrance to each show is by museum admission. In Red Willow: Portraits of a Town, we see portraits of residents — from Taos Pueblo and the community’s Hispanic and Anglo populations — from times past and the present. Among them are Joseph Imhof’s monochromatic lithograph of Eva Mirabal; Anvar Saifoutdinov’s vibrantly hued 1992 acrylic of Jonathan Warm Day Coming; a 1932 portrait by Emil Bisttram of agriculturalist and cowboy Bing Abbott; Joseph Fleck’s oil painting, circa 1925, of Dona Teresa of Taos; and a self-portrait by Jim Wagner. The Harwood also offers an installation of ceramic work by Taos artist Hank Saxe; newly acquired work by modernist John DePuy; 22 prints under the heading Eli Levin: Social Realism and the Harwood Suite; an installation of a new work by sculptor Deborah Rael-Buckley; and an installation featuring videotaped interviews with Taos artists — among them Jenny Vincent, Larry Bell, Ted Egri, Rosa Ellis Clark, and Dennis Hopper — that were conducted through the Mandelman-Ribak Foundation’s Oral History Project.
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Top, Warm Day Coming: A Night for Songs and Stories, featured on the poster for the 1995 Taos Talking Picture Festival Right, detail of 1942 war bond poster produced by Mirabal and other students at the Santa Fe Indian School Bottom, Mirabal’s G.I. Gertie comic strip Opposite page, pages from Mirabal’s address book
Eah-Ha-Wa and Jonathan Warm Day Coming, continued from Page 33
is made, and into that you put the pulp. The neat thing about working with that kind of clay is that it never hardens. You can come back and work on it a year later.” Warm Day Coming’s Pueblo Doorway, showing two robed, standing figures, has a mysterious edge. “This is how Taos Pueblo still is. The ways are still strong despite the changing times,” he said, pointing out a modern light switch on the wall next to the doorway. His Last Supper has an ominous undertone. He depicts a Taos Pueblo family sitting in their home during a meal and looking outside to silhouetted Spanish conquistadors. He painted it in response to a visit to the Southwest by dignitaries from Spain, which he said “brought to mind old wounds.” This painting was featured in the college history textbook First Peoples: A Documentary Survey of American Indian History by Dartmouth College professor Colin G. Calloway. Eah-Ha-Wa (Eva Mirabal) and Jonathan Warm Day Coming is the brainchild of Jina Brenneman, the Harwood’s curator of collections and exhibitions. “Yeah, but it’s like everything else in Taos: it’s a blossom waiting to happen,” she said. “We plant the seed. We do the research, which to me is the fun part, then someone comes along with more money or time or staff. That’s what happened with [the exhibitions] Black Mountain College and New Mexico, Agnes Martin: Before the Grid, and Agnes Martin: Before the Grid. They all started in this room as little research exhibits. “Of all those names, I think Eva is maybe the most important. This is pure Americana, my favorite kind of Americana, because it’s a woman and a really intelligent, fearless talent.” Warm Day Coming is thankful that so much of his mother’s work has survived. “Some of this is from her early childhood. It’s amazing that all this withstood this long. We just saved it. I didn’t know anything about archival boxes or anything else on how to store things, so I just moved them from box to box throughout the years.” A long table in the museum’s Peter and Madeleine Martin Gallery was strewn with small watercolors, old photographs, and newspaper clippings. “This stuff is really amazing, to have such a span of work from her whole life.” ◀
details ▼ Eah-Ha-Wa (Eva Mirabal) and Jonathan Warm Day Coming ▼ Through May 5 ▼ Harwood Museum of Art, 238 Ledoux St., Taos, 575-758-9826 ▼ By museum admission
SFCA
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Rob DeWalt I The New Mexican
T H E
i’d rather see
more people creating things
than whining
about how nothing is
original. —ShepardFairey 36
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A R T
A N D
A C T I V I S M
O F
S H E P A R D
F A I R E Y
uring the 2011-2012 academic year, Santa Fe University of Art and Design launched its Artists for Positive Social Change program. The five-year series of lectures, performances, and other events draws on the talents of internationally recognized artists who confront social issues head-on through their groundbreaking work. On Sunday, Feb. 17, Artists for Positive Social Change welcomes contemporary artist and graphic designer Shepard Fairey to SFUAD for a lecture and Q & A. While in Santa Fe, Fairey will create a permanent mural on the university’s campus. In 1989 Fairey launched his Obey Giant street-art project, which appropriates the visage of deceased pro wrestler Andre the Giant to examine the intersection of visual propaganda, politics, and conspicuous consumption, but he is perhaps best known for his Hope poster, which came to represent the 2008 campaign of President Barack Obama. Pasatiempo spoke to Fairey about his plans for the Santa Fe mural, the slippery slope of creative fair use in the internet age, and common misconceptions about what it means to sell out in the street-art world. Pasatiempo: How did you become involved with Artists for Positive Social Change, and what do you hope to accomplish while here? Shepard Fairey: The school reached out to me, actually. I’ve done a lot of work with high school and college groups. I really enjoy doing it because it gives me an opportunity to speak to people who are still somewhat idealistic, not jaded — people who want to translate ideas into real-world situations. And that’s what I do. The artwork that I make is designed to be easily accessible and to not be about the elitist side of the art world. I think it’s still a mystery to a lot of people how to balance making a living with generating the kind of art and social commentary you want to. Pasa: When you come into a situation like this, where you’re working in a designated space — a safe space, within the boundaries of the law — do you go in with preconceived notions about what sort of mural you want to create? Fairey: I’ve already designed the mural in Santa Fe. They gave me the dimensions of the wall. The only real parameters were to create something that embodies the concept of art blended with social commentary. I took that concept literally. It’s about encouraging other people to take matters into their own hands and make things for themselves. It’s essentially a “make art not war” image, with a woman and some paintbrushes, and peace signs — imagery that symbolically reinforces that idea. I will have people helping with the execution, stencil cutting and painting and whatnot, but the way the mural turns out is something I already have preplanned. Getting to understand the physical process is something I think will be incredibly useful for those who participate. Pasa: Have you ever been asked to do a piece or be part of a commercial campaign that, for ethical or activist reasons, you had to decline participating in? Fairey: Oh, a lot. It’s funny that I get called a sellout all the time. But people have no idea the kind of absurd stuff I’ve turned down, from Camel cigarettes and Hummer to some of the major gasoline companies — all sorts of things that I feel contradict my values. A lot of the commercial work that I’ve done over the years — and I do very little of it now, except for bands and CD packaging — was all done with this sort of ethical criteria. If I thought it wasn’t good for the world, I wouldn’t do it. If it was something a bit more neutral, like a clothing company or a soda company where I didn’t feel that participating would be particularly hazardous or harmful to the greater good, my approach was to take the project on and use the funds from it to finance the projects that allowed me to speak the way I wanted to. I think people should consume with discretion and awareness, but I’m also not aiming for the dismantling of capitalism. I’d love to inspire more checks and balances on campaign financing and all sorts of things continued on Page 38
Jon Furlong
PASATIEMPO
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Shepard Fairey: Shoplifters Welcome, 2012, London; opposite page, Obey Megaphone, screenprint, 24 x 18 inches
Shepard Fairey, continued from Page 36 that would be beneficial. Some people look at being a street artist in such a way that, if you do anything that questions certain aspects of capitalism and then go out and do anything commercial, you’ve betrayed your ideals. And I completely disagree with that line of thinking. Pasa: That’s sort of an outmoded mind-set at this point, don’t you think, given the influence of street art on commercial art and gallery work these days? Fairey: Yes, but a lot of people never even think about how their own actions reinforce the dynamics of the system of conspicuous consumption. Yet they still love the idea of someone else pushing back at the system and being the martyr. It’s not only outmoded thinking. It usually boils down to a certain personal unawareness of one’s own consumption. To get back to the concept of legal murals, a lot of times the problem is that people are worried about content being perceived as controversial. I’ve been able to do murals that were the exact art I wanted to make, but sometimes I’ve had to offer up a couple of options and have one of them vetoed. But that’s where street art comes in, where I can put up whatever I want as long as I’m willing to take the risk — arrest, fines. ... I haven’t decided to stop doing illegal art for any reason, such as the risk of arrest, and I’ve also not decided to not do legal walls because some people say it isn’t speaking to the rebellious roots of street art. There are a lot of different methods you can utilize to get the message in front of the people you want to. If you put together a well-rounded potpourri of methods and approaches, you’re going to get to say what you want to say in one form or another, eventually. Pasa: You’ve said often that you’re greatly inspired by the skate punk scene of the ’80s and ’90s. What kind of impact does the scene still have on you? Fairey: I have a 7-year-old daughter that I [skateboard] with now. I’ve slowed down on it because of time constraints and because of my body becoming 38
February 15 -21, 2013
arthritic. But the energy of the scene still speaks to me — the creativity, the rebellion. Skating and punk rock and the attitudes and graphics that came with them ... it wasn’t about virtuosity. It was about questioning and not falling in line. You see, I don’t technically consider myself a gifted artist from a critical perspective. I approach my work with this feeling that I have the skill to execute what I want to. For me, a good idea with good elements and composition is better than a bad idea rendered with Renaissance-quality technique. My work is more about immediacy, especially with the high information-metabolism rate of our modern culture. It’s about being able to do things that are both timely and universal in how they resonate. But it’s not always easy to create something that comments on the immediate and also endures. Sometimes it’s important to work quickly. When the Occupy movement popped up, I felt it was important to address that and generate some images quickly. And a lot of that urgency for me comes from punk rock, listening to the Dead Kennedys dissect Reagan’s presidency or American foreign policy in real time, or listening to The Clash sing about class oppression and the working person’s struggles in the U.K. That idea of being able to respond rapidly to the world is still very much a part of how I approach things. Pasa: In terms of responding quickly, though, the internet changes everything, doesn’t it? There’s a lot of dialogue about appropriation and how that affects the concept of originality. Whatever artists and armchair detractors may say about work being street or not street, the fact remains that imagery is, in many ways, a free-for-all. Do you think that muddies the message? Fairey: I have my own strong opinions about appropriation. There’s a difference between appropriation because it helps the end result and appropriation because you’re just being lazy. There’s no such thing as complete originality, because everything evolves from something else. There’s a fine line between speaking a language that everyone understands and creating something that stands apart from the crowd and is seen as a work with its own unique merit. I think the
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Astrology Santa Fe February is the month of Love & Romance
details ▼ Shepard Fairey, presented by Santa Fe University of Art & Design’s Artists for Positive Social Change
Let Venus, the Goddess of Love, Romance, Beauty & Money Guide you via Astrology to your destiny
▼ Slide lecture and Q & A 7 p.m. Sunday, Feb. 17 ▼ Greer Garson Theatre, SFUAD campus, 1600 St. Michael’s Drive ▼ No charge; limited tickets available at the door; 473-6440 for details ▼ Public viewing of mural in progress 10 a.m.-1 p.m. Wednesday, Feb. 20, on SFUAD’s quad; no tickets required
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greatest artists can do both. Especially from the realms of Pop art and postmodernism, the idea of having something referenced or something preexisting in the work is pretty standard practice. But the ease with which people can now take an image and just make a slight lazy tweak to it and have it recirculate … it doesn’t muddy the water so much as it adds more white noise. The hope of rising above that white noise and being heard and standing out does, I think, push some people to reach further. I do think, though, that if people want to be dismissive toward other artists, the internet allows them to do that very easily. But the only thing better than knowing where everything comes from is actually making stuff. Some people are great at tearing everything down and calling it unoriginal, and that’s fine. There actually should be a sort of authenticity police out there. But when people feel like anything they make is going to be attacked, that can be very de-motivating. I’d rather see more people creating things than whining about how nothing is original. A lot of people evolve by imitating. They learn certain techniques by mimicking. When they filter it through their own sensibilities, they create something totally unique. You don’t need to, and you shouldn’t, shut someone down during that evolutionary arc. ◀
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PASATIEMPO
39
When worlds collide
Bill Kohlhaase I For The New Mexican
Jamie Chase imagines fine and ComiC art
A
visit to fine artist and comic illustrator Jamie Chase’s Santa Fe studio is a journey through opposing worlds. Past the front door, in what might otherwise be called a living room, is a drum kit — not exactly the first piece of equipment you’d imagine a painter might require. Next to it is a Roland keyboard. A tall rectangular painting of a nude, standing against contrasting shades of color, is off to one side on an easel above the paintspattered concrete. Other figures and abstract images are displayed and stacked around the room. Down a hallway, past the drums, is a smaller workroom. Here, hung above a long drawing table, are colorful pages full of strange creatures and primitive landscapes for an upcoming graphic novel adaptation of an Edgar Rice Burroughs tale. Divider shelving holds an array of work: movie posters, comics, and pulp novels, including a 1965 copy of the Native American dinosaur-hunter fantasy Turok: Son of Stone, the first comic that Chase remembers reading. He was 8 years old. Nearby, a large color work shows menacing apes herding a line of humans down a sandy embankment to a beach, where the long necks of dinosaurs break the water. Alligators swarm the nearby rocks, and winged reptiles wheel overhead. The effect, in detail and subject, seems a long way from the stately, shadowy-featured nude in the other room. Chase has long traveled between worlds of high and low culture, of fine art and comic art. Even as he’s exhibited acrylics — mostly of nude female figures — he’s been drawing, writing, and self-publishing strange and provocative
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comics. Now he’s reached a milestone. Sequential Pulp Comics, an imprint of one of the genre’s major players, Dark Horse Comics, has published an adaptation of Sir Arthur Conan Doyle’s classic Sherlock Holmes thriller The Hound of the Baskervilles with Chase’s illustrations. Both art worlds that Chase inhabits will celebrate the publication. On Wednesday, Feb. 20, there is a release-day signing at Big Adventure Comics; and on March 1, Chasing the Tale, an exhibit in which the artist’s studio is recreated with original artwork, opens at Matthews Gallery. “I love doing both,” Chase said of comics and fine art. “With painting, I’m trying to discover something new from the process and in the material. In comics, it’s how you satisfy the story, how you give all the information needed for the story in the panel, stated as concisely as possible. Every panel is its own challenge. There’s less room for accident, less room for innovation.” Look through some of Chase’s comic illustrations, say from his work with Santa Fe-based writer and graphic designer Bram Meehan or from his own Myx comic series, and you will see few characteristics common to his acrylic figures. The comic panels require more detail and contextual background, of course, while his nudes are often posed alone on a layered backdrop of varied color. Yet the figures in his comics and in his fine art often engage the imagination in their minimalism. His use of line and shading, despite the comic panel’s context, carries a sort of signature. Street scenes and landscapes from the comics suggest that Chase might have built an audience for that kind of painting if he had pursued it. But despite the enthusiasm of the first Santa Fe gallery that represented him for
Left, Jamie Chase; both pages, Chase’s illustrations for The Hound of the Baskervilles
landscapes, Chase gravitated toward the human form. “The figure is my connection to art history,” he explained. “The challenge is to address it in a new vocabulary, in my own way, without losing sight of what’s been done by earlier artists.” The relationship between his two artistic directions keeps him bouncing between them, a process that helps him stay fresh while he works both at once. “The comic thing is so obsessive. It’s like going into a tunnel and having to keep going until you come out the other side. It’s a time-consuming, focused effort. Sometimes I go into the other room to get physically energized by playing the drums. And I try to paint every day as well. “But in a strange way, doing comics frees me up in painting to be more experimental. And painting encourages me to be less of a draftsman when I return to comics. The two are different, but in some ways they’re similar. I see it when I consider something like Picasso’s economy of line or his quick way of
impression and how it relates to what I do in drawing in panels. The difference is that in the comic narrative, the characters have to look stylistically coherent. The paintings start with the drawing of the pose, but the paint becomes the dictator of what happens to it next. What will it do if I move it around within the figure or lay something on top of it? These things happen outside my will to control them. Both arts, of course, require a love of drawing.” Raised in the San Francisco Bay area, Chase attended art schools in the city and spent time studying the work of artists who appealed to him, a group that included Franz Kline and Milton Avery. Abstract figure painter Nathan Oliveira, with whom Chase later studied in Santa Fe, was particularly influential. Chase was once hired to create murals and wall illustrations for a San Francisco occult store, an opportunity that let him to explore Egyptian, Native American, African, and other traditional forms, a background that has served his comic endeavors well. One of the stories in Myx is based on the mural experience. He spent a number of years sketching portraits at Fisherman’s Wharf before his 1980 move to Santa Fe, where he continued sketching portraits at La Fonda. Some of his early paintings still hang there. Throughout this period, Chase was fascinated with fantasy illustration done in a realistic style, a direction opposite of his fine art. He especially admired the work of Frank Frazetta, who’s best known for the cover illustrations he did for Conan the Barbarian books and for Edgar Rice Burroughs novels in the 1960s. Chase also admired Jeff Jones (later Catherine Jones), who started out continued on Page 42 PASATIEMPO
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Jamie Chase, continued from Page 41 doing work for Creepy and Eerie, two popular macabre comics of their day, and in the ’70s gained broad readership for his long-running, strange, and enticing pen-and-ink series Idyl in National Lampoon. Chase put aside the graphic novel he started when he was 19 — Muse — to concentrate on painting. He eventually finished it years later and had it published in 2005. He then went on to team with writer Meehan on the thrillers Death, Cold as Steel and The Darkness From Warsaw. He started writing Myx, a series of fantastic tales done in black and white, in 2006, and a color collection of volumes 1 through 4 was published in 2010. When Chase learned that Jones had an active Facebook page, he signed on as a friend and was soon participating in a circle of illustrators on Facebook. It was there that Michael Hudson of Sequential Pulp/Dark Horse saw Chase’s work. Hudson later took him on to illustrate Hound. Chase followed an unconventional process in illustrating the Sherlock Holmes classic: foregoing the traditional invisible blue pencil, doing each panel on a separate page, and using charcoal to sketch out the images. The images, redone in color, reflect the shadows and mood-suggestive landscapes of his earlier comic art. The color pages of his upcoming adaptation of Burroughs’ At the Earth’s Core are complex and full of detail while keeping the signature looseness that invites readers into his work. (He’s posted a YouTube video with scenes from the upcoming novel, also from Sequential Pulp, accompanied by his own music recorded in his studio.) Chase doesn’t foresee a time when he will let go of one or the other side of his work. “I’m hoping to become more abstract in my painting and illustration as I go on. It’s always about distilling the information to a level of meaning and quality that speaks more directly to the viewer.” Maybe someday those two worlds, on a course of their own, will collide. ◀
details ▼ Jamie Chase signs copies of The Hound of the Baskervilles 4 p.m. Wednesday, Feb. 20 Big Adventure Comics, 801 Cerrillos Road, Suite B, 992-8783 ▼ Chasing the Tale Opening reception 5 p.m. Friday, March 1; through March 14 Matthews Gallery, 669 Canyon Road, 992-2882
Stride, 2012, acrylic on canvas, 14 x 11 inches 42
February 15 -21, 2013
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Photos Janet Van Ham
Bill Maher
James M. Keller I The New Mexican
T
Razor’s edge
he comedian Bill Maher is not big on censoring himself or anybody else. For several decades he has unleashed his humor with unconstrained candor on whatever he finds untenable, illogical, or unpalatable in modern society. He went national with his late-night television show Politically Incorrect, which ran from 1993 to 2002, first on Comedy Central, later on ABC. In 2003 he launched Real Time With Bill Maher, this time on HBO, which proved a good fit for his outspoken style. The show, which combines standup comedy with freewheeling political debate, continues strong today. Along the way, Maher found time to generate the 2008 feature documentary Religulous (a dismissal of organized religion), publish several books, and maintain a busy touring schedule as a stand-up comedian. Liberals tend to love him, although they are not exempt from his razor wit. “I’ve always enjoyed Santa Fe,” Maher told Pasatiempo when we spoke with him recently by phone, in advance of his solo appearance here on Sunday evening, Feb. 17. “I don’t think I’ve ever worked in Santa Fe, but I have certainly visited, and I know I’ll be in friendly territory.”
Bill Maher on Trump, Sahl & Pelosi
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Pasatiempo: We have big news here in New Mexico, possibly relevant to you. Bill Maher: What’s that? Pasa: Sarah the orangutan at the Albuquerque Zoo is pregnant. Do you think there’s a chance the baby might have an orange comb-over? Maher: Aaaah! I don’t know about that, but if it’s something that I can use to twist Donald Trump’s tail, I appreciate your tipping me off. Pasa: The allusion, of course, is to your offer in early January to donate $5 million to a charity of Donald Trump’s choice if he could prove that he was not the spawn of his mother having sex with an orangutan. Now Trump is threatening to sue you for the $5 million. Maher: I certainly never intended for this to be an ongoing feud. When he sticks his head up and says something stupid, I will call him out on it, and that will probably get him mad again. He seems to have nothing better to do all day than to sit down and write tweets, so I’m sure you’ll be hearing from him again soon. I wish that was not the case, but … Pasa: So he’s waiting to be ignited again? Maher: Exactly. He’ll be flinging his feces the next time he is angered. Pasa: You’re coming here with a stand-up show. Am I right in suspecting that, in terms of performance, your stand-up shows must be more grueling than your TV shows, which are broken up into distinct parts? Maher: Yes, you’re correct. The television show is a hybrid. We hope it’s funny, we hope there are lots of laughs in the television show, but it also gets serious. And it also has guests, where you can’t really predict what’s going to happen. A stand-up show is a much more, shall I say, “pure” endeavor. It’s really just about making people laugh very hard for 90 minutes or two hours. Of course, the subject matter is similar to what I discuss on Real Time. I’m not interested in the petty minutiae of life. There are some comedians who do that brilliantly, but it was never what interested me. I talk about big subjects. I talk about politics and religion and sex and drugs and rock ’n’ roll. It’s usually something that has some meat to it, something to think about, something to chew over, something real; but it has to be funny. People come to stand-up to laugh. It’s not a lecture. I’m not a “humorist.” I’m not doing Lenny Bruce or Mort Sahl or any of these guys who forgot that it was all about being funny. So that’s what gives me pleasure, and I’m pretty sure that’s what the audience is looking for as well. Pasa: I guess stand-up does give you pleasure, because you do a fair amount of it. Maher: Immense pleasure. The thing about standup is that when you start out it’s so painful. The first few years are so hard before you get any good at it, and then there are many years when you’re proficient at it, but you’re still pretty unknown, so
you’re just doing comedy clubs as a comic. People don’t know who you are; they’re just going to see comedy in general. And that can be not too much fun because it’s not really your audience. So when you finally get to the point where they are coming to see you specifically, and you’ve gotten good at it, it’s so much fun to do. You’ve put in so much pain and effort and paid your dues on the road when it was difficult, I don’t know why anyone would not want to do it in this later time. Pasa: In your humor you can stray pretty close to the edge of the cliff. Maher: Or go over! Pasa: There are times when even your TV studio audience emits a collective gasp — and then, of course, you chide them. Do you worry about not crossing certain lines, or is it wide open for you? Maher: I like to think a live stand-up show should be the last bastion of utter and total free speech. I totally understand why even on HBO I can’t say just anything that pops into my head. First of all, we are very often in the company of important political people. ... But stand-up, in front of a live audience who are your fans and want to hear it all — absolutely, I don’t think there should be any restrictions. And there is also the fact that when people are coming out to see you in a live show, they want to see a dimension beyond what they can see on TV, and I do believe that they get that. Pasa: When you’re performing, do you adjust your material as you go, depending on give-andtake with that particular audience? Maher: It’s like jazz. You have a song and then you riff off of it. You have a basic melody that you’re working with, but you can go off in different tangents; so yes, there is some of that. But what I find is that almost no matter where I go, because I’m at that point now where I am something of a brand name, they know what they’re going to get. They know what I do. They want me to do it. I want to do it for them. Whether I’m in Tulsa or Berkeley, the people are pretty much a similar type of audience. It’s delightful to find that even in the reddest of the red states there are those kind of freethinking people. Pasa: You have a field day with politics and religion, the two sacred cows that many of us were taught to avoid at all costs in polite company. When and how did you grow comfortable overthrowing that received injunction? Maher: I think it started early on when I began with Politically Incorrect, which was 20 years ago now. When the show went on the air, I remember reading and hearing a lot of criticism about how you couldn’t do that, that you could not be so forthright about giving your political opinions. Everyone was working out of the old Johnny Carson playbook, which was that you never really let the audience know what your politics are because if you do, then you would alienate half
of them. And I thought, well let’s give that a test; maybe that’s not true. And it turns out it was sort of not true. Because even though people perceive me as more left-leaning, and that certainly is true, there are zillions of conservatives over the years who have come up to me and said, “You know, I don’t agree with much of what you say, but I watch you because, first of all, you have on conservatives, so I hear my point of view, and also it’s fair. I get it that we don’t have to agree for me to find you funny or just worthy of listening to.” I think that very often the television audience is underestimated, and people don’t think that they can accept what they can. The audience is sometimes ahead of the critics. Pasa: Are you a registered member of any political party? Maher: No, I’m an independent.
I talk about bIg subjects. I talk about polItIcs and relIgIon and sex and drugs and rock ’n’ roll. Pasa: I believe in the past you’ve described yourself as a libertarian. Maher: I don’t think I’ve described myself as that in many years, but it lives on and gets repeated. I’m happy to embrace what I think should be the libertarian aspects of our discourse. The problem is that libertarianism has been hijacked by people like Ron Paul, and it’s a very radical type of libertarianism. My type was just the old “People should be able to do what they want to do as long as it doesn’t hurt somebody else.” Ron Paul’s type is “We don’t need stop signs; meat inspection is intrusive from the federal government; if an elevator fails, well, people won’t use the elevator again, definitely not the people who died in the first one.” It’s just silly, some of this stuff. Pasa: On Real Time With Bill Maher, the panels you assemble are remarkable for representing divergent opinions, which we witness rarely on television. But sometimes your guests are not intellectually honest. You throw that back at them, but you can appear pretty upset about it. Are there times when you walk offstage at the end of the show and say to your producers: “That guest — never again”? Maher: Not right after the show but definitely on Monday morning when we do our post-mortem. We try to have as many conservatives as we can continued on Page 46
PASATIEMPO
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Bill Maher, continued from Page 45 and represent them as much as we can. What I don’t want to have on are conservatives who, as you put it, are just not intellectually honest — they’re just repeating the party line. I know that a lot of conservatives think things that I don’t think. That’s OK. I want to hear other opinions, and I actually like it when my opinions sometimes disappoint my mostly liberal audience. That means I’m doing what I think I should be doing, which is going where the truth is no matter what it is and no matter who it disappoints. But there is a type of conservative who just is defending whatever goes on with the red team. It happens with liberals too; some will defend anything the blue team does. But on the show, I’m trying to get away from people just siding with their side because that’s their team. So if I find a guest who is unwilling to do that, that might be a guest we don’t want to have back. Pasa: You famously contributed $1 million to Barack Obama during the recent campaign. Maher: And it worked! Pasa: Now we know, through you, that a contribution of $1 million does not afford access to the president, correct? Maher: And I never thought it would. Because first of all, I was giving it to the super PAC, and he has to maintain a certain distance from the super PAC. And also I understood a long time ago that my beliefs and maybe some of my activities, certainly some of the things I say, are just a little too toxic for a president to be able to embrace and not suffer some political backlash. It would be very inviting for Fox News if Obama made any sort of gesture toward acknowledging me. I’m sure that they would be all over him about Obama and that atheist pot-smoker Bill Maher. Maybe when he’s out of office we’ll have a beer one day. Pasa: If your contribution did afford access for, say, two minutes with the president, what are the two things you would most like to say to him? Maher: I would like to remind him first of all that in his inauguration address he said a big shout-out to our gay brothers and sisters, and said we can’t really be equal until we acknowledge that gay love is as good as any other kind of love. And I would then just like to remind him that I’m gay for pot. And that in 2010, there were over 800,000 people who were arrested and jailed just for smoking pot. And since he has admitted in his book that he smoked pot — and I think he admitted also doing cocaine — is it really fair that he is enjoying the perks of being the president of the United States when, if he had been arrested for this drug use, he would, by our current laws, perhaps not have been able to go to college, perhaps not have been able to get housing that he wanted to, cause there’s all sorts of penalties for people who have been convicted of marijuana use? He certainly would not have been able to
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Nancy Pelosi and Bill Maher on Real Time With Bill Maher
enter politics, be in the U.S. Senate, become president of the United States, if that was on his record, if there was an arrest there. So I’d just want him to think about that: that he would not be in the place he was if what happened to over 800,000 people in 2010 had happened to him. Pasa: Why are liberals so much more adept at political comedy than conservatives?
I lIke to thInk a lIve stand-up show should be the last bastIon of utter and total free speech. Maher: Because we have better material because we’re making fun of the conservatives, who are funnier because they’re stupider and crazier. It’s as simple as that. You know, I saw Dennis Miller’s last special, which he shot with an audience of very conservative people in Orange County, and you know Dennis has become a very conservative comedian. Now, Dennis is really good at doing stand-up comedy. But when he did 10 minutes on Nancy Pelosi and how stupid she was, it was sort of a false equivalency to routines that myself and many people have done about Sarah Palin, except for the fact that Sarah Palin really is stupid, and Nancy Pelosi really is not. You don’t have to agree with Nancy Pelosi, but when you do 10
minutes on how dumb she is, to me it just doesn’t ring true, and I don’t think it rings true with any audience outside of Orange County. Pasa: Political comedy has grown so potent in recent years. There was some political comedy before the 1990s, but its expansion seems like a modern phenomenon. Maher: That’s actually true. I remember when we went on the air in ’93, another criticism of the show was: “Why is he trying to have people talk about politics? Politics is the most toxic issue for television.” That was the point of view. It was just death, they thought. And here it is 20 years later, and look at how many shows there are now that deal with politics. Pasa: And how many people are reported to get their news principally from comedy shows. Do you believe that’s the case? Maher: I believe it’s true that millions of people do get their news from comedy shows. I don’t think it’s necessarily a healthy thing. It’s kind of like in college when they told you that you can read the Cliffs Notes with the book, but you should read the book, too, and not just the Cliffs Notes. That’s kind of what people are doing when they’re getting their news from comedy shows: they’re just reading the Cliffs Notes. ◀
details ▼ Bill Maher in an evening of stand-up comedy ▼ 7:30 p.m. Sunday, Feb. 17 ▼ Santa Fe Community Convention Center, 201 W. Marcy St. ▼ $47 & $67; Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org)
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MOVING IMAGES pasa pics
— compiled by Robert B. Ker
by a couple of legends of French cinema. Jean-Louis Trintignant (Z) and Emmanuelle Riva (Hiroshima, Mon Amour) portray retired musicians in their 80s. When she suffers a minor stroke and enters an inexorable decline after botched surgery, he honors his promise to keep her at home in their Paris apartment, coping as his beloved wife sinks into a living hell. Austrian filmmaker Michael Haneke turns his unsparing lens on the indignities, humiliations, sufferings, and helplessness that can attend the end of a long life. Depressing but riveting. Not rated. 127 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards)
Sparks are flying: Josh Duhamel and Julianne Hough in Safe Haven at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week MASQUERADE South Korean director Choo Chang-min takes a familiar plot, the look-alike who stands in for a ruler and does a more enlightened job of things, and plugs it into a mystery from 17th-century Korea, where a strange two-week gap in court records coincides with aberrantly humane behavior from the king. It’s essentially the plot of Dave (1993) retold with great style and color by Choo, and its echoes of the mysterious chapter in Korean history give it a special resonance. Lee Byung-hun is wonderful in the dual role of king and look-alike. Not rated. 131 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) See review, Page 53. THE MET LIVE IN HD: RIGOLETTO Piotr Beczala, Zˇeljko Lucˇi´c, and Diana Damrau star in director Michael Mayer’s reimagining of Verdi’s opera, which is set in 1960 Las Vegas. Broadcast live from the Met. 11 a.m. Saturday, Feb. 16, with a 6 p.m. encore. Lensic Performing Arts Center, Santa Fe. (Not reviewed) REEL NEW MEXICO The monthly series showcasing independent films with a New Mexico connection continues with Still Dreaming, the new documentary by Jilann Spitzmiller and Hank Rogerson (Shakespeare Behind Bars). This is a work48
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in-progress screening shown for audience feedback. 7 p.m. Thursday, Feb. 21, only. Not rated. La Tienda Performance Space, 7 Caliente Road off Avenida Vista Grande, Eldorado. (Not reviewed) THE WAITING ROOM Whatever your opinion about the current state of healthcare, this film — a documentary in the truest sense of the word — should be required viewing. Director Peter Nicks distilled five months of filming into a representation of a typical day in the emergency room of Highland Hospital in Oakland, California, which, according to one doctor, is “the safety net of society ... an institution of last resort.” We meet patients (some of whom don’t speak English and many of whom are uninsured), nurses, and doctors, but we do not see a single talking head, and we hear only a few voice-overs. Nicks doesn’t preach. He simply lets you sit back and observe something you might not know exists or might otherwise have ignored. Not rated. 81 minutes. The Screen, Santa Fe. See review, Page 52. (Laurel Gladden)
now in theaters AMOUR This exquisitely crafted film, a Palme d’Or winner at Cannes and an Oscar favorite, is beautifully played
ANY DAY NOW Travis Fine’s drama is based on the true story of a West Hollywood gay couple’s attempt to adopt a mentally disabled child who is being neglected by his drug-addicted mother. An aging and broke drag performer (Alan Cumming) and his newfound lover, a closeted district attorney (Garret Dillahunt), form a bond with the boy. But as they fight for full custody within a prejudiced legal system, the mother is released from jail and fights for parental rights. Stellar performances, meticulous production design, and a great soundtrack make Any Day Now a joy to watch. Rated R. 97 minutes. The Screen, Santa Fe. (Rob DeWalt) ARGO Ben Affleck takes a true story by the throat and delivers a classic seat-squirming nail-biter that has been nominated for seven Oscars. In 1980, as the world watched the hostages in the U.S. embassy in Tehran, a small group of Americans made it to the Canadian ambassador’s residence and hid out while the CIA tried to figure out how to spirit them out of the country. The plan? Pretend to be making a sci-fi film and disguise the Americans as members of a Canadian location-scouting crew. A terrific cast is headed by Affleck as the CIA operative, with Alan Arkin (a best supporting actor nominee) and John Goodman at the Hollywood end. Rated R. 120 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) BEASTS OF THE SOUTHERN WILD Benh Zeitlin’s inventive and visually stunning debut feature transports viewers to a magical world conjured up by its 6-yearold heroine, Hushpuppy (Quvenzhané Wallis). She lives with her stern father in the Bathtub, a low-lying community in the Louisiana bayou that’s about to be slammed by a hurricane. The storm unleashes fears, emotions, and reveries for Hushpuppy, who clings to her dreams as the devastation mounts. The film is up for four Oscars, including Best Picture, with nominations for Zeitlin and Wallis. Rated PG-13. 93 minutes. Regal DeVargas, Santa Fe. ( Jon Bowman)
BEAUTIFUL CREATURES There’s a new girl in town (Alice Englert), and there’s something supernatural about her. Will her powers hamper her chances with a local hunk (Alden Ehrenreich) or destroy the town long inhabited by her uncle (Jeremy Irons)? She’ll find out when the nature of her powers is revealed on her 16th birthday, which may be sweet or may be sour. Rated PG-13. 123 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)
(Martin Freeman) who is recruited by the wizard Gandalf (Ian McKellen) and 13 dwarfs to help slay a dragon. The Hobbit is a breezier book than the Lord of the Rings trilogy, so the movie is more lighthearted than Jackson’s earlier adaptations — sometimes awkwardly so. Still, the attention to detail, the magnificent effects, the warm cast, and the heartfelt themes make The Hobbit a journey full of expected delights. Rated PG-13. 169 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker)
CHASING ICE Director Jeff Orlowski follows environmental photographer and one-time climate-change denier James Balog as he launches and maintains his Extreme Ice Survey, a long-term photography project that gives what Balog calls a “visual voice” to the planet’s rapidly receding glacial ice sheets. Visually stunning and horrifying in scope and context, Chasing Ice is at its best when the talking heads are not in the picture. At times the film appears to be more about Balog than the planet, and although his story is compelling, the ice should be the true star. Rated PG-13. 75 minutes. Center for Contemporary Arts, Santa Fe. (Rob DeWalt)
IDENTITY THIEF Sandy Patterson ( Jason Bateman) discovers his identity has been stolen. He has one week to clear his name, so he goes to Florida to find the thief (Bridesmaids’ Melissa McCarthy), and they engage in a lot of insulting and punching. Rated R. 111 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)
ESCAPE FROM PLANET EARTH This animated film about aliens who try to escape an aggressive planet comes from newcomers Rainmaker Entertainment. The animation looks strong, but the jokes look to be the usual wisecracks and burps. Rated PG. 95 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) A GOOD DAY TO DIE HARD Back in 1988, Die Hard forever raised the action bar when John McClane (Bruce Willis) found himself stuck in a building with some baddies. The title then referred to McClane’s grit; in 2013, it might refer to the franchise itself. Rated R. 98 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) HANSEL & GRETEL: WITCH HUNTERS Those who have clamored for an edgy, modern take on Hansel and Gretel finally have a movie at the end of their bread-crumb trail. Jeremy Renner and Gemma Arterton play those feisty kids, all grown up and now bounty hunters who will push witches into ovens for money — while dressed in black leather and wielding high-tech weapons, of course. Rated R. 88 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE HOBBIT: AN UNEXPECTED JOURNEY This is the first of Peter Jackson’s three films based on Tolkien’s 1937 children’s novel about a hobbit named Bilbo
LES MISÉRABLES The stage musical version of Victor Hugo’s great novel is the longest-running musical of all time. It has been seen by more than 60 million people in all sorts of languages and countries. In the hands of director Tom Hooper, who guided The King’s Speech with subtlety and grace, this screen adaptation is garish, shrill, and breathtakingly over the top. The songs are still there, up close and personal like you’ve never seen or heard them. The cast (headed by Hugh Jackman and Russell Crowe) performs bravely, if not always wisely or too well. Nominated for Academy Awards in eight categories, including Best Picture. Rated PG-13. 158 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) LIFE OF PI Ang Lee’s adaptation of Yann Martel’s bestselling novel is an intriguing exercise in going toward, intense being, and going away. The first and last are the frame in which the story, of a boy on a lifeboat with a Bengal tiger in a wild ocean, is set. That middle part is a fabulous creation of imagination, and it is riveting. The lead-in sets it up with a promise of a story that “will make you believe in God.” The recessional discusses what we have seen, what may or may not be true, and what we’ve learned. Suraj Sharma and Irrfan Khan play Pi, young and older. The real star is the CGI that will make you believe in tigers, at least. Nominated for 11 Oscars, including Best Picture. Rated PG. 127 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. ( Jonathan Richards) LINCOLN Steven Spielberg’s Lincoln is a small film, considering its subject. With the Civil War as background, it focuses on the passage of the 13th Amendment to the Constitution and what was required to achieve it. The president deals with the false choice of ending the war and
Beautiful Creatures
slavery, criticism from his political enemies, and dysfunction in his own family. Daniel Day-Lewis looks and sounds the part of the 16th president, though sometimes his words and the cadences at which they come feel self-conscious. Up for Academy Awards in 12 categories. Rated PG-13. 149 minutes. Regal Stadium 14, Santa Fe. (Bill Kohlhaase) MAMA Andrés Muschietti directs this feature about two girls who survived in the wilderness for five years with the help of a freaky spirit called Mama. When their uncle (Nikolaj CosterWaldau) and his girlfriend (Jessica Chastain) take the tykes in, the ghost comes along, and Mama don’t take no mess. Despite decent performances, Mama is more of the same: a woman-done-wrong monster, an endless string of speaker-blowing “boo” moments, and a central conceit about how kids see the darnedest things. And worst of all, CGI ghosts just aren’t scary. Rated PG-13. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) QUARTET At 75, Dustin Hoffman makes his debut as a director with appealing geriatric material adapted from a play by Ronald Harwood. Beecham House is a retirement home for musicians, among them brooding Reg (Tom Courtenay), sweet daffy Cissy (Pauline Collins), and continued on Page 50 PASATIEMPO
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lecherous, fun-loving Wilf (Billy Connolly). When diva Jean (Maggie Smith) arrives, it completes a foursome who once starred together in a noted production of Verdi’s Rigoletto and sets the stage for an encore performance of its famous quartet in the home’s annual Verdi tribute. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) SAFE HAVEN Valentine’s Day is a good time for a new movie based on a Nicholas Sparks novel (The Notebook, Dear John), but 2013 was the first time one has been released on V-Day. You know what to expect: a woman learns to love again, everything takes place in the golden light before sunset, and nobody is far from a secluded beach. Rated PG-13. 115 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) SEARCHING FOR SUGAR MAN Malik Bendjelloul’s film about the talented musician Sixto Diaz Rodriguez is a portrait of a humble man, a rock documentary, and a detective story all in one. It follows the triumphs and frustrations of a journalist and a record-store owner in their efforts to shed light on the mystery surrounding Rodriguez, a superstar in South Africa but virtually unknown in his native United States. Nominated for a best-documentaryfeature Os car. Rated PG-13. 85 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) SIDE EFFECTS Steven Soderbergh claims to be taking a sabbatical from making movies, which means Side Effects will be his last theatrical release for some time (his Liberace bio, Behind the Candelabra, is for HBO). He’s leaving us with a nifty psychological thriller, starring Jude Law as an earnest shrink who prescribes a new drug to a depressed patient (Rooney Mara) and gets caught up in a maelstrom when a murder rears its head. Catherine Zeta-Jones is smooth as a professional colleague, and beefy Channing Tatum is agreeable as the husband of Mara’s character. The movie revels in its twists and turns, and in the convoluted world of thriller-movie logic, most of them more or less work. Ask your doctor if Side Effects is right for you. Rated R. 105 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Jonathan Richards)
spicy bland
medium
mild
heartburn
Send comments on movie reviews to pasamovies@sfnewmexican.com.
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SILVER LININGS PLAYBOOK After his release 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. He meets Tiffany ( Jennifer Lawrence), who also has a couple of screws loose. She agrees to help him if he will agree to be her partner in a dance competition. The finely honed dialogue, attention to detail, and impressive performances make the movie a nearperfect oddball comedy. This is the first film in 31 years to receive Oscar nominations for all four principals; it garnered four additional Oscar nods as well. Rated R. 122 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) STAND UP GUYS Director Fisher Stevens packages a mélange of genres that includes the buddy movie, the mob movie, and the over-the-hill-gang movie to produce a sometimes hackneyed but highly entertaining romp. It relies almost entirely on the enormous charm, talent, and history of its three stars — Al Pacino, Christopher Walken, and Alan Arkin — and they do not disappoint. Pacino is Val, released from prison after almost three decades of taking the fall for his gang mates. Walken is Doc, his best friend, who has an unhappy duty on his hands. Arkin is their old pal and getaway driver Hirsch. Stand Up Guys delivers a tasty serving of entertainment and a chance to watch three old pros at work. Rated R. 95 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) 2013 OSCAR NOMINATED SHORT FILMS: ANIMATION The strongest set of animation nominees in years boasts the familiar (Disney and The Simpsons get nods with Paperman and Maggie Simpson in “The Longest Daycare”), the surreal (Fresh Guacamole), the pastoral (Adam and Dog), and the poignant (Head Over Heels). Even better, the program is ideal for children; there are none of the scary or “edgy” films of the past — only heart and humor. Not rated. 41 minutes total. The Screen, Santa Fe. (Robert Ker) 2013 OSCAR NOMINATED SHORT FILMS: DOCUMENTARY In this year’s crop of documentary shorts, Kings Point takes us inside a retirement community; Mondays at Racine shows us a beauty salon that caters to women undergoing chemotherapy once a month; Inocente centers on a homeless, teenage immigrant who strives to become an artist; Redemption looks at people in New York City who survive by redeeming cans and bottles for money; and Open Heart follows Rwandan children to Sudan in search of treatment for their heart disease. Not rated. 195 minutes total. The Screen, Santa Fe. (Not reviewed)
2013 OSCAR NOMINATED SHORT FILMS: LIVE ACTION The liveaction nominees are slightly uneven, but there isn’t a bad one in the bunch. Asad spins a fable of a young boy in a Somali fishing village. Death of a Shadow contains imaginative steampunk set pieces. Curfew tells of a former junkie who babysits his niece; it contains nice moments, but the mix of tones is jarring. Henry is a moving tale of an elderly pianist holding desperately to his memories. Buzkashi Boys is about two boys in Kabul, Afghanistan, who yearn to play a pololike game on horseback. It offers one striking image after another — if a short-film program is like a passport around the world, it’s the brightest stamp. In English and various other languages with subtitles. Not rated. 106 minutes total. The Screen, Santa Fe. (Robert Ker) WARM BODIES A young zombie (Nicholas Hoult) stumbles around with his peers but yearns for more. Enter a cute zombie hunter (Teresa Palmer) who gets his heart beating again. Their extremely unlikely romance holds the key to “curing” the zombie plague, but first they need to fight some skinny, angry, CGI thingies and get daddy (John Malkovich) to approve of their relationship. The setup is clever, and the use of pop music is inspired, but Warm Bodies is thin on content and often lurches along as slowly as the undead. Rated PG-13. 97 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) ZERO DARK THIRTY Kathryn Bigelow’s CIA procedural about the hunt for Osama bin Laden has stoked a fierce debate over the effectiveness and morality of torture. In all of this soul-searching, it’s easy to lose sight of the fact that this is, as they say, only a movie. Jessica Chastain gives a powerful performance in the role of the key investigator. For the most part the events feel real, sometimes unbearably so. Chastain has been nominated for a best actress Oscar, and the film is up for best picture. Rated R. 157 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards)
other screenings Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 Sunday-Tuesday, Feb. 17-19: Hyde Park on Hudson. ◀
AMERICA’S #1MOVIE What’s shoWing Call theaters or check websites to confirm screening times. CCA CinemAtheque And SCreening room
1050 Old Pecos Trail, 982-1338, www.ccasantafe.org Amour (PG-13) Fri. to Sun. noon, 2:30 p.m., 5:15 p.m., 8 p.m. Mon. to Thurs. 12:30 p.m., 3 p.m., 5:30 p.m., 8 p.m. Chasing Ice (PG-13) Fri. to Mon. 1:45 p.m. Tue. and Wed. 1:15 p.m. Thurs. 1:45 p.m. Searching for Sugar Man (PG-13) Fri. to Mon. 4 p.m., 7 p.m. Tue. and Wed. 3:15 p.m. Thurs. 4 p.m., 7 p.m. regAl deVArgAS
562 N. Guadalupe St., 988-2775, www.fandango.com Argo (R) Fri. and Sat. 1:30 p.m., 4:20 p.m., 7:20 p.m., 9:50 p.m. Sun. to Thurs. 1:30 p.m., 4:20 p.m., 7:20 p.m. Beasts of the Southern Wild (PG-13) Fri. to Thurs. 4:40 p.m., 7:10 p.m. Les Misérables (PG-13) Fri. and Sat. 1:20 p.m., 9:20 p.m. Sun. to Thurs. 1:20 p.m. Masquerade (NR) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:55 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. Quartet (PG-13) Fri. and Sat. 1:40 p.m., 4:10 p.m., 7:30 p.m., 9:45 p.m. Sun. to Thurs. 1:40 p.m., 4:10 p.m., 7:30 p.m. Silver Linings Playbook (R) Fri. and Sat. 1:10 p.m., 3:50 p.m., 6:50 p.m., 9:40 p.m. Sun. to Thurs. 1:10 p.m., 3:50 p.m., 6:50 p.m. Stand Up Guys (R) Fri. and Sat. 1:50 p.m., 4:30 p.m., 7:40 p.m., 10 p.m. Sun. to Thurs. 1:50 p.m., 4:30 p.m., 7:40 p.m. regAl StAdium 14
3474 Zafarano Drive, 424-6296, www.fandango.com Beautiful Creatures (PG-13) Fri. to Thurs. 1:30 p.m., 4:20 p.m., 7:15 p.m., 10:30 p.m. Escape From Planet Earth 3D (PG) Fri. to Thurs. 4:45 p.m., 7:05 p.m. Escape From Planet Earth (PG) Fri. to Thurs. 2:20 p.m., 9:30 p.m. A Good Day to Die Hard (R) Fri. to Thurs. 1:20 p.m., 2 p.m., 4:10 p.m., 4:40 p.m., 7:10 p.m., 7:40 p.m., 10:15 p.m., 10:45 p.m. Hansel & Gretel:Witch Hunters 3D (R) Fri. to Thurs. 2:05 p.m., 7:20 p.m., 9:40 p.m. Hansel & Gretel:Witch Hunters (R) Fri. to Thurs. 4:45 p.m. The Hobbit:An Unexpected Journey (PG-13) Fri. to Thurs. 5:15 p.m. IdentityThief (R) Fri. to Thurs. 2 p.m., 4:50 p.m., 7:30 p.m., 10:10 p.m. Life of Pi 3D (PG) Fri. to Thurs. 1:15 p.m., 7:15 p.m. Life of Pi (PG) Fri. to Thurs. 4:15 p.m., 10:15 p.m. Lincoln (PG-13) Fri. to Thurs. 1:25 p.m., 9 p.m. Mama (PG-13) Fri. to Thurs. 1:50 p.m., 4:55 p.m., 7:50 p.m., 10:20 p.m. Safe Haven (PG-13) Fri. to Thurs. 1 p.m., 1:30 p.m., 4 p.m., 4:30 p.m., 7 p.m., 7:45 p.m., 10 p.m., 10:30 p.m. Side Effects (R) Fri. to Thurs. 2:15 p.m., 5 p.m., 7:45 p.m., 10:25 p.m. Warm Bodies (PG-13) Fri. to Thurs. 1:40 p.m., 4:25 p.m., 7:55 p.m., 10:25 p.m. Zero DarkThirty (R) Fri. to Thurs. 1:10 p.m., 4:50 p.m., 8:35 p.m. the SCreen
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com Any Day Now (R) Mon. to Thurs. 2:45 p.m. Oscar Nominated Short Films 2013:Animation
Fri. 4:30 p.m. Sun. 11 a.m. Mon. and Tue. 4:45 p.m. Oscar Nominated Short Films 2013: Documentary
(NR) Sun. 3 p.m. Wed. 7 p.m.
Oscar Nominated Short Films 2013: Live Action
Sat. 4:10 p.m. Sun. 6:30 p.m. Mon. and Tue. 8:15 p.m.
The Waiting Room (NR) Fri. and Sat. 6:30 p.m.
Sun. 1 p.m. Mon. and Tue. 6:30 p.m. Wed. and Thurs. 5 p.m.
Storyteller dreAmCAtCher CinemA (eSpAñolA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.storytellertheatres.com Beautiful Creatures (PG-13) Fri. 4:05 p.m., 7 p.m., 9:40 p.m. Sat. and Sun. 12:50 p.m., 4:05 p.m., 7 p.m., 9:40 p.m. Mon. 12:50 p.m., 4:05 p.m., 7 p.m. Tue. to Thurs. 4:05 p.m., 7 p.m. Escape From Planet Earth 3D (PG) Fri. 6:45 p.m., 9:10 p.m. Sat. and Sun. 1:30 p.m., 6:45 p.m., 9:10 p.m. Mon. 1:30 p.m., 6:45 p.m. Tue. to Thurs. 6:45 p.m. Escape From Planet Earth (PG) Fri. to Thurs. 4:25 p.m. A Good Day to Die Hard (R) Fri. 4:25 p.m., 7:10 p.m., 9:20 p.m. Sat. and Sun. 1:10 p.m., 4:25 p.m., 7:10 p.m., 9:20 p.m. Mon. 1:10 p.m., 4:25 p.m., 7:10 p.m. Tue. to Thurs. 4:25 p.m., 7:10 p.m. Hansel & Gretel:Witch Hunters 3D (R) Fri. 7:25 p.m., 9:30 p.m. Sat. and Sun. 1:35 p.m., 7:25 p.m., 9:30 p.m. Mon. 1:35 p.m., 7:25 p.m. Tue. to Thurs. 7:25 p.m. Hansel & Gretel:Witch Hunters (R) Fri. to Thurs. 4:35 p.m. IdentityThief (R) Fri. 4 p.m., 7:05 p.m., 9:25 p.m. Sat. and Sun. 1:25 p.m., 4 p.m., 7:05 p.m., 9:25 p.m. Mon. 1:25 p.m., 4 p.m., 7:05 p.m. Tue. to Thurs. 4 p.m., 7:05 p.m. Mama (PG-13) Fri. 4:20 p.m., 6:50 p.m., 9:05 p.m. Sat. and Sun. 1:15 p.m., 4:20 p.m., 6:50 p.m., 9:05 p.m. Mon. 1:15 p.m., 4:20 p.m., 6:50 p.m. Tue. to Thurs. 4:20 p.m., 6:50 p.m. Safe Haven (PG-13) Fri. 4:10 p.m., 7:10 p.m., 9:55 p.m. Sat. and Sun. 1:05 p.m., 4:10 p.m., 7:10 p.m., 9:55 p.m. Mon. 1:05 p.m., 4:10 p.m., 7:10 p.m. Tue. to Thurs. 4:10 p.m., 7:10 p.m. Side Effects (R) Fri. 3:55 p.m., 6:55 p.m., 9:45 p.m. Sat. and Sun. 1:20 p.m., 3:55 p.m., 6:55 p.m., 9:45 p.m. Mon. 1:20 p.m., 3:55 p.m., 6:55 p.m. Tue. to Thurs. 3:55 p.m., 6:55 p.m. Warm Bodies (PG-13) Fri. 4:15 p.m., 7:15 p.m., 9:50 p.m. Sat. and Sun. 12:55 p.m., 4:15 p.m., 7:15 p.m., 9:50 p.m. Mon. 12:55 p.m., 4:15 p.m., 7:15 p.m. Tue. to Thurs. 4:15 p.m., 7:15 p.m. Zero DarkThirty (R) Fri. 3:30 p.m., 6:40 p.m. Sat. to Mon. 12:25 p.m., 3:30 p.m., 6:40 p.m. Tue. to Thurs. 3:30 p.m., 6:40 p.m.
© 2012 UNIVERSAL STUDIOS
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SANTA FE NEW MEXICAN - Kristina Bravo, LA Weekly FRI: 2/15
1/8 PG. (4.75”) x 2.688” ALL.IDT.0215.NMX
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02.15.13 regal DeVargas Mall 6 562 North Guadalupe, Santa Fe (800) FANDANGO 608#
STARTS TODAY
THE BEST PICTURE OF THE YEAR.
‘‘
DAVID O. RUSSELL’S FILM IS ABOUT THE PERSISTENCE OF HOPE AND THE POSSIBILITY OF HEALING LOVE.’’ JOE MOrGENSTErN
Storyteller CinemA (tAoS)
110 Old Talpa Canon Road, 575-751-4245 Beautiful Creatures (PG-13) Fri. 4:40 p.m., 7:15 p.m., 9:50 p.m. Sat. 2:05 p.m., 4:40 p.m., 7:15 p.m., 9:50 p.m. Sun. 2:05 p.m., 4:40 p.m., 7:15 p.m. Mon. to Thurs. 4:40 p.m., 7:15 p.m. Escape From Planet Earth 3D (PG) Fri. and Sat. 7:20 p.m., 9:30 p.m. Sun. to Thurs. 7:20 p.m. Escape From Planet Earth (PG) Fri. 4:45 p.m. Sat. and Sun. 2:20 p.m., 4:45 p.m. Mon. to Thurs. 4:45 p.m. A Good Day to Die Hard (R) Fri. 4:50 p.m., 7:25 p.m., 9:40 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:25 p.m., 9:40 p.m. Sun. 2:25 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. IdentityThief (R) Fri. 4:35 p.m., 7:05 p.m., 9:55 p.m. Sat. 2:10 p.m., 4:35 p.m., 7:05 p.m., 9:55 p.m. Sun. 2:10 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. Safe Haven (PG-13) Fri. 4:30 p.m., 7 p.m., 9:55 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:55 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Side Effects (R) Fri. 4:55 p.m., 7:10 p.m., 9:45 p.m. Sat. 2:15 p.m., 4:55 p.m., 7:10 p.m., 9:45 p.m. Sun. 2:15 p.m., 4:55 p.m., 7:10 p.m. Mon. to Thurs. 4:55 p.m., 7:10 p.m. Warm Bodies (PG-13) Fri. 4:45 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:30 p.m., 4:45 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:30 p.m., 4:45 p.m., 7:30 p.m. Mon. to Thurs. 4:45 p.m., 7:30 p.m.
WrITTEn fOr ThE SCrEEn AnD DIrECTED by
DAvID O. rUSSELL
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moving images film reviews
A bitter pill Laurel Gladden I For The New Mexican The Waiting Room, documentary, not rated, The Screen, 3.5 chiles Remember the old adage about walking a mile in someone else’s shoes? Watching this new documentary from director Peter Nicks might be the closest thing to doing that while you’re sitting down. It’s a scathing, unrelenting, fly-on-the-wall peek into the daily workings of our flawed medical system, the patients who navigate it, and the professionals who try to make it work. Nicks transports us to Highland Hospital in Oakland, California, a public hospital and, according to one doctor, “the safety net of society ... an institution of last resort.” As the day begins, sick, injured, and frightened patients — some of whom don’t speak English and many of whom are uninsured — begin to fill the waiting room. (Nicks actually spent five months filming, distilled the footage into a representation of a typical day, and compressed the action into a tidy 81 minutes.) The admitting nurse sets the tone for the day and establishes herself as the friendly but won’t-takeany-flak boss of the waiting room. You hear her calling patients “baby” or “sweetie punkin pie.” But she also tells a foul-mouthed man, “Stop all that cussing! ... You’re disrespecting everybody. ... You keep cussing at me, I’m gonna break you off something. ... You get a grip!” Nicks then introduces us to the patient-subjects. One is a carpet layer who is self-employed but has worked for Sherwin-Williams for 30 years. He recently took a pay cut to compete with immigrant workers and is now upside-down on his mortgage. Bone spurs in his back have left him in chronic pain.
Nurse Cynthia Y. Johnson of Highland Hospital 52
February 15 -21, 2013
Uninsured patients are a preexisting condition: The Waiting Room
Without a primary care physician, he will have to wait months for a follow-up call from a specialist or surgeon, and in the meantime he must rely on prescription painkillers. An unemployed father and his estranged wife take turns sitting beside their young daughter, whose tongue and throat are so swollen that she can barely close her mouth. She clearly has some sort of infection — when a nurse takes her temperature, it’s 103.4. The nurse tries to soothe the girl by joking, “They’ve got a radio station in there, girl!” The father admits, “You’re used to having those benefits. ... It just seems like a letdown when you have to depend on somebody to help you out when you’re not having the means to do it yourself, the right way.” A 20-something man with long hair and a scraggly beard arrives looking slightly panicked. Months earlier, he discovered a growth on one of his testicles. He went to a different hospital, where doctors performed a battery of tests and recommended surgery. On the day of his scheduled procedure, that hospital turned him away because he was uninsured. We get a glimpse of the obstacles and frustrations both doctors and patients face. A physician says, “We see patients coming in with very treatable conditions who don’t have access to a regular doctor. I know that I can make someone better in the short term, but the ER is not the place to manage someone’s overall health.” In fact, a handful of patients come in simply because they need refills on their diabetes medications. The nurses discuss one man who waited seven hours just to get some Tylenol. A doctor lobbies on behalf of a 44-year-old man who recently had a stroke. The man doesn’t have a regular doctor to monitor his condition, he doesn’t have insurance, and he can’t afford his medication. The ER can’t admit him, but the doctor worries, “I can’t let this guy slip through the cracks!” He finally convinces a neurologist to admit the patient to her private clinic within a month.
A homeless man — it’s clear he’s a frequent visitor — is brought in after he is found passed out on the street. A call to the shelter where the man has been staying reveals that he repeatedly relapses into alcohol and drug use — so often that the shelter is reluctant to take him in again. But it’s nighttime, and the man is disoriented, short of breath, and without a place to go. Can the staff in good conscience turn him out onto the street? His doctor admits, “There are times I have to admit people to the hospital ... just as much for their social conditions as for their medical ones.” Meanwhile, an older man who was recently treated for a gunshot wound waits to see someone about the numbness he is experiencing. A young woman talks about having to wait three or four days for treatment of her companion’s supposedly urgent condition. And then a group of gunshot victims, including a 15-year-old boy, arrives in an ambulance, causing nearly all the doctors and nurses to drop what they’re doing. “People with legitimately serious illnesses are gonna get bumped over and over and over again” so the team can deal with trauma cases, one doctor says. The Waiting Room is a documentary in the truest sense of the word: it documents something. We do not see a single talking head spouting opinions or proposing solutions from a comfortable book-lined study, and we hear only a few voice-overs. Nicks doesn’t give the names of the patients, delve into their lives outside the ER, or follow up with them after their visit. Despite the fact that his film deals with a hot-button political topic like the state of U.S. healthcare, he refrains from taking an activist stance, and he doesn’t preach. He simply lets you sit back in your comfortable theater seat and observe something you might not know exists — something you might otherwise have ignored. Whatever your opinion about the issue, this film should be required viewing. You’ll have a hard time looking the other way afterward. ◀
moving images film reviews
King for a fortnight Jonathan Richards I For The New Mexican Masquerade, comedy, not rated, in Korean with subtitles, Regal DeVargas, 3 chiles In Dave, Ivan Reitman’s great 1993 political comedy, Kevin Kline plays Dave, a small-time entertainer and a dead ringer for the president of the United States. Dave is enlisted by top White House aides to stand in for the president at public functions when the great man wants to slip away for some hanky-panky. When the president suffers a stroke, the stand-in must continue in the role while the fallen leader is treated in secret, so that the country will not panic. President Mitchell (also Kline) is cynical and corrupt; Dave is a good guy, and as he warms to the job, he makes sweeping reforms and wins back the heart of Mitchell’s estranged first lady. In Masquerade, the new political comedy from South Korean director Choo Chang-min, Lee Byunghun (G.I. Joe: The Rise of Cobra) plays Ha-seon, a small-time entertainer in 17th-century Seoul and a dead ringer for the king. Ha-seon is enlisted by top court aides to stand in for the king at public functions when the ruler becomes concerned about assassination attempts. When the king is poisoned, the stand-in must continue in the role while the fallen
A house united against itself: Lee Byung-hun
leader is treated in secret, so that the country will not panic. King Gwanghae (also Lee) is tyrannical and paranoid; Ha-seon is a good guy, and as he warms to the job, he makes sweeping reforms and wins back the heart of Gwanghae’s estranged queen. The parallels, you would have to say, are striking. Yet Masquerade is much more than just a remake transposed to another time and culture. It’s a robust, colorful, masterfully spun yarn. It calls to mind the great MGM Technicolor swashbucklers of the ’40s and ’50s, particularly The Prisoner of Zenda (1952), in which Stewart Granger plays Rudolf Rassendyll, a dead ringer for King Rudolf V of Ruritania (also Granger), who is recruited by top court aides to stand in for the king when the ruler is drugged and kidnapped. Rassendyll, you will not be surprised to learn, turns out to be a much better guy than the king, enacts sweeping reforms, and, yes, wins back the heart of the king’s estranged fiancée. What does all this mean? It means it’s a crackling good yarn that has served well to entertain in the past and no doubt will serve well in the future. What matters is how it’s done, and in the hands of Choo and his cast, the tradition is alive and well. Choo has tied this venerable plot to an actual historical mystery. King Gwanghae was the 15th ruler of Korea’s Joseon dynasty. As the film’s production notes recount, “Constant threats of assassination and overthrow turned him into a paranoid tyrant.” But a curious thing happened. “For a brief period in the eighth year of his reign, he was a kind and sage king — unprecedented in history.” What makes this anomaly truly fascinating is this: there is a mysterious 15-day gap in the court records for that year. “Matters that need to be concealed,” the records state, “shall not be recorded in the daily government gazette.” So what happened during that elusive fortnight that coincides with this tyrannical king’s detour
into unprecedented liberal reforms? Choo plugs the Dave/Zenda template into this historical mystery, and it fits like a glove. This being a Korean costume yarn set in the 17th century, it has a lot more blood splashed around than you’ll find in Dave, and a lot more swordplay, dead bodies, and severed limbs. But there’s also plenty of romance and plenty of humor. In a hilarious bit of bathroom humor, Ha-seon, in one of his early introductions to the rituals of kingly life, must defecate publicly in front of bowing courtiers, who sing out “Congratulations, Your Majesty” as the royal bowels move. The plot forces its way at times through a few narrow straits involving telltale identification giveaways such as royal birthmarks and scars, but the momentum of Choo’s masterful storytelling carries it along. The movie is drenched in deep velvety color by cinematographer Lee Tae-yoon. The cast is terrific. Lee, who is one of Korea’s top stars (soon to appear in the sequel to the 2010 action comedy Red), handles the dual role of prince and pauper with a great style and subtlety that only occasionally threatens to get too broad. There are the expected missteps as Ha-seon tries to adapt himself to the unfamiliar protocols of regal routine and has to be sternly reminded by the chief secretary (Ryoo Seung-yong): “His Majesty is a king, not a storyteller from the marketplace.” As in Dave, comedy gives way to poignant melodrama as the story rattles to its fast-paced conclusion, and Captain Do of the palace police (Kim In-kwon) takes up the mantle of the Secret Service bodyguard in the Reitman picture who tells Dave, “I would have taken a bullet for you.” Both movies have something serious to say about the impulses that ought to govern our leaders as they govern us. And both do it in an irresistibly entertaining style. ◀ PASATIEMPO
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RESTAURANT REVIEW Laurel Gladden I For The New Mexican
Tuning fork
Tune-Up Café 1115 Hickox St., 983-7060 Breakfast & lunch 7 a.m.-5 p.m. Mondays-Fridays, 8 a.m.-5 p.m. Saturdays & Sundays; dinner 5-10 p.m. daily
Takeout Beer, wine, sake & sake-based cocktails Vegetarian options Breakfast available all day Noise level: pleasantly quiet to deafeningly loud Patio dining in season Credit cards, no checks
•
The Short Order Tune-Up Café is the sort of place you want to love. It’s a cute, popular, homey little joint with a widely varying menu; warm, welcoming owners and staff; a patio out front; an often-crowded community table; and even a tiny bar in the back. If you live in the neighborhood, you probably eat there a lot, partly out of convenience and partly because some of the food is good. But if you don’t live in the neighborhood, is it worth going out of your way? The food is clearly made with love, sometimes using flavorful ingredients, but it’s not quite as good as it could be. Recommended: breakfast burrito, house salad, flat-iron steak, and grilled salmon tacos.
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.
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February 15 -21, 2013
Tune-Up Café is the sort of place you really want to love. It’s a cute, popular, homey little joint with a widely varying menu; warm, welcoming owners and staff; a patio out front; an often-crowded community table; and even a tiny bar in the back. If I lived in the neighborhood — a few blocks down Hickox Street — I’d probably end up eating there a lot, partly out of convenience and partly because some of the food is good. Problem is, I don’t live in Tune-Up’s neighborhood. And Santa Fe is home to hundreds of destinations for breakfast, lunch, and dinner, many of which offer an ambience and food I’m more willing to go out of my way for. There are things to like about Tune-Up. The kitchen serves giant, fluffy buttermilk pancakes; hefty breakfast burritos smothered in chile; deep bowls of huevos rancheros that include perfectly cooked, fabulously herby pinto beans; and generous burgers served on platters overflowing with salty golden fries. The pupusas are the best kind of comfort food: warm, stretchy cheese inside slightly starchy masa, accompanied by a brilliantly fuchsia curtido — a pleasing acidic palate cleanser with a welcome vegetal crunch. The nachos are a riot of color: orange cheddar, ruby tomato, and emerald jalapeño — especially welcome on a dark winter’s night. But then the blueberry pancakes you ordered have no fruit in them, and some bites have a meaty or peppery aftertaste. The dark red chile on your burrito tastes too much like barbecue sauce. Your over-medium eggs are undercooked and runny, turning your huevos rancheros into a soupy light-brown mess. Your burger, ordered medium, arrives overcooked, crumbly dry, and gray, and your fries are deep brown and funky-tasting. The pupusa has a lovely slight crunch on the top, but the underside is burnt almost black. Every element of your nachos — even the roasted tomato salsa and fresh jalapeño — tastes remarkably bland, especially the mysterious dollop of dull, mushy refritos (why not use those impressively executed pintos?). Some things go off without a hitch. The house salad is a lovely jumble of crisp greens and vivid vegetables, lightly drizzled with a sprightly sherry vinaigrette. Tune-Up encourages diners to make tiny tacos with the excellent flat-iron steak, providing tortillas, strips of bitingly hot green chile, pungent pico de gallo (which would be great tumbled over nachos), and more of those perfect pintos. My three salmon tacos included gorgeous hunks of grilled fish; a tangy, saucy slaw; and a tantalizing tomatilloavocado salsa that teetered between creamy and acidic. I was thrilled to see crisp Magners Irish Cider on tap, and the list of sake-based drinks is evidence of some creative cocktail thinking. On weekends, the dining room is a busy and bustling place to see and be seen, at least in certain social circles. Too bad this bustle often elevates the noise level to a deafening intensity, making conversation nearly impossible.
Counter service seems an awkward, inefficient choice for a place that is often so loud and crowded. You order at the register, give your name, and wait until you hear someone shouting it while wandering around the restaurant carrying your food. One busy Saturday, I saw several plates travel back and forth across the restaurant and then out into the chilly winter air on the patio before reaching their destination. Timing can also be a problem, with entrées arriving while you’re still enjoying your appetizer. Still, practically everyone who works here, including owners Jesus and Charlotte Rivera, is cheery and motivated. And in the evening, when table service is offered, food arrives with much less bother and confusion. Our server was sweet, soft-spoken, attentive, and quick. Tune-Up has a host of desserts, many of which are gluten free. One evening, four different pies were being served, although peach and strawberry-rhubarb in winter struck me as oddly unseasonal. The pecan pie was a slab of excellent pecan brittle on top of fantastic butterscotch custard. It tasted fine and sweet, but it wasn’t cohesive. The crust was thick and flaky, except for the spots that had turned unpleasantly tough, presumably from being microwaved. My assessment of that pie holds true for many other dishes here: it was clearly made with love using some flavorful ingredients, but it wasn’t quite as good as it could be. Perhaps you could say it just needs a little tune-up. ◀
Check, please
Brunch for four at Tune-Up Café: Coffee ................................................................$ 2.00 Tune-Up burger .................................................$ 8.25 Smothered breakfast burrito ..............................$ 8.25 Blueberry buttermilk pancakes ..........................$ 7.50 Huevos rancheros ..............................................$ 7.50 Single pupusa ....................................................$ 5.00 TOTAL ...............................................................$ 38.50 (before tax and tip) Dinner for two, another visit: Nachos ...............................................................$ 8.50 Flat-iron steak ...................................................$ 13.75 Salmon tacos ......................................................$ 14.50 Pint, Magners Irish Cider ..................................$ 5.00 Pint, Stone IPA ...................................................$ 5.00 Pecan pie ...........................................................$ 4.50 Coffee ................................................................$ 2.00 TOTAL ...............................................................$ 53.25 (before tax and tip)
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2013 Oscar Nominee for Best Documentary!!!
New Mexico Filmmakers Experience:
Black History Month 11:00a Sun Feb 17
Meet-the-Filmmaker screening & Panel Discussion • Free and open to the public!! Sneak preview: Sundance-winning independent film
UPSTREAM COLOR
at The Lensic • 7:00p, Fri Feb 22
Director Shane Carruth, director of PRIMER, IN PERSON!!! A fundraiser for the CCA Cinematheque. $12. Tickets at Ticketssantafe.org or call 988-1234 “Ecstatically beautiful” –Village Voice
Fri-Sat Feb 15-16 12:00p - Amour 1:45p - Chasing Ice* 2:30p - Amour 4:00p - Sugar Man* 5:15p - Amour 7:00p - Sugar Man* 8:00p - Amour
Sun Feb 17 11:00a - NMFE: Black History Month - FREE* 12:00p - Amour 1:45p - Chasing Ice* 2:30p - Amour 4:00p - Sugar Man* 5:15p - Amour 7:00p - Sugar Man* 8:00p - Amour
Mon Feb 18 12:30p - Amour 1:45p - Chasing Ice* 3:00p - Amour 4:00p - Sugar Man* 5:30p - Amour 7:00p - Sugar Man* 8:00p - Amour
Tues-Weds Feb 19-20
Thurs Feb 21
12:30p - Amour 1:15p - Chasing Ice* 3:00p - Amour 3:15p - Sugar Man* 5:30p - Amour 8:00p - Amour
12:30p - Amour 1:45p - Chasing Ice* 3:00p - Amour 4:00p - Sugar Man* 5:30p - Amour 7:00p - Sugar Man* 8:00p - Amour
* indicates show will be in The Studio at CCA for $7.50 or $6.00 for CCA Members
Concessions Provided by WHOLE FOODS MARKET PASATIEMPO
55
pasa week
compiled by Pamela Beach, pambeach@sfnewmexican.com
15 Friday GALLERy/MUSEUM oPENINGS
Alexandra Stevens Fine Art 820 Canyon Rd., 988-1311. Heartfelt Expressions, new work by gallery artists, reception 5:30-7 p.m., through February. Commissioner’s Gallery — New Mexico State Land office 310 Old Santa Fe Trail, 827-5762. Enchanting Bolos and Paintings of New Mexico, work by Wayne Meyerowitz and Betty Carlson, through March 15. David Richard Gallery 544 S. Guadalupe St., 983-9555. Woven and Stitched, textiles by Judy Chicago; The Tapestries — Forces of Nature and Beyond, work by June Wayne; Stained and Unstretched, paintings by Paul Reed; through March 23. Gallery 822 822 Canyon Rd., 989-1700. Valentine’s Show, work by gallery artists, reception 4-7 p.m. Photo-eye Gallery 376-A Garcia St., 988-5152. The Nude: Classical, Contemporary, Cultural, reception 5-7 p.m., through April 20.
CLASSICAL MUSIC8
Music on Barcelona The chamber music ensemble performs music of Dahl, Lachner, and Gounod, 5:30-6:30 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., no charge, 424-0994. Peter Pesic Piano recital, music of Chopin and Schoenberg, 12:15-1:10 p.m., Junior Common Room, Peterson Student Center, 1160 Camino de Cruz Blanca, no charge. TGIF organ recital Fred Frahm performs original compositions, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544, Ext. 16.
IN CoNCERT
Peter Mulvey Singer/songwriter, 7:30 p.m., doors open at 6:30 p.m., Garrett’s Desert Inn, 311 Old Santa Fe Trail, $20 in advance, $22 at the door, brownpapertickets.com.
THEATER/DANCE
‘Beauty of the Father’ Theaterwork presents Nilo Cruz’s drama, 7:30 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, teens $10, 471-1799, final weekend (see review, Page 24). Benchwarmers 12 Annual showcase of New Mexico talent presented by Santa Fe Playhouse; eight fully staged playlets, 7:30 p.m., 142 E. De Vargas St., $20, 988-4262, santafeplayhouse.org, ThursdaySunday through March 3.
Pasa’s Little Black Book......... 57 Exhibitionism...................... 58 At the Galleries.................... 59 Libraries.............................. 59 Museums & Art Spaces........ 59 In the Wings....................... 60 56
February 15 -21, 2013
Piotr Beczala as the Duke in The Metropolitan Opera live HD broadcast of Verdi’s Rigoletto at the Lensic Saturday, Feb. 16.
‘No Exit’ Student-directed adaptation of Jean Paul Sartre’s drama, 7 p.m., Weckesser Studio Theatre, Greer Garson Theatre Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $5 at the door, through Sunday, Feb. 17. ‘The Warriors: A Love Story’ ARCOS Dance presents its multi-media performance, 7:30 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, $20 in advance, student discounts available, 473-7434 or info@arcosdance.com, final weekend (see review, Page 25).
BooKS/TALKS
Karl May and Beyond: Indian Hobbyists in 20th-Century Germany Exhibit lecture by Indian studies professor Birgit Hans in conjunction with the exhibit Tall Tales of the Wild West: The Stories of Karl May, 6 p.m., New Mexico History Museum, 113 Lincoln Ave., no charge, 476-1141. Trafficking of Women in Thailand Erin Kamler speaks, 5:30 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, no charge, presented by Santa Fe Council on International Relations, $20, 982-4931.
Elsewhere............................ 62 People Who Need People..... 63 Under 21............................. 63 Pasa Kids............................ 63 Sound Waves...................... 63
NIGHTLIFE
(See Page 57 for addresses) Café Café Los Primos Trio, traditional Latin rhythms, 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. Club 139 at Milagro DJ Alchemy, sol therapy and Chicanobuilt, 9 p.m., $5-$7 cover. Cowgirl BBQ Singer/songwriter Liv Lombardi, 5-7:30 p.m.; Broomdust Caravan, juke joint honky-tonk and biker bar rock, 8:30 p.m.-close; no cover. Dinner for Two Classical guitarist David Briggs, 7 p.m., no cover. El Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. El Farol Controlled Burn, rock and blues, 9 p.m.-close, $5 cover. Hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover.
La Fiesta Lounge at La Fonda Syd Masters & the Swing Riders, Western swing, 8-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Nacha Mendez Trio, pan-Latin rhythms, 6:30-9:30 p.m., no cover. The Legal Tender at the Lamy Railroad Museum Tornados, classic rock and country, 6-9 p.m., call for cover. The Locker Room Sports Bar & Grill Paul Pino and The Tone Daddies, 10 p.m.1:30 a.m., no cover. The Mine Shaft Tavern Open-mic night followed by DJs Ian and Matt, 7-11 p.m., no cover. Pranzo Italian Grill Jazz pianist Robin Holloway, 6-9 p.m., $2 cover. Second Street Brewery Swing Soleil, Gypsy jazz and swing, 6 p.m., no cover. Second Street Brewery at the Railyard Roots rock duo Man No Sober, 6-9 p.m., no cover. The Underground at Evangelo’s Rock cover band Chango, 9:30 p.m.-close, $5 cover. Vanessie Cynthia Becker and Gwen Lenore, 8 p.m., $5 cover.
calendar guidelines Please submit information and listings for Pasa Week
no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. Follow Pasatiempo on Facebook and Twitter.
16 Saturday gallery/museum openings
el Centro de santa Fe 102 E. Water St., 983-2301. Art-O-Mat vending machine installation, reception 1-5 p.m. Than povi gallery 6 Banana Ln., 10 miles north of Santa Fe off US 84/285, 301-3956. Grand opening 10 a.m.
opera in hd
The met live in hd Verdi’s Rigoletto, 11 a.m. and 6 p.m., the Lensic, $22-$28, discounts available, ticketssantafe.org, 988-1234.
in ConCerT
alan munde and elliott rogers Bluegrass duo, banjo workshop 1 p.m., songwriting workshop 3 p.m., concert 8 p.m., O’Shaughnessy Performance Space, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., workshops $15, concert $15, tickets available at the door. The hollands Folk revival quartet, 7 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $10, youth $5, 983-5022. lori Carsillo with straight up The vocalist and the local jazz ensemble in St. John’s College’s Music on the Hill Elevated series, 7:30 p.m., doors open at 7 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, $25 in advance and at the door, 984-6199. new shoots Trio Sandra Wong, Greg Tanner Harris, and Ross Martin, vibraphone, fiddle, and guitar, 7:30 p.m., Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com.
d Wine Bar 315 restaurant an 986-9190 il, Tra Fe a nt 315 Old Sa nt & Bar anasazi restaura Anasazi, the of Rosewood Inn e., 988-3030 113 Washington Av nch resort & spa Bishop’s lodge ra ., 983-6377 Rd 1297 Bishops Lodge fé Ca Café 6-1391 500 Sandoval St., 46 ón es m el at ¡Chispa! e., 983-6756 213 Washington Av uthside Cleopatra Café so 4-5644 47 ., Dr o an far Za 3482 gro Club 139 at mila St., 995-0139 o isc nc Fra n Sa . 139 W Q BB rl gi Cow , 982-2565 319 S. Guadalupe St. dinner for Two , 820-2075 106 N. Guadalupe St. at The pink The dragon rooma Fe Trail, 983-7712 nt adobe 406 Old Sa lton el Cañon at the hi 811 8-2 98 , St. al ov nd 100 Sa spa 309 W. San eldorado hotel & 5 45 8-4 98 , St. Francisco el Farol 3-9912 808 Canyon Rd., 98
TheaTer/danCe
‘Beauty of the Father’ Theaterwork presents Nilo Cruz’s drama, 7:30 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, teens $10, 471-1799, final weekend (see review, Page 24). Benchwarmers 12 Annual showcase of New Mexico talent presented by Santa Fe Playhouse; eight fully staged playlets, 7:30 p.m., 142 E. De Vargas St., $20, discounts available, 988-4262, santafeplayhouse.org, ThursdaySunday through March 3. Jewel Box Cabaret Gender illusion, musical comedy, and burlesque, 8:30 p.m., María Benítez Theatre, The Lodge at Santa Fe, 750 N. St. Francis Dr., $10 at the door, 428-7781. ‘no exit’ Student-directed adaptation of Jean Paul Sartre’s drama, 7 p.m., Weckesser Studio Theatre, Greer Garson Theatre Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $5 at the door, through Sunday, Feb. 17. ‘The Warriors: a love story’ ARCOS Dance presents its multi-media performance, 7:30 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, $20 in advance, student discounts available, info@arcosdance.com or 473-7434, final weekend (see review, Page 25).
Books/Talks
audrey hartley The author signs copies of her children’s book, Colors for Michaela, 1-3 p.m., Travel Bug Books, 839 Paseo de Peralta, 992-0418. ksFr radio benefit Is Democracy Over?, talk by Marty Kaplan, reception with wine and hors d’oeuvres 5:30 p.m., talk 6:30 p.m. followed by a discussion with Kaplan and Craig Barnes, Museum Hill Café, 710 Camino Lejo, Plaza, $75 in advance, 428-1527 or ksfr.org.
Pasa’s little black book ill el paseo Bar & gr 848 2-2 208 Galisteo St., 99 evangelo’s o St., 982-9014 200 W. San Francisc hotel santa Fe ta, 982-1200 1501 Paseo de Peral la Boca 2-3433 72 W. Marcy St., 98 ina la Casa sena Cant 8-9232 98 125 E. Palace Ave., at la Fonda la Fiesta lounge , 982-5511 St. o 100 E. San Francisc a Fe resort nt sa la posada de lace Ave., and spa 330 E. Pa 986-0000 at the The legal Tender eum us m d lamy railroa 466-1650 151 Old Lamy Trail, g arts Center in lensic perform o St., 988-1234 isc nc Fra n Sa 211 W. 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 125 Washington ó ay im Ch l at hote Ave., 988-4900
santa Fe Farmers market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098.
opera Breakfast lecture Desirée Mays discusses Verdi’s Rigoletto as part of a series of pre-opera lectures in conjunction with The Met at the Lensic season, 9:30 a.m., Collected Works Bookstore, 202 Galisteo St., $5 donation at the door, 988-4226.
nighTliFe
ouTdoors
santa Fe river cleanup 10 a.m-noon, the barn at Frenchy’s Field, Agua Fría St. and Osage Ave., coordinated by the Santa Fe Watershed Association, santafewatershed.org.
evenTs
The Flea at el museo 8 a.m.-3 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through April. let’s dance! Santa Fe Community Orchestra’s annual swing and ballroom event including music by SFCO and Santa Fe Great Big Jazz Band, food and cash bar, silent auction, and other activities, 7 p.m., free dance lessons 6 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., $10 suggested donation, 466-4879. project party Santa Fe Farmers Market fundraiser with live music by jazz saxophonist Brian Wingard and rock band The Haiku Cowboys, 6:30 p.m., Pavilion, 1607 Paseo de Peralta, $25 includes dinner and one drink, tickets available during Saturday Farmers Market and online at santafefarmersmarket.com. ride-a-Thon SpinDoc grand opening and fundraiser for the World Bicycle Relief fund, 9 a.m.-6 p.m., indoor cycling 9 a.m.-1 p.m., 628 Old Las Vegas Highway, 466-4181. santa Fe artists market president’s day Weekend show 10 a.m.-5 p.m., Hilton of Santa Fe, 100 Sandoval St., 310-1555, continues Sunday, Feb. 17.
The matador 116 W. San Francisco St., 984-5050 The mine shaft Tavern 2846 NM 14, Madrid, 473-0743 molly’s kitchen & lounge 1611 Calle Lorca, 983-7577 museum hill Café 710 Camino Lejo, Milner Plaza, 984-8900 music room at garrett’s desert inn 311 Old Santa Fe Trail, 982-1851 The palace restaurant & saloon 142 W. Palace Ave, 428-0690 pranzo italian grill 540 Montezuma Ave., 984-2645 pyramid Café 505 W. Cordova Rd., 989-1378 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
(See addresses below) Café Café Los Primos Trio, traditional Latin songs, 6-9 p.m., no cover. ¡Chispa! at el mesón J.Q. Whitcomb Quartet, jazz, 7:30-10:30 p.m., no cover. Club 139 at milagro DJ Poetics, hiphop/house/Latin, 9 p.m., $5-$7 cover. Cowgirl BBQ Felix y Los Gatos, zydeco/Tejano/juke-swing, 8:30 p.m.-close; no cover. dinner for Two Zoltan Duo, guitar and bass, 7 p.m., no cover. el Farol Tumbao, salsa, 9 p.m., $5 cover. hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Fiesta lounge at la Fonda Syd Masters & the Swing Riders, Western swing, 8-11 p.m., no cover. la posada de santa Fe resort and spa Jazz vocalist Whitney and guitarist Pat Malone, 8-11 p.m., no cover. The legal Tender at the lamy railroad museum Buffalo Nickel Band, classic country, 6-9 p.m., call for cover. The mine shaft Tavern Jim & Tim, blues duo, 3-7 p.m., no cover. Aladocious, soul, funk, and rock, 7 p.m.-close, call for cover. pranzo italian grill Geist Cabaret with pianist David Geist, 6-9 p.m., $2 cover.
pasa week
continued on Page 61
second street Brewer y at the railyard Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 989-3278 secreto lounge at hotel st. Francis 210 Don Gaspar Ave., 983-5700 The starlight lounge RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781 stats sports Bar & nightlife 135 W. Palace Ave., 982-7265 steaksmith at el gancho 104-B Old Las Vegas Highway, 988-3333 Taberna la Boca 125 Lincoln Ave., Suite 117, 988-7102 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 Totemoff lodge at the santa Fe ski Basin N.M. 475, 982-4429 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
PASATIEMPO
57
exhibitionism
A peek at what’s showing around town
Robert m. ellis: WCCOC No. 24, 2011, woodcut collage on canvas. Following a trip to the Greek islands in 2003, Robert M. Ellis began the Aegean Series. The exhibition, Aegean Reverie, at the Capriccio Foundation (333 Montezuma St.) includes pieces from that series as well as more recent wood constructions and woodcut collages on canvas. Ellis explores color relationships through juxtapositions of rectangular forms. The show runs through March 16. Call 988-9564.
Judy Chicago: Turn Over a New Leaf, 2000, painting, appliqué, and embroidery on linen and charmeuse. Woven and Stitched at David Richard Gallery is an exhibition of Judy Chicago’s textiles that combine figurative imagery with proverbs and words of wisdom. Chicago’s works explore themes of birth and social change through mediums once considered craft or “women’s work.” The exhibition is shown in conjunction with June Wayne: The Tapestries — Forces of Nature and Beyond and Paul Reed: Stained and Unstretched. The exhibits are on view beginning Friday, Feb. 15. A reception is scheduled for 5 p.m. on Feb. 22. Chicago participates in a panel discussion on Feb. 23 at 2 p.m. All events are at the gallery (544 S. Guadalupe St.). Call 983-9555.
howard Daum (1918-1988): June, 1978, oil on canvas. LewAllen Galleries’ Winter Group Show features work by artists in a variety of mediums including oil, acrylic, sculpture, and glass. Artists include Richard Ryan, Emily Mason, and Howard Daum. The show is on view through Feb. 27 at LewAllen’s Railyard location (1613 Paseo de Peralta). Call 988-3250.
Peter Krusko: Pink Plume, 2012, watercolor. Gallery 822 presents a Valentine’s Day show of work by gallery artists Peter Krusko, Sandy Keller, Linda St. Clair, Joshua Tobey, and others. The reception begins at 4 p.m. on Friday, Feb. 15. The gallery is at 822 Canyon Road. Call 989-1700.
58
February 15 -21, 2013
Dominique toya: Micaceous Swirl Vase, circa 2004, micaceous clay. The Museum of Indian Arts and Culture (710 Camino Lejo) presents What’s New in New: Recent Acquisitions. The annual exhibit of new additions is in the Lloyd Kiva New Gallery and honors the gallery’s namesake. The show focuses on modern and contemporary Native art from 1968 to 2012. The show opens with a 1 p.m. reception on Sunday, Feb. 17. Events include a dance performance and a talk. Entrance is by museum admission; there is no charge for New Mexico residents on Sundays. Call 476-1250.
At the GAlleries A Gallery Santa Fe 142 W. Marcy St., Suite 104, 603-7744. Abstract paintings by Vittorio Masoni, through March 16. Adobe Gallery 221 Canyon Rd., 955-0550. Paintings by Quincy Tahoma (1920-1956), through Thursday, Feb. 14. Cochiti Pueblo Figurative Pottery, through Feb. 25. Artservices Gallery 557 W. Cordova Rd., 660-1456. Elephants and Buddhas, photographs by Will Buckley, through February. Axle Contemporary 670-7612 or 670-5854. VaginaVan for V-Day, installation by Shirley Klinghoffer. Visit axleart.com for van locations through Feb. 22. Canyon Road Contemporary Art 403 Canyon Rd., 983-0433. The Heart Collective, group show, through February. Charlotte Jackson Fine Art 554 S. Guadalupe St., 989-8688. Pixel Dust Renderings 2012, computer-generated 3-D work by Ronald Davis, through Feb. 25. Eggman & Walrus Art Emporium 130 W. Palace Ave., second floor, 660-0048. Pinupology, photographs and multimedia by Carolina Tafoya and Ungelbah Dávila, through Feb. 23. La Tienda Exhibit Space 7 Caliente Rd., Eldorado, 466-4211 or 466-6930. Plein Aire and More, group show, through Saturday, Feb. 16. Manitou Galleries 123 W. Palace Ave., 986-0440. Wine, Chocolate & Jewelry, group show, through Friday, Feb. 15. Marigold Arts 424 Canyon Rd., 982-4142. Winter Shadows, landscape watercolors by Robert Highsmith, through March 14. Monroe Gallery of Photography 112 Don Gaspar Ave., 992-0800. Sid Avery: The Art of the Hollywood Snapshot, through March 24. Santa Fe Arts Commission Community Gallery Santa Fe Community Convention Center, 201 W. Marcy St., 955-6705. Silver: 25 Years of Arts in the Community, group show, through Feb. 22. Santa Fe Clay 545 Camino de la Familia, 984-1122. Ceramics by David Eichelberger, Donna Polseno, and Sam Taylor, through March 2. Santa Fe Community College, School of Arts and Design Visual Arts Gallery 6401 Richards Ave., 428-1501. Fine Woodworking Showcase, works by faculty, students, and program alumni, through March 7. Santa Fe University of Art & Design Fine Arts Gallery 1600 St. Michael’s Dr., 473-6500. Al-Mutanabbi Street Starts Here, traveling group show of book art, through March 22. Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111. Black Space, group show, through Friday, Feb.15.
liBrAries Beaumont and Nancy Newhall Library Marion Center for Photographic Arts, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5052. Open by appointment only.
Catherine McElvain Library School for Advanced Research, 660 Garcia St., 954-7200. Open Monday-Friday, call for hours. Chase Art History Library Thaw Art History Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6569. Open Monday-Friday, call for hours. Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 984-6041. Visit stjohnscollege.edu for hours of operation. $20 fee to nonstudents and nonfaculty. Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 476-5090. Open 1-5 p.m. Tuesday-Friday. Laboratory of Anthropology Library Museum of Indian Arts & Culture, 476-1264. Open 1-5 p.m. Monday-Friday, by museum admission. New Mexico State Library 1209 Camino Carlos Rey, 476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. Monday-Friday. Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 467-6825. Rare books and collections of metaphysical materials. Open Monday-Friday, call for hours. Santa Fe Community College Library 6401 Richards Ave., 428-1352. Open MondayFriday, call for hours. Santa Fe Institute 1399 Hyde Park Rd., 984-8800. Open 1-5 p.m. Monday-Friday to current students (call for details).Visit santafe.edu/library for online catalog. Santa Fe Public Library, Main Branch 145 Washington Ave., 955-6780. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday, 1-5 p.m. Sunday. Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 955-4860. Open 10 a.m.-8 p.m. Monday-Wednesday, 10 a.m.6 p.m. Thursday-Saturday. Closed Sunday. Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 955-2810. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday. Closed Sunday. Supreme Court Law Library 237 Don Gaspar Ave., 827-4850. Online catalog available at supremecourtlawlibrary.org. Open 8 a.m.-5 p.m. Monday-Friday.
MuseuMs & Art spAces refer to the daily calendar listings for special events. Museum hours subject to change on holidays and for special events. Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. Making Light of It: 366 Days of the Apocalypse, paintings by Michelle Blade, Muñoz Waxman Gallery, through Sunday, Feb. 17 • Alone Together, mixed-media paintings by Natalie Smith, through March 10, Spector Ripps Project Space. Gallery hours available by phone or online at ccasantafe.org, no charge. Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Georgia O’Keeffe and the Faraway: Nature and Image, through May 5. Open 10 a.m.-5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Fridays. $12; seniors $10; NM residents $6; students18 and over $10; under 18 no charge; NM residents free 5-7 p.m. first Friday of the month.
painting by Michelle Blade in the Muñoz Waxman Gallery exhibit Making Light of It: 366 Days of the Apocalypse, closing sunday, Feb. 17, center for contemporary Arts
Museum of Contemporary Native Arts 108 Cathedral Pl., 983-8900. Thicker Than Water, lens-based group show • Summer Burial, mixed media by Jason Lujan; through May 12 • Spyglass Field Recordings: Santa Fe; multimedia work by Nathan Pohio • Images of Life, portraits by Tyree Honga • Moccasins and Microphones: Modern Storytelling Through Performance Poetry, documentary by Cordillera Productions; through March. 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, reception and opening events 1-4 p.m. Sunday, Feb. 17, through Dec. 31. • Woven Identities: Basketry Art From the Collections • They Wove for Horses: Diné Saddle Blankets, Navajo weavings and silverworks; exhibits through March 4 • Margarete Bagshaw: Breaking the Rules, 20-year retrospective, through 2013 • 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. Tuesday-Sunday. 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. New Mexican Hispanic Artists 1912-2012, installation in Lloyd’s Treasure Chest, through February • New World Cuisine: The Histories of Chocolate, Mate y Más, longterm • Folk Art of the Andes, work from the 19th and 20th centuries • Multiple Visions: A Common Bond, international collection of toys and traditional folk art. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays.
Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226. Filigree and Finery: The Art of Spanish Elegance, an exhibit of historic and contemporary jewelry, garments, and objects, through May 27 • Metal and Mud — Iron and Pottery, works by Spanish Market artists, through April • San Ysidro Labrador/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 Spanish Market youth artists • The Delgado Room, late Colonial period re-creation. Open 10 a.m.-5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author • Telling New Mexico: Stories From Then and Now, core exhibition of chronological periods from the pre-Colonial era to the present. 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; no charge on Wednesdays for NM residents over 60; no charge on Fridays 5-8 p.m.; NM residents no charge on Sundays. New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, through Sept. 15 • Alcove 12.8, revolving group show of works by New Mexico artists, through Feb. 24 • Art on the Edge 2013, Friends of Contemporary Art + Photography’s biennial juried group show includes work by Santa Fe artists Donna Ruff and Greta Young, through April 14 • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents no charge on Sundays. New Mexico National Guard Bataan Memorial Museum and Library 1050 Old Pecos Trail, 474-1670. Housed in the original armory from which the 200th Coast Artillery Regiment was processed for entry into active service in 1941. Military artifacts and documents. Open 10 a.m.-4 p.m. Tuesday-Saturday, by donation. Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Núuphaa, works by Pueblo of Pojoaque Poeh Arts Program students, through March 9. Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted. SITE Santa Fe 1606 Paseo de Peralta, 989-1199. Open 10 a.m.-5 p.m. Tuesday-Saturday; 10 a.m.7 p.m. Friday; noon-5 p.m. Sunday. $10; seniors and students $5; Fridays no charge. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. A Certain Fire: Mary Wheelwright Collects the Southwest, 75th anniversary exhibit, through April 14. Open 10 a.m.-5 p.m. Monday-Saturday, 1-5 p.m. Sunday. Docent tours 2 p.m. Mondays, Wednesdays, Fridays, and Saturdays.
PASATIEMPO
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In the wings MUSIC
New Mexico Performing Arts Society A Musical Offering: Chamber Music of Johann Sebastian Bach, guest artists include cellist Sally Guenther, harpsichordist Susan Patrick, and flutist Linda Marianiello, 4 p.m. Sunday, Feb. 24, Immaculate Heart Retreat Center Chapel, 50 Mount Carmel Rd., $25, discounts available, ihmretreat.com or 474-4513. Tristan Prettyman Singer/songwriter, 7:30 p.m. Sunday, Feb. 24, Club 139 at Milagro, 139 W. San Francisco St., $18 in advance, 988-1234, ticketssantafe.org, $20 at the door. Bob Weir Grateful Dead founding member, guitarist/ songwriter, 7:30 p.m. Tuesday, Feb. 26, the Lensic, $54, ticketssantafe.org, 988-1234.
Jazz pianist Bert Dalton and his quartet perform a tribute to Dave Brubeck, sunday, Feb. 24, at the scottish Rite center.
Martin Sexton Singer/songwriter, 7:30 p.m. Thursday, Feb. 28, the Lensic, $22-$38, 988-1234, ticketssantafe.org. Brentano String Quartet Music of Haydn, Bartók, and Brahms, 7:30 p.m. Friday, March 1, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$65, 988-1234, ticketssantafe.org. Tin Hat Avant-acoustic chamber quartet, 7:30 p.m. Wednesday, March 6, Gig Performance Space, 1808-H Second St., $25 at the door, gigsantafe.com. Stu MacAskie Trio Jazz pianist, with Asher Barreras on bass, and John Trentacosta on drums, part of KSFR Radio’s Music Café Series, 7 p.m. Friday, March 8, Museum Hill Café, Milner Plaza, 710 Camino Lejo, $20, 428-1527. Cristianne Miranda and the Bert Dalton Trio Sincerely, Peggy Lee, tribute concert, 6 p.m. Sunday, 7:15 p.m. Monday, March 10-11, La Casa Sena Cantina, 125 E. Palace Ave., $25, 988-9232. Adrian Legg British fingerstyle master guitarist, 8 p.m. Tuesday, March 12, Garrett’s Desert Inn, 311 Old Santa Fe Trail, $20, garrettsdesertinn.com, 982-1851. The Mavericks Country band on its reunion tour, 7:30 p.m. Wednesday, March 20, the Lensic, $34-$49, 988-1234, ticketssantafe.org.
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February 15 -21, 2013
Apple Hill String Quartet Outliers, featuring oboist Pamela Epple and pianist Debra Ayers, music of Brahms, Grieg, and Ligeti, 6 p.m. Friday, March 22, Scottish Rite Center, 463 Paseo de Peralta, $20 in advance, $25 at the door, discounts available, ticketssantafe.org, 988-1234. Robert Earl Keen Roots-country songwriter, 7 p.m. Wednesday, March 27, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, $31, ticketssantafe.org, 988-1234. Santa Fe Pro Musica Orchestra Baroque Holy Week, featuring mezzo-soprano Deborah Domanski and trumpeter Brian Shaw, music of Bach, Telemann, and Leclair, 7:30 p.m. Thursday and Friday, 6 p.m. Saturday, March 28-30, Loretto Chapel; Spring Classic Weekend, featuring violinist Chad Hoopes, music of Brahms, Bach, Prokofiev, and Tchaikovsky, 7:30 p.m. Friday, April 12-14, the Lensic, $20-$65, 988-1234, ticketssantafe.org. Awna Teixeira Roots music multi-instrumentalist (formally of Po’ Girl), 7:30 p.m. Friday, April 12, Gig Performance Space, 1808-H Second St., $15 in advance at brownpapertickets.com. Ozomatli The Los Angeles-based Latin fusion band performs as part of Santa Fe University of Art & Design’s Artists for Positive Social Change series, Saturday, April 27, 1600 St. Michael’s Dr., no charge, but tickets required, 424-5050. Sangre de Cristo Chorale The 45-member chorale presents Celebrating Our Past, Present and Future, 2:30 p.m. Sunday, May 12, Church of Santa Maria de la Paz, 11 College Ave., $20, ticketssantafe.org, 988-1234.
THEATER/DANCE
‘Dreamweaver: The Works of Langston Hughes’ David Mills’ one-man rendition of the writer’s poems and short stories, 7 p.m. Wednesday, Feb. 27, the Lensic, $3 and $6, 988-1234, ticketssantafe.org. ‘Cold Water’ Santa Fe University of Art & Design Documentary Theatre Project students’ play about the demise of the Northern New Mexico village, Agua Fría, 7 p.m. Friday and Saturday, 2 p.m. Sunday, March 1-10, Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, discounts available, ticketssantafe.org, 988-1234. ‘Shylock’ Theatre Tours International presents Gareth Armstrong’s one-man play, 7 p.m. Sunday, March 3, the Lensic, $15-$35, 988-1234, ticketssantafe.org. The Met Live in HD Wagner’s Parsifal, 10 a.m. Saturday, March 2; Zandonai’s Francesca da Rimini, 10 a.m.
Upcoming events and 6 p.m. Saturday, March 16, the Lensic, $22-$28, discounts available, ticketssantafe.org, 988-1234. ‘Exquisite Absurdity: 30 Years of Looking Forward’ Theater Grottesco celebrates its 30th anniversary with re-created scenes of past performances and previews of works from its 2013 performance series titled Eventua, 7 p.m. Thursday-Saturday, 4 p.m. Sunday, March 15May 5, Center for Contemporary Arts — Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, students $10, Thursdays pay-what-you-wish, 474-8400. ‘In the Time of Butterflies’ Teatro Paraguas presents a new play by Caridad Svich, 7:30 p.m. Fridays and Saturdays, 2 p.m. Sundays, March 8-24, 3205 Calle Marie, $15, discounts available, Sundays pay-what-you-wish, 424-1601. ‘Buried Child’ Ironweed Productions in co-production with Santa Fe Playhouse presents Sam Shepard’s drama, 7:30 p.m. Thursday-Saturday, 2 p.m. Sunday, March 28-April 14, 142 De Vargas St., $20, discounts available, santafeplayhouse.org, 988-4262. ‘Humble Boy’ Fusion Theatre presents Charlotte Jones’ comedy, 8 p.m. Tuesday and Wednesday, May 7-8, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$40, students $10, ticketssantafe.org, 988-1234.
HAPPENINgS
16th Annual ARTfeast A weekend of art, food, wine, and fashion, Friday-Sunday, Feb. 22-24; Art of Fashion Runway Show and luncheon; gourmet dinner and auction honoring Star Liana York; Artists’ Champagne Brunch and auction; Edible Art Tour on Canyon Rd. and downtown; Feast or Famine dance party with music by DJs Dynamite Sol and Joe Ray Sandoval. Tickets and details available at ARTsmart, 603-4643 and online at artfeast.com, proceeds benefit ARTsmart, a local nonprofit that supports art programs in area organizations and schools. SITE Santa Fe exhibit openings Friday, Feb. 22: 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, Friday, Feb. 22; Mungo Thomson: Time, People, Money, Crickets, multimedia; reception 5-7 p.m., 1606 Paseo de Peralta, 989-1199. A Musical Journey From Shtetl to Stage Musically illustrated talk with Santa Fe Concert Association artistic director Joe Illick, 7 p.m. Thursday, Feb. 28, Temple Beth Shalom, 205 E. Barcelona Rd., $20 in advance, 216-0672 or santafejff.org. You Are What You Wear: Costume and Character in Opera UNM professor Dorothy Baca and Emilee McVey Lee of the Santa Fe Opera and Santa Fe Community College, share their insights during a behind-the-scenes view of the costume-design process at the Santa Fe Opera, refreshments 9 a.m. Saturday, March 9, program 9:30 a.m.-noon, Stieren Hall, 301 Opera Dr., $10 in advance at guildsofsfo.org, 629-1410, Ext. 100. Bead Fest Santa Fe More than 150 booths; demonstrations; jewelry-making workshops; and book signings; Thursday-Sunday, March 14-17, Santa Fe Community Convention Center, 201 W. Marcy St., $12 4-day pass available in advance at beadfest.com, $15 at the door. Banff Mountain Film Festival 2013 World Tour Annual collection of international films related to adventure sports, expeditions, and mountain cultures, 7 p.m. Monday and Tuesday, March 18-19, the Lensic, $16, 988-1234, ticketsssantafe.org. Native Treasures Indian Arts Festival More than 200 artists showcasing traditional and contemporary works; opening-night party 5:30-7:30 p.m. Friday, May 24, shows Saturday and Sunday, May 25-26, Santa Fe Community Convention Center, 201 W. Marcy St., early birds $20, general admission $10, Sunday show no charge, all tickets available at the door, visit nativetreasures.org for more information. Japanese Cultural Festival Santa Fe Japanese Intercultural Network presents its annual matsuri including a vintage kimono exhibit, fashion show, sale of Japanese goods, and Japanese food, 10 a.m.-5 p.m. Saturday, April 20, Santa Fe Community Convention Center, $3, children ages 12 and under no charge, proceeds benefit Japan Aid of Santa Fe recovery relief fund, santafejin.org.
martin sexton on stage at the Lensic thursday, Feb. 28.
pasa week
from Page 57
16 Saturday (continued) Second Street Brewery Bluegrass band Railyard Reunion, 6-9 p.m., no cover. Second Street Brewery at the Railyard Jen Peterson & Creekstone, Americana and folk, 6-9 p.m., no cover. Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover. Vanessie Pianist Bob Finnie, 6:30 p.m.-close, call for cover.
17 Sunday galleRy/muSeum openingS
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, reception with dances, hands-on activities, artist demonstration, and artists talks 1-4 p.m. exhibit through Dec. 30.
ClaSSiCal muSiC
Chip miller Piano recital, music of Bach, Beethoven, and Brahms, 7 p.m., Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge. Santa Fe Symphony orchestra & Chorus Birds & Brahms, featuring violinist David Felberg, 4 p.m., pre-concert lecture 3 p.m., the Lensic, $20-$70, 988-1234, ticketssantafe.org. Serenata of Santa Fe The chamber music ensemble presents Sonic Genius, performers include oboist Pamela Epple, flutist Diva Goodfriend-Koven, and pianist Debra Ayers, music of Mozart, Riegger, and Kenji Bunch, 3 p.m., Scottish Rite Center, 463 Paseo de Peralta, $25 in advance and at the door, discounts available, 988-1234, ticketssantafe.org.
TheaTeR/danCe
‘Beauty of the Father’ Theaterwork presents Nilo Cruz’s drama, 2 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, teens $10, 471-1799, final weekend (see review, Page 24). Benchwarmers 12 Annual showcase of New Mexico talent presented by Santa Fe Playhouse; eight fully staged playlets, 2 p.m., 142 E. De Vargas St., $20, discounts available, 988-4262, santafeplayhouse.org, Thursday-Sunday through March 3. Bill maher Political comedian, 7:30 p.m., Santa Fe Community Convention Center, $47 and $67, ticketssantafe.org, 988-1234 (see story, Page 44). drama on Barcelona Santa Fe Shakespeare Society members read selections from Henry V, Midsummer Night’s Dream, and Hamlet, 3 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., by donation, 982-9674 or 992-0665. ‘no exit’ Student-directed adaptation of Jean Paul Sartre’s drama, 2 p.m., Weckesser Studio Theatre, Greer Garson Theatre Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $5 at the door. ‘The Warriors: a love Story’ ARCOS Dance presents its multi-media performance, 2 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, $20 in advance, student discounts available, info@arcosdance.com or 473-7434, visit arcosdance.com for information, final weekend (see review, Page 25).
Today’s Levitation, by Natsumi Hayashi, Richard Levy Gallery, 514 Central Ave. S.W, Albuquerque
BookS/TalkS
declaration of interdependence With mother earth KSFR Radio host Faren Dancer and co-host Michael Aune in conversation with Institute of American Indian Arts’ Student Sustainability members, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. Shepard Fairey lecture and Q & a The artist known for the Barack Obama “Hope” poster speaks about his career as part of the Santa Fe University of Art & Design’s Artists for Positive Social Change series, 7 p.m., doors open at 6:30 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., limited tickets available at the door, 473-6440 (see story, Page 36). What’s new Contemporary native artists Speak series Linda Lomahaftewa and Marla Allison discuss their works in conjunction with the opening of the What’s New in New: Recent Acquisitions exhibit, 2 p.m., O’Keeffe Theater, Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, no charge, 476-1250.
eVenTS
The Flea at el museo 10 a.m.-4 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through April. international folk dances 6:30-8 p.m. weekly, followed by Israeli dances 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, beginners welcome. Railyard artisans market Shops 10 a.m.-4 p.m. weekly. Jazz saxophonist Bryan Wingard 10 a.m.-1 p.m., flutist Adrian Wall 1-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, railyardartmarket.com, 983-4098. Santa Fe artists market president’s day Weekend Show 10 a.m.-5 p.m., Hilton of Santa Fe, 100 Sandoval St., 310-1555.
Santa Fe Farmers market 10 a.m.-4 p.m., 1607 Paseo de Peralta, 983-4098.
nighTliFe
(See Page 57 for addresses) Cowgirl BBQ Local singer/songwriters Gary Gorence and Frank Ondrusek, 8 p.m., no cover. dinner for Two Classical guitarist Vernon de Aguero, 6 p.m., no cover. The dragon Room at The pink adobe Pat Malone Trio, featuring Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 7-10 p.m., call for cover. el Farol Nacha Mendez and guests, pan-Latin music, 7 p.m.-close, no cover. la posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7 p.m., no cover. The mine Shaft Tavern Americana guitarist Gene Corbin, 3-7 p.m., no cover. Vanessie David Geist’s Sing Your Lungs Out open-mic night, 5-7 p.m.; pianist Bob Finnie, 8 p.m.-close; no cover.
18 Monday BookS/TalkS
Southwest Seminars’ ancient Sites and ancient Stories lecture series Chimney Rock: The Ultimate Chaco Outlier: New Insights Into Form, Function, and Time, with Jason Chuipka, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775. Stone Calendars of the Southwest Lecture by Ron Barber, 7:30 p.m., part of Santa Fe Archaeological Society’s monthly lecture series, Courtyard Marriott, 3347 Cerrillos Rd., no charge, 982-2846 or 455-2444.
eVenTS
Weekly all-ages informal swing dances Lesson 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance only $3, lesson and dance $8, 473-0955.
nighTliFe
(See Page 57 for addresses) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. la Casa Sena Cantina Singer/songwriter Matthew Andrae, 6 p.m., no charge. la Fiesta lounge at la Fonda Latin-swing ensemble Nosotros, 7:30-11 p.m., no cover. Vanessie Bob Finnie, piano and vocals, 8 p.m.-close, call for cover.
19 Tuesday ClaSSiCal muSiC
hilary hahn Violin recital, 7:30 p.m., the Lensic, $20-$75, ticketssantafe.org, 9881234, (see story, Page 22).
in ConCeRT
paper Bird Folk band; He’s My Brother, She’s My Sister opens; 7 p.m., doors open at 6:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, holdmyticket.com.
BookS/TalkS
georgia o’keeffe museum Readers’ Club The discussion series continues with Virginia Woolf’s A Room of One’s Own, 6-7:30 p.m., Museum Education Annex, 123 Grant Ave., 946-1039, no charge. ▶▶▶▶▶▶▶▶ PASATIEMPO
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nightlife
Adobe and Río Chama restaurants, $15 at the door, visit the New Mexico Women in Film website for information, nmwif.com. Muse times two The poetry series continues with D.A. Powell reading from his works, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. Scandinavia: Political and immigration issues Renesan Institute for Lifelong Learning discussion, 1-3 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, 982-9274.
(See Page 57 for addresses) ¡Chispa! at el Mesón Argentine Tango Milonga, 7:30-11 p.m., $5 cover. Cowgirl BBQ Indie-folk singer/songwriter Eryn Bent, 8 p.m., no cover. el farol Canyon Road Blues Jam, with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover. la Casa Sena Cantina Guitarist Ramon Bermudez Jr., contemporary Latin tunes, 6 p.m., no charge. la fiesta lounge at la fonda Latin-swing ensemble Nosotros, 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 Acoustic open-mic nights presented by 505 Bands, 7:30 p.m.-close, no cover. Vanessie Bob Finnie, piano and vocals, 8 p.m.-close, call for cover.
eVentS
Reel new Mexico film series Still Dreaming, work-in-progress by Jilann Spitzmiller and Hank Rogerson screened for audience feedback, 7 p.m., La Tienda Performance Space, 7 Caliente Rd, Eldorado, $5 donation at the door, reelnewmexico.com.
nightlife
20 Wednesday BookS/talkS
empires of love: Race, Sexuality, and the european-asian encounter Lecture by UNM English professor Carmen Nocentelli, noon-1 p.m., School for Advanced Research, 660 Garcia St., no charge, 954-7203. gallery talk Faculty-led discussion of the Fine Woodworking Showcase exhibit at Santa Fe Community College’s School of Arts and Design Visual Arts Gallery, 11:30 a.m.-12:30 p.m., 6401 Richards Ave., 428-1501. Jamie Chase The Santa Fe artist signs copies of his graphic novel adaptation of The Hound of the Baskervilles, 4-7 p.m., Big Adventure Comics, 801 Cerrillos Rd., 992-8783 (see story, Page 40). lannan foundation’s in Pursuit of Cultural freedom series Climate scientist James Hansen in conversation with conservationist Subhankar Banerjee, 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $6, discounts available, ticketssantafe.org, 988-1234 (see story, Page 16).
Talking Heads
‘the Woman in the Story’ British screenwriter Helen Jacey leads a writing seminar and speaks in conjunction with Film & Media Day 2013. Register for her seminar at 6 p.m. Wednesday, Feb. 20, at Santa Fe Community College, $30 at the door. A reception for and lecture by Jacey takes place at 7 p.m. Thursday, Feb. 21, at 410-A Old Santa Fe Trail, $15 at the door. Visit New Mexico Women in Film’s website for information, nmwif.com.
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Upright Dodecagon XII, by Ronald Davis, Charlotte Jackson Fine Art
overkill: the Case for Re-evaluating U.S. nuclear Strategy Lecture by Christopher A. Preble, vice president for Defense and Foreign Policy Studies, Cato Institute, 5:30 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, no charge, presented by Santa Fe Council on International Relations, $20, 982-4931. threads of Culture: Weaving in new Mexico Part of the New Mexico Museum of Art docent talks series, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5072. Westward ho! the lives and Diaries of the Women going West Chautauqua performer Van Ann Moore speaks, noon12:45 p.m., part of the monthly Brainpower & Brownbag Lecture series, Meem Community Room, Fray Angélico Chávez History Library, 120 Washington Ave., no charge, 476-5090. Bring your lunch. Writing the heroine’s Story British screenwriter Helen Jacey leads the workshop for beginners and professionals, registration 6 p.m., seminar 6:30 p.m., Room 216, Santa Fe Community College, 6401 Richards Ave., $30 at the door, visit the New Mexico Women in Film website for information, nmwif.com.
eVentS
exploring Creativity Beginning oil painting workshop with Sara Eyestone, 6-8 p.m., part of Georgia O’Keeffe Museum’s adult learning programs, Museum Education Annex, 123 Grant Ave., $8, 946-1039. Salaton ole ntutu The Maasai chief speaks on indigenous cultures and natural healing at various events through Feb. 25; free Maasai Marketplace, 10:30 a.m., Santa Fe Preparatory School Auditorium, 1101 Camino de Cruz Blanca, visit andrew-naturopath.com for details, tickets for ticketed events available at the Lensic box office, 988-1234, ticketssantafe.org.
nightlife
(See Page 57 for addresses) ¡Chispa! at el Mesón Flamenco guitarist Joaquin Gallegos, 7-9 p.m., no cover. Cowgirl BBQ Shady Rest Band, skiffle grass, 8 p.m., no cover. el farol Salsa Caliente, 9 p.m., no cover. la fiesta lounge at la fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. la Posada de Santa fe Resort and Spa Wily Jim, Western swingabilly, 7-10 p.m., no cover. Second Street Brewery Vinyl Listening Sessions with DJ Spinifex, 6-9 p.m., no cover. tiny’s 505 Jam hosted by Synde Parten, John Reives, and M.C. Clymer, 7:30 p.m., no cover.
(See Page 57 for addresses) ¡Chispa! at el Mesón Pianist John Rangel in duets, 7-9 p.m., no cover. Cowgirl BBQ Grateful Dead tribute band Detroit Lightning, 8 p.m., no cover. el farol Teri True Trio, Americana and R & B, 9 p.m., no cover. 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 Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. la Posada de Santa fe Resort and Spa Pat Malone Trio, featuring Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 7-10 p.m., Staab House Salon, no cover. the legal tender at the lamy Railroad Museum Two-Step Thursday with Buffalo Nickel Two, 6-9 p.m., call for cover. Vanessie Jazz night with pianists Bert Dalton, 6-8 p.m., and Andy Kingston, 8 p.m.-close, call for cover.
▶ Elsewhere albuquErquE Museums/art Spaces
Benchwarmers 12 Annual showcase of eight fully staged playlets by New Mexico playwrights, presented by Santa Fe Playhouse, 142 E. De Vargas St., $20, discounts available, 988-4262, santafeplayhouse.org, ThursdaySunday through March 3.
Richard levy gallery 514 Central Ave. S.W., 505-766-9888. Levitations, photographs by Natsumi Hayashi, through March 29. UnM art Museum Center for the Arts Building, 505-277-4001. In the Wake of Juarez: Drawings of Alice Leora Briggs • Bound Together: Seeking Pleasure In Books, group show • Martin Stupich: Remnants of First World, inkjet prints, through May 25. Open 10 a.m.-4 p.m. Tuesday-Saturday; $5 suggested donation.
BookS/ talkS
events/Performances
21 Thursday theateR/DanCe
Cycles of evangelism in the Southwest Borderlands Illustrated lecture by James F. Brooks, 6:30-7:30 p.m. a School for Advanced Research lecture, New Mexico History Museum Auditorium, 113 Lincoln Ave., $10 at the door, call 954-7203 for details (see story, Page 18). gender Politics in film: finding the Woman’s Voice British screenwriter Helen Jacey speaks at the New Mexico Film & Media Day 2013, lecture and reception 7 p.m., 410-A Old Santa Fe Trail, between The Pink
Sunday Chatter Cellist Laura Metcalf and guitarist Rupert Boyd perform music of Piazzolla, de Falla, and Gnatalli, 10:30 a.m. Sunday, Feb. 17, poetry readings by D & M Duo follow, The Kosmos, 1715 Fifth St. N.W., $15 at the door, chatterchamber.org.
Española
Bond house Museum 706 Bond St., 505-747-8535. De la Tierra y Cerca de la Tierra, group show, through March 22.
Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (18631945). Open noon-3:45 p.m. Monday-Thursday, no charge. Misión Museum y Convento 1 Calle de los Españoles, 505-747-8535. Elemental, group show of photographs, ceramics, prints, and paintings, through March 8. A replica based on the 1944 University of New Mexico excavations of the original church built by the Spanish at the San Gabriel settlement in 1598. Open noon-4 p.m. Wednesday-Friday, 11 a.m.-3 p.m. Saturday; no charge.
taos Museums/Art Spaces
Harwood Museum of Art 238 Ledoux St., 575-758-9826. Red Willow: Portraits of a Town • Eah-Ha-Wa (Eva Mirabal) and Jonathan Warm Day Coming • Eli Levin: Social Realism and the Harwood Suite; exhibits celebrating Northern New Mexico, through May 5 (see story, Page 32). 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. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. 11th Annual Miniatures Show & Sale, multimedia works of Taos County artists, through Feb. 24. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $5; non-residents $10; seniors $8; students $6; ages 6-16 $2; no charge for Taos County residents with ID.
Events/Performances
Bobby Shew Trumpet maestro in a Valentine’s Day weekend concert of ballads and love songs, 7 p.m. Saturday, Feb. 16, Arthur Bell Auditorium, Harwood Museum of Art, 238 Ledoux St., $25, discounts available, 575-758-9826.
▶ People who need people Artists/Craftspeople/Photographers
41st Annual Girls Inc. of Santa Fe Arts & Crafts Show Artists applications available online at girlsincofsantafe.org for the Aug. 3-4 event; deadline March 10. 2013 Governor’s Awards for Excellence in the Arts Nominate New Mexican artists, businesses, nonprofits/foundations, or individuals contributing to the arts; nominations may be mailed or hand-delivered no later than Friday, March 22, to New Mexico Arts, 407 Galisteo St., Suite 270, 87501; forms available online at nmarts.org, or call 827-6490. Contemporary Hispanic Market call for entries 8 a.m.-noon Saturday, Feb. 16, Santa Fe Community Convention Center, 201 W. Marcy St., call 296-2749 or 579-4645 for information. Photobook workshop scholarship Open to photographers and students ages 27 and younger for a workshop hosted by Radius Books (983-4068) Friday-Sunday, March 22-24; for details contact Alex Webb and Rebecca Norris Webb at webbnorriswebb@gmail.com or visit magnumphotos.com. Santa Fe Society of Artists spring jury selection Garrett’s Desert Inn Saturday, Feb. 16; visit santafesocietyofartists.com for instructions and membership applications; call 455-3496 for more information. Santa Fe Studio Tour Call for artists for the June 29-30 tour; email teena@shutterandbrushfineart.com
for applications and information; submission deadline Thursday, Feb. 28; $175 participation fee; santafestudiotour.com. Second Annual Temple Beth Shalom Jewish Arts Festival Judaic art sought for festival held May 4-5; application due date Friday, Feb. 15; guidelines and details available online at tbsartfest.org; for more information email tbsartfest@gmail.com.
Filmmakers/Playwrights
Santa Fe Independent Film Festival Film submissions sought for the Oct. 16-20 festival; early deadline Friday, March 1; regular deadline Wednesday, May 1; late deadline July 1; final deadline Aug. 1. For rules and guidelines, visit santafeindependentfilmfestival.com. Santa Fe Playhouse 92nd season Accepting play proposals in all genres for the fall 2013-summer 2014 season from artists who would like to direct; call 988-4262 or email playhouse@santafeplayhouse.org for proposal packets by Sunday, March 31.
Volunteers
Fight Illiteracy Literacy Volunteers of Santa Fe will train individuals willing to help adults learn to read, write, and speak English; details available online at lvsf.org, or call 428-1353. Many Mothers Assisting new mothers/families, fundraising, event planning, becoming a board member, and more; requirements and details available online at manymothers.org; 983-5984.
▶ Under 21 ‘No Exit’ Student-directed adaptation of Jean Paul Sartre’s drama, 7 p.m. Friday and Saturday, 2 p.m. Sunday, Feb. 15-17. Weckesser Studio Theatre, Greer Garson Theatre Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $5 at the door. Co-op Rocks Live music and workshops, 11 a.m.-9 p.m. Saturday, Feb. 16, Warehouse 21, 1614 Paseo de Peralta, no charge, 989-4423. St. John’s College Community Seminars Read and discuss seminal works; free to 11th-12th-grade students. Icelandic Sagas and Tales, 6:30-8 p.m. Tuesday, Feb.19; Rabelais’ Gargantua and Pantagruel, 5-6:30 p.m. Wednesdays, through March 6, 1160 Camino de Cruz Blanca, call 984-6117 to register.
▶ Pasa Kids 2013 Children’s Water Conservation Poster Contest All students grades 1-6 are invited to participate in this year’s theme of Show Us Your Water Appreciation; entry deadline Friday, March 15; visit santafenm.gov or call 955-4225 for prize details and more information. Santa Fe Children’s Museum open studio Learn to paint and draw using pastels, acrylics, and ink, noon-3:30 p.m. Fridays, 1050 Old Pecos Trail, by museum admission, 989-8359. Raptor presentation Santa Fe Raptor Center brings live birds-of-prey to its education program, 11 a.m.-2 p.m. Friday, Feb. 15, Teca Tu Pet Emporium, 500 Montezuma Ave., Sanbusco Center, 982-9374. Clays & Cultures Hands-on workshop with potter Lia Lynn Rosen for ages 7 and up, 2 p.m. Sunday, Feb. 17, Cerrillos Hills State Park Visitor Center, 37 Main St., Cerrillos, 474-0196. Wise Fool New Mexico afterschool classes The circus arts and puppetry troupe’s Afterschool Fools spring session runs through March 14; 3:30-5 p.m. Tuesdays for ages 6 and up; 3:30-5 p.m. Wednesdays for ages 8 and up, register online at wisefoolnewmexico.org, 2778-D Agua Fría St., 992-2588. ◀
This is a library; please turn it up On Wednesday, Feb. 13, the Library of Congress rolled out its 32-point plan to preserve America’s audio history, a mission 13 years in the making. The 2000 National Recording Preservation Plan stems from an act of the 106th Congress with the stated goal of maintaining and preserving sound recordings that are “culturally, historically, or aesthetically significant, and for other purposes,” and draws from both private and public entities. Librarian of Congress James H. Billington explained in a statement on the LOC website that, “our collective energy in creating and consuming sound recordings has not been matched by an equal Blackfoot Chief, Mountain Chief making level of interest in preserving them for posterity. phonographic record at Smithsonian, ... [The plan] is America’s first significant step 2/9/1916, Creative Commons license, toward effective national collaboration to save our image courtesy the Library of Congress recorded-sound heritage for future generations.” It’s easy to dismiss this plan as an unnecessary endeavor in the age of YouTube and various websites that collect and curate specific audio content for those curious enough to look for it. But here’s the thing: even audio curators and avid YouTube posters tend to zero in subjectively on their muses, leaving some content out. And more often than not, artists and labels insist on owning and managing their own content. The LOC’s plan is auspicious. Besides creating a publicly accessible, nationally coordinated directory of archived collections and establishing university-based degree programs in audio archiving and preservation, it hopes to develop a licensing program to allow on-demand streaming of out-of-print recordings at libraries across the country. Want an environmentally controlled place for all those cylinder recordings and tapes? It’s on the honey-do list. Want preservation oversight of audio files created and disseminated digitally? They’re on it. One interesting bullet point of the plan is to apply federal copyright law to recordings created before Feb. 15, 1972. In recent months, the Recording Industry Association of America has seriously ramped up its requests to Google to remove links to web pages that may infringe on copyright. Their takedown requests crested the 10 million mark in early February. Sony Music Entertainment, Universal Music, Warner Music, and EMI appear to be in it to win it back from torrent sites that offer everything from album downloads to movies, games, and television shows. It will be interesting to see how the LOC approaches online-only content and deals with torrent sites in the process. The RIAA’s attempt to quash URLs that allegedly infringe on copyright has been almost futile, given the number of targets it has in its sights. The bureaucratic workload for a cash-strapped government agency is unfathomable. And what constitutes “culturally, historically, or aesthetically significant,” anyway? Type in “punk” in the search bar of the Full National Recording Registry (www.loc.gov/rr/record/ nrpb/registry/nrpb-masterlist.html), and the options bring up chronological lists. Within those lists you will find Captain Beefheart, Velvet Underground, Patti Smith ... and Steely Dan. Who’s curating the curators? Where are Black Flag, Dead Kennedys, Minor Threat, and plenty of other influential hardcore-punk bands that made anti-establishment sentiments their bread and (when times were good) butter? Yes, the archive is green, and perhaps some punk artists, for whatever reason, have decided to bow out of the project. The result, however, is a registry that, by way of omission, rewrites — or, rather, overwrites — the trajectory of punk rock and its influence on modern music and popular culture. My hope is that some day soon, a budding sound archivist will emerge from a LOC-backed degree program and make his or her life’s work gathering audible ephemera from the punk milieu and making it available for public streaming. Unless, of course, the job is somehow offered to me first. — Rob DeWalt rdewalt@sfnewmexican.com Twitter: @Flashpan @PasaTweet
A weekly column devoted to music, performances, and aural diversions. Tips on upcoming events are welcome.
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