Pasatiempo, Feb. 1, 2013

The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture February 1, 2013

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The Lensic and Heath Concerts Present

Eric Bibb & Habib Koité BROTHERS IN BAMAKO

Eric Bibb returns, this time with West African superstar Habib Koité, for an amazing evening of transatlantic blues.

Eric Bibb, 2012 Acoustic Artist of the Year —The Blues Foundation, Memphis “[Koite’s] reputation as a guitar player has become almost mythical, combining rock and classical techniques with Malian tunings...” —The New York Times

Saturday, February 9 7 pm $19–$39

Intra-District Collaborative Band Concert Monday, February 4, 6:30 p.m.

Eighth Grade Band Students perform with High School Band Students

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

Joel Boyd, Superintendent of SFPS, will deliver opening remarks Event is free, suggested donation of $8 Special mention to Santa Fe High Band Boosters Association and Sarah Rinehart.

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Tantalizing February Treatments The Nidah Spa is showing the love this February by unwrapping a myriad of romantic spa treatments guaranteed to make that special someone swoon! Nidah Spa will also toss in a rose quartz keepsake heart when treatments are purchased.

Locals enjoy 15% savings on any regular menu item treatments.

Reservations recommended. Please call 505.995.4535.

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PASATIEMPO

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THE SANTA FE NEW MEXICAN

February 1 - 7, 2013

On the cOver 24 life’s a bench A single stage element unites each of the eight short plays to be performed at Santa Fe Playhouse. “The bench has been the railing of the Eiffel Tower. It’s been a broken roller coaster and a shipwreck,” said Dan Gerrity, a veteran producer of Benchwarmers. The 12th installment of the annual production opens on Thursday, Feb. 7. On the cover, Cindy Coulter and Mario Ulibarri in Xenaphobia. Photo Clyde Mueller/The New Mexican.

BOOkS

mOvinG imaGeS

12 in Other Words Eight Girls Taking Pictures 16 Omar Barghouti Plan for Palestinean peace

40 42 48 50 52

leafy thinGS 18 Botany bay John Bartram in the weeds

calendar

mUSic and PerfOrmance 22 26 28 30 63

Screen Gems: Tevye Pasa Pics Quartet Oscar Nominated Short Films Stand Up Guys

56 Pasa Week

listen Up Louis Lortie and Jan Lisiecki Pasa tempos CD Reviews terrell’s tune-Up Dale Watson’s latest Onstage this Week Get Intronautical Sound Waves Wall of voodoobilly

and 8 mixed media 11 Star codes 54 restaurant review

art 32 light sensitive Kate Breakey’s Las Sombras 38 ross Bleckner A meditative scrapbook

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

from ross Bleckner’s My Life in The New York Times

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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 Jon Bowman, laurel Gladden, robert ker, Bill kohlhaase, Wayne lee, Jennifer levin, adele Oliveira, Jonathan richards, heather roan-robbins, casey Sanchez, michael Wade Simpson, roger Snodgrass, Steve terrell, khristaan d. villela

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The Santa Fe New Mexican

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Rob Dean editor

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Valentine’s Day at the Old House

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Thursday through Sunday, February 14-17 This Valentine’s Day celebrate your beloved with our special four-course menu that features an array of aphrodisiac favorites including oysters, lobster tail, prosciutto, fresh strawberries and vanilla! $119 per couple. $149 per couple with wine pairings.

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PASATIEMPO

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Thank You!

MIXED MEDIA Camille Bryen: Lettres écrites du NouveauMexique, gravure, 1970

The Santa Fe Desert Chorale

Arrediamo Charles Bailus Norma Bekowies Dr. Edgar R. Blount Peggy Bonner Brooks Brothers Café Pasqual’s CCA Cinémathèque Chrysalis Salon Clafoutis French Bakery & Restaurant Collected Works Bookstore Dorothy B. Davis Davis Mather Folk Art Gallery FOUR at Pacheco Park Galisteo Bistro Bobby Garcia Eric A. Garduño Joshua Habermann Harry’s Clothiers Jinja Bar & Bistro Knitworks La Plazuela at La Fonda La Posada de Santa Fe Resort & Spa Las Campanas LewAllen Galleries Luminaria Restaurant & Patio at the Inn & Spa at Loretto Michael McCullah Nambé Old Windmill Dairy Osteria d’Assisi Join us for our exciting

Summer Festival 2013: July 11-August 19 Visit: www.desertchorale.org

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January 25 -31, 2013

Gunnar Plake & Chiaroscuro Contemporary Art Patricia Racette Dr. Scott & Nina Hinson Rasmussen Leslie Rich Don & Sally Roberts San Francisco Street Bar & Grill Santa Fe Bar & Grill Santa Fe Chamber Music Festival Santa Fe Concert Association Santa Fe Pro Musica Santa Fe Spa Santa Fe Symphony Santa Fe Weaving Gallery Craig Smith Susan’s Christmas Shop The Compound Restaurant The Lensic – Santa Fe’s Performing Arts Center The Old House at Eldorado Hotel & Spa The Pantry The Red-Haired Chef The Santa Fe Opera Timbavati Tomme - A Restaurant Touching Stone Gallery Towa Golf Club at Buffalo Thunder Resort & Casino Erich Vollmer Walter Burke Catering Zia Diner

S a n t a Fe

DESERT CHORALE Glorious Voices. Timeless Music.

© Musée des Beaux-Arts

thanks all of the generous businesses and individual donors that contributed to the success of last month’s “The Lighter Side of Christmas Silent Auction.”

Gleeful back-and-forths Forty years ago, abstract painter Camille Bryen and writer Michel Butor began a series of communications that took the form of not only letters but paintings, collages, and drawings. This extraordinary long-distance correspondence, which was published in the 1975 book Bryen: En Temps Conjugués, is the subject of an upcoming exhibition at the Musée des Beaux-Arts de Nantes (Museum of Fine Arts in Nantes, France). The curator, Blandine Chavanne, who is director of the century-old museum, gives a talk at 6 p.m. Monday, Feb. 4, at the Santa Fe Art Institute, 1600 St. Michael’s Drive.

The famously creative exchange began in 1973, when Butor was teaching at the University of Albuquerque (a Catholic school that closed in 1986).

Born in 1926, he was one of the leading lights of the avant-garde “nouveau roman” (new novel or antinovel) form in France. His portfolio includes many volumes of poetry, four novels, and several mixed-genre works.

One of the latter is the Description de San Marco, 1926. This is not, as it may seem, a travel guide; rather, it’s a collection of conversation snippets and the author’s impressions of tourist activities in Venice, with the story of Adam and Eve woven in, and with different sorts of statements assigned different sorts of italics. Butor composed the piece in mimicry of the architecture of the cathedral on the San Marco square.

Over the years, Butor has participated in hundreds of collaborative ventures with writers, photographers, composers, artists, and filmmakers.

He was awarded the New York University Presidential Medal in 2012.

Bryen was born in Nantes in 1907. He exhibited for the first time — showing “spontaneous” drawings and collages — at the Galerie au Grenier in Paris in 1934. The following year, he was part of a surrealist group show with Rene Magritte, Hans Arp, Max Ernst and others, at Louvières, Belgium.

In 1937 he was one of 18 (with, for example, Wasily Kandinsky, Arp, and Marcel Duchamp) who signed the Dimensionist Manifesto, acknowledging and encouraging such new expressions as electric poems, surrealist objects, and kinetic sculpture. In 1946, he participated in the first Salon des Réalités Nouvelles. Retrospective exhibitions of Bryen’s art were held at the Musée des Beaux-Arts de Nantes in 1959 and the Musée National d’Art Moderne in Paris in 1973. He died in 1977.

Admission to Chavanne’s “Bryen et Butor” presentation is $10, $5 for students and seniors. Call 424-5050 for details or simply show up.

— Paul Weideman

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PASATIEMPO

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February 8 - 17, 2013

James A. Little Theater, Santa Fe

The Lensic and Littleglobe Present UNDER CONSTRUCTION : NEW WORKS IN PROGRESS

Coal:The Musical Coal is a funny fable that asks a serious question:

What can we do about our dependence on fossil fuels, which power the planet but also destroy it?

Beauty of the Father

Join us for a staged reading of a new family-friendly musical

by Santa Fe’s own Littleglobe.

by Nilo Cruz

Friday, February 8 7 pm

This play by Pulitzer Prize-winner Nilo Cruz is set in Andalusia, Spain, where the restless ghost of the Spanish poet Federico Garcia Lorca still wanders through the streets and converses with the living.

$10/$5 students

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

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(505) 471-1799 pmolson@cybermesa.com Tickets $15 ; $10 Teens. Made possible in part by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax; New Mexico Arts, a division of the Department of Cultural Affairs, the National Endowment for the Arts and by Friends of Theaterwork.

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February 1-7, 2013

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STAR CODES

JAPANESE TAPAS & SUSHI

Heather Roan Robbins Groundhog Day marks the moment when roots begin to sprout in their burrows and in mythology, when Persephone turns to walk out of the underworld and back to the sunlit lands.

This seasonal turning point was traditionally time to take animal auguries and suss out the season ahead, but nowadays we load that responsibility on one poor overworked groundhog. But let’s let the day be a good excuse to talk to the animals and commune with the natural world. Take a break from mundane workings and reconsider life from a more holistic, multispecies perspective as Mars enters gentle Pisces on Saturday (Groundhog Day) and Mercury follows on Tuesday, and both conjunct intuitive Neptune soon after.

Although our practical work goes on apace, this week we are called to look at our emotional and spiritual matrix. The Pisces season asks us to consider our life in all its multidimensional complexity and to think deeply and find the wisdom to guide the coming spring vitality.

This week we may feel overwhelmed and want to dream the day away.

Aggressive conflict tends to bring out a passive-aggressive response; speak up, but do so tactfully. Over the weekend we may remember old wounds, but we have an honest chance to let the anger melt away.

The weekend begins sociable and idealistic as the Libra moon trines the sun, Mercury, and Mars in Aquarius. The mood shifts on Saturday, grows deeper roots, and calls for more intimacy and better boundaries as the moon enters brooding Scorpio, Venus enters sociable Aquarius, and Mars enters gentle Pisces.

Midweek our escapist nature calls. Consider all possibilities and take everything with a grain of salt, and then sort out probabilities in the weeks ahead.

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Friday, Feb. 1: The mood is positive with a passive-aggressive streak under a Libra moon; it’s hard to get a straight answer, so read the signals. Midday can meander pleasantly. Tonight the mood is intimate and sociable.

Saturday, Feb. 2: Dreams linger this morning under a Scorpio moon. Notice the animals. Get grounded with practical chores and then sort out feelings as Mercury semisquares Pluto. We become aware of who or what is missing.

Evening’s vibe is serious but open-hearted and sharp-witted.

Sunday, Feb. 3: Let go of external agendas. Let this day unfold, and be present to the needs of the soul. Any attempt to push others will backfire.

We need to catch up with ourselves and have a day without expectations.

Monday, Feb. 4: Impatience or tactless words midday can cause trouble as the freedom-loving Sagittarius moon squares Mars; there is a growing sense of magic and release. We can either feel stuck or find ways to accept, transcend, and tap into the flow. Own those unspoken signals.

Tuesday, Feb. 5: Take a field trip. The vibe is vibrant, funny, impractical, and gently restless. There’s little energy for the daily grind or conflict but plenty for wandering. A sentimental mood softens us tonight as Mercury enters Pisces; speak poetically.

Wednesday, Feb. 6: Keep expectations low and the heart open. The day is active, and the true agenda is underneath the surface. New perception may bring fresh information. Competence picks up later in the day as the moon enters Capricorn. Let people move with their natural rhythm.

Thursday, Feb. 7: The mood is competent and creative as Mercury conjuncts Neptune. Intuition flows, but we may wonder if our resources are sufficient.

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PASATIEMPO

11

In Other wOrds Eight Girls Taking Pictures by Whitney Otto, Scribner/Simon & Schuster, 342 pages Among modern feminists of a certain age (read: younger than our mothers), it is acknowledged that though we are indebted to our elders for winning us the rights to vote, own property, work, and — sometimes — have autonomy over our own bodies, something major was left out of “the women’s movement” that preceded us. That something was the validity of womanhood itself: the thoughts, ideas, daily tasks, concerns, longings, and annoyances — the minutiae that make up a woman’s life. This omission is felt acutely by female writers and artists, who often see their themes and subject matter belittled as “domestic,” which is a euphemism for “small.”

Modern women still take on the lion’s share of responsibility for child care, which often forces them to set aside their creative drive, sometimes out of sheer exhaustion. Those who either opt out of marriage and child rearing or create anyway, leaving their houses unclean and their children alone to amuse themselves, have been, at least historically, accused of selfishness.

Whitney Otto, the bestselling author of How to Make an American Quilt, has taken on the potentially thankless challenge of putting a narrative to this struggle in Eight Girls Taking Pictures. When women write about the struggles of women, they are sometimes accused of engaging in polemics, and there is certainly some truth to that, because activists don’t always know the difference between art and advocacy. But Otto is a masterful storyteller. To dismiss Eight Girls Taking Pictures as pure politics would be ignorant. And Otto makes a gift of her stories by symbolically reclaiming the creative lives of the artists that feminism left behind in its rush to get women into the workplace.

In Eight Girls Taking Pictures, we meet eight female photographers, as well as their lovers and friends, some of whom are also photographers. Though Otto was inspired by several real-life photographers, the characters in the novel are invented and inserted into important moments in history: the suffrage movement of turn-of-the-century London; Mexico after World War I and the Mexican Revolution; Berlin and London before, during, and after World War II; and San Francisco in the 1970s. The tales include lesbians, bisexuals, “new women,” androgynous muses, anti-war protesters, old cameras, progressive parents, great economic and social privilege, and free love.

The book, billed as a novel, is really a collection of eight novellas, with one character, Cymbeline Kelley, who appears or is mentioned in multiple sections. Cymbeline has lived through two women’s movements, a fire set by her nanny that destroyed her darkroom, a loving but less-than-happy marriage, affectionate but unmotivated motherhood, and career resurgence and great fame in later life. Each novella seems more important and relevant to Otto’s themes than the last, each character a wholly new voice yearning to express itself.

Her descriptions of the photographs the women make bring a sense of déjà vu to the stories, since many of them are well-known (American Girl in Italy, 1951, for example), made by artists who inspired the author, or they feel familiar, as if you should know them well. Eight Girls Taking Pictures is not a book to speed through.

In fact, I wanted to linger between sections and often wanted to look back at earlier sections for connections between the women’s creative lives, as well as to savor descriptions of time and place, which are so evocative that they at times feel like movies or memories.

Women of color have long complained about being left out of the concerns of white feminists, and they do not make it onto these pages, either. There must have been female photographers of color in the 20th century, and Otto has missed an opportunity to delve into another take on what it means to be a female artist.

Another quibble: the book’s focus on beauty at first feels overwhelming, but beauty is addressed late in the book as a concern appropriate to photographers, not a concession to the male gaze: “If you’re an artist, all you think about is beauty,” thinks Jessie, the protagonist of the penultimate section, “Jessie Berlin or Phoenix on Her Side.” “Yes, it was possible to have a more personal definition of what you found exquisite, but there were some beautiful things that most people agreed upon: a cathedral, a house, a bridge, a nature vista, a necklace, a garden, a gown, a girl. You couldn’t politicize beauty, no matter how much you wanted to; and you couldn’t shame people for being entranced.”

— Jennifer Levin

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February 1-7, 2013

book reviews

SubtextS Ekphrastic fantastic The Greek term ekphrasis, according to Merriam-Webster, means “a literary description of or commentary on a visual work of art.” The 14 poets and visual artists participating in Vivo Contemporary’s Giving Voice to Image project have given the word a reciprocal meaning.

The project started in October, when the artists were paired randomly with New Mexico poets. The partners studied each others’ work and shared ideas over several months, crafting new works inspired by each other and acting as cooperative curators of the show.

“It was a wonderful melding of energy, ideas, and thoughts,” said book artist and abstract calligrapher Patty Hammarstedt, who was paired with poet Renée Gregorio.

“We wanted to pull something new out of each pairing, something that took them out of their comfort zone. We ended up with some very surprising and effective works.”

Part one of the two-part event was held at the gallery on Jan. 4; part two features the other seven teams. The pairings are the following artists and poets: Jane Rosemont and Elizabeth Raby; Patricia Pearce and Jeanne Simonoff; Joy Campbell and Dodici Azpadu; Rosemary Barile and Zachary Kluckman; Ilse Bolle and Barbara Robidoux; Barrie Brown and Gayle Lauradunn; and Hammarstedt and Gregorio. The free reading and reception takes place from 5 to 7 p.m. on Friday, Feb. 1, at Vivo Contemporary, 725 Canyon Road, 982-1320. The exhibit runs through March 26.

In other poetry news, the winners of the 2012 Gratitude Awards give a reading at 6 p.m. on Thursday, Feb. 7, at Collected Works Bookstore, 202 Galisteo St., 988-4226.

The awards are conferred annually by New Mexico Literary Arts to an individual poet and to an organization that supports literary arts in the region. This year’s honorees are Santa Fe poet, painter, and teacher James McGrath and SOMOS, or Society of the Muse of the Southwest — a Taos nonprofit that sponsors readings, workshops, conferences, and festivals.

Featured readers include Jeff Bryan, Michelle Holland, Joan Logghe, Elizabeth Raby, and Anne Valley-Fox. The event is free, with a suggested donation of $10 that will be dedicated to NMLA’s 2013 Gratitude Award.

— Wayne Lee

Down the Rabbit Hole by Juan Pablo Villalobos; Farrar, Straus and Giroux; 75 pages The world seen through the eyes of a child. That’s the best brief description of Juan Pablo Villalobos’ disturbing yet charming short novel Down the Rabbit Hole. Tochtli is no ordinary child, and the world in which he is trapped is unlike the one the rest of us know; exclusive, yes, but like a rabbit hole, it’s dark, isolating, and offers little room to turn around. Tochtli — his name, translated from the indigenous Náhuatl language, means rabbit — is a precocious 7-year-old who narrates the story, starting with the declaration that he is not precocious. One of his habits is to read the dictionary each night before bed. “Some of the difficult words I know are: sordid, disastrous, immaculate, pathetic and devastating.” These five words appear over and over as Tochtli tells his story. He sometimes uses them to characterize himself, as when he claims to have a devastating memory. But he also applies them to the very few people he knows and the situations outside his narrow existence. The more we learn about Tochtli, the more we see how these words describe his life. Other words he frequently uses: mute, faggots, and corpses.

Tochtli lives in a “palace” with his drug lord father, Yolcaut, whose name means rattlesnake. Tochtli does not go to school. A tutor, Mazatzin, comes to work with him. Mazatzin calls his student Usagi, a Japanese name that reflects Mazatzin’s love of that country and Tochtli’s fascination with samurai films. Tochtli also loves hats, especially threecornered ones. “Hats are like the crowns of kings. If you’re not a king you can wear a hat to be distinguished. And if you’re not a king and you don’t wear a hat you end up being a nobody.” Tochtli, despite living in a palace, says he is not a king. He and Yolcaut, who refuses to let his son call him daddy, are members of the “best and most macho gang for at least eight kilometers.” Why eight kilometers? Because they are realists.

Villalobos’ novel is a compact, image-laden tale that serves as an allegory for the larger culture. In that respect, it’s something like the late Carlos Fuentes’ thin novel Aura written when the celebrated author, like Villalobos, was in his 30s. The two books are vastly dissimilar in plot and style (Aura involves magical realism; Rabbit Hole is reality kept at a distance), but both reflect selfish perception’s ability to blind. Comparisons to Fuentes are appropriate in Villalobos’ case. He writes with command and precision (the English translation is by Rosalind Harvey), constructing an engaging story — what’s going to happen to this little kid? — in a way that transcends simple plot. That his themes — the futility of ill-gained wealth, the numbing effect of greed and violence, and how easily reality can be twisted — speak through such direct and innocent narration are testament to the author’s skills.

What Tochtli wants more than anything is a pair of Liberian pygmy hippopotamuses. What he needs is to break free of his isolation and gain human contact. What the story doesn’t have to tell us is what kind of man Tochtli will become. We can guess, from his isolation; from his obsession with hats, hippos, the effective use of samurai swords, guillotines, and various caliber bullets; and from his limited contact with the women his father brings to the palace. As his father tells him, “Realists are people who think reality isn’t how you think it is.” This kind of selfish thinking, Villalobos shows us, can justify anything.

— Bill Kohlhaase more book reviews on Page 14

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SANTA FE WEEKEND on BOOK TV and AMERICAN HISTORY TV Programs on the Literary Life & History of Santa Fe BOOK TV on C-SPAN2 Top Nonfiction Books and Authors This Sat., 10am MT. Comcast Channel 27

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February 1-7, 2013

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In Other wOrds book reviews The Dog Stars by Peter Heller, Alfred A. Knopf/Random House, 320 pages These are the things that survived: rabbits, deer, cheat grass. These are the things that didn’t: trout, elephants, most of the people. Then, many of the people who lived through the flu died from “the blood.”

Peter Heller’s postapocalyptic novel begins nine years after the globeshifting events. His narrator, Big Hig, is holed up in a small Colorado airport with the closest thing to family he might ever know again. They have a garden and a store of arms, and they maintain a perimeter. Hundreds of empty houses are a source of firewood and stashes of scarce goods such as olive oil. Their lives are every minute a fight.

“The ones who are left are mostly Not Nice,” Hig says early on.

Even though Heller set his story in a kill-or-be-killed environment, he doesn’t approach the gore and violence inherent to the situation with the kind of overly graphic pop-culture admiration that pervades contemporary postapocalyptic action films. And there are no zombies.

He doesn’t even divide the characters into good and evil. Hig’s voice is human. It’s hurting and hoping.

Some day it might be different.

“Grief is an element. It has its own cycle like the carbon cycle, the nitrogen. It never diminishes not ever,” Heller writes. “It passes in and out of everything.”

The novel’s sparse writing is jarring at first, then easy. Hig’s incomplete thoughts seem to be a consequence of his fractured self, of what happens when you lose more than you can innumerate.

Heller, a Denver-based writer, is a contributing editor at Outside, National Geographic Adventurer, and other magazines. His descriptions of plants, animals, landscapes, and rivers run side by side with the narrator’s bare emotional wrestling to keep the story moving. What Hig reveals about loss tugs on your heartstrings, and what he has to do to survive keeps the heart beating fast.

Hig is a hunter, an aviator, and a fisherman, with all these roles bursting to life under Heller’s pen — vivid enough to make readers wonder how much of the character could be part of the writer. Local details — such as the position of cities along the Rocky Mountains and how bark beetles killed miles of standing forest — bring the story close to home. Bangley, Hig’s partner at the airport base in Erie, Colorado, at first seems cruel.

However, Heller artfully unfolds his motives and skills so that he becomes more than just a sideman.

The other leading character is Jasper, Hig’s four-legged best friend both before and after diseases ravage the population. The dog even has his own spot as co-pilot in the cockpit of the small aircraft that Hig uses to patrol the area and to retrieve cans of Coke and other precious items.

On one trip to the mountains, with Jasper at his feet, Hig hugs a ponderosa pine, pressing his nose into the ridges of rough bark, feeling utterly alone.

“The tree smells almost sweeter than anything in our world now and it smells like the past.” Then his fingers hold the bark “with almost the same affinity, the same sense of arrival as they would hold to the swells of a woman.”

But it’s been nearly a decade since he’s touched one of those.

— Julie Ann Grimm

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Roger Snodgrass I For The New Mexican

Destroying the great DiviDe Omar Barghouti on ending the Israeli-Palestinian conflict Omar Barghouti

P

alestinian activist Omar Barghouti is swimming against a turbulent historical current as he revisits the United States this week, seeking to advance the cause of human rights. Barghouti is a founding member of the Palestinian Campaign for the Academic and Cultural Boycott of Israel and the Palestinian Civil Society Boycott, Divestment and Sanctions (or BDS) campaign against Israel. “ ‘Swimming against the tide’ is regarded by many cultures, including Arab cultures, as unwise, if not altogether irrational and desperately futile,” he writes in his book, Boycott, Divestment, Sanctions: The Global Struggle for Palestinian Rights. “Swimming against the tide and hoping to reach your desired destination would, then, defy common sense and call into question one’s sanity.” Hoping to boost defiance to the next level, Barghouti advocates on behalf of millions of displaced Palestinians throughout the region, as well as a large population of non-Jewish Israeli citizens who also call themselves Palestinians.

Barghouti speaks at the Lensic Performing Arts Center on Friday, Feb. 1, in conjunction with the Lannan Foundation’s In Pursuit of Cultural Freedom series. His talk about the role of boycotts, divestments, and sanctions in the current Palestinian struggle is followed by a discussion with Amy Goodman, host of the radio and television program Democracy Now, whose work has included coverage of the conflict in Israel and the occupied territories.

The BDS movement dates back to 2005, “when civil society launched what is now widely recognized as a qualitatively different phase in the global struggle for Palestinian freedom, justice and self-determination,” Barghouti writes, laying out a program of cultural resistance that connects the Palestinians’ indigenous history of civil resistance to a much wider international philosophy influenced by Gandhi, the U.S. civil rights movement, and the South African struggle to overcome apartheid.

Barghouti echoes Kenyan writer Ngugi wa Thiong’o, who suggests that the most effective response by people who are fighting for freedom and justice is “to confront this threat with a higher and more creative culture of resolute struggle.”

“The Palestinian popular and civil struggle against Israel’s occupation, colonization, and apartheid is

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rooted in what I call a culture of resistance,” Barghouti said. “We are challenging our oppressors resiliently, creatively, and with unbounded moral power. BDS is a rights-based movement that upholds international law and rejects every form of racism and racial discrimination, including anti-Semitism.”

The BDS movement distances itself somewhat from the political fray, in the sense that it “takes no position with the shape of the political solution,” Barghouti writes. “It adopts a rights-based, not a solution-based, approach.” Barghouti said that he is personally in favor of “the secular democratic unitary state solution in historic Palestine, based on justice and full equality.”

The BDS call clearly defines common ground for the movement, not in term of aspirational political outcomes, which differ widely among several divided parties and groups, but as three basic Palestinian rights on which there has proven to be a broad consensus: 1. Ending the Israeli occupation and colonization of all Palestinian land occupied in the 1967 war and dismantling the Wall — the barrier, hundreds of miles in length, built by the Israelis and designed to separate Israeli and Palestinian lands in the West Bank. (The barrier was declared in breach of international law by the International Court of Justice in 2004.)

2. Recognizing the fundamental rights of the ArabPalestinian citizens of Israel to full equality.

3. Respecting, protecting and promoting the rights of Palestinian refugees to return to their homes and properties as stipulated in U.N. Resolution 194 (passed by the U.N. General Assembly in 1948).

Barghouti said more than 170 political parties, trade unions, grassroots movements, non-governmental networks, women’s associations, refugee rights organizations, and others have endorsed the call.

The BDS movement is also using the tools of social media that helped depose several entrenched dictators across North Africa last year during the Arab Spring revolts. Many of Barghouti’s talks are available on YouTube, including one at Harvard University sponsored by the Harvard Institute of Politics.

Documentary photographs from Bab al-Shams, a tent village constructed on Palestinian land in an area

Amy Goodman

targeted for a new Israeli settlement, flew across the internet recently, followed quickly by pictures of the Israel Defense Forces tearing down the structures and breaking up the gathering protest. An organization called the U.S. Campaign to End the Ocupation is publicizing a boycott of the Israeli firm SodaStream, which the movement considers illegally located on West Bank settlement land. SodaStream plans to have a television spot during the Super Bowl this year, which the movement sees as one of many exploitable opportunities for online activists.

There are surely many smart and reasonable people on both sides of the political chasm, as former American ambassador to Egypt and Israel Daniel Kurtzer pointed out in a streamed talk at the Woodrow Wilson International Center for Scholars in Washington, D.C., on Jan. 9. Now a Princeton professor of Middle Eastern policy, Kurtzer is continuing to look for a workable peace process. He thinks Americans have an obligation to understand the narratives of both Israelis and Palestinians. “We need to find a way to fit them together in a manner that allows these two people to live together and, over time, ultimately to develop a common narrative.”

Doubtless not everybody will agree with any of the current peace plans or with Barghouti’s indirect route to reconciliation. Most peace accords require agonizing compromises between sworn enemies and are usually based on the relative strength or advantage of each side. Barghouti’s effort is an uncompromising insistence upon guaranteed human rights for all as the only real foundation for a lasting settlement. When the conscience of the world is focused on restoring justice for the Palestinians, as it was in the case of South Africa, Barghouti believes, the tide will turn. ◀

details ▼ Omar Barghouti speaks with Amy Goodman, a Lannan Foundation In Pursuit of Cultural Freedom event ▼ 7 p.m. Friday, Feb. 1 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $6, $3 students & seniors; www.ticketssantafe.org, 988-1234

SFCA

The Santa Fe Concert Association

Gabriela Montero

In Pursuit of cultural freedom

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

Piano Virtuoso

james Hansen with subhankar

Banerjee

Wednesday 20 FeBruary at 7 pm Lensic Performing Arts center james Hansen is well known for his research in the field of climatology and for helping to bring global warming to the world’s attention in the 1980s. in recent years, he has become active in promoting efforts to mitigate the effects of climate change. Hansen, head of the nAsA goddard institute for space studies in new York city and adjunct professor of earth and environmental sciences at columbia University’s earth institute, is the author of Storms of My Grandchildren: The Truth About the Coming Climate Catastrophe and Our Last Chance to Save Humanity.

This is the world we have changed, and now we have to live in it — the world that caused the 2003 heat wave in Europe that killed more than 50,000 people and the 2011 drought in Texas that caused more than $5 billion in damage. Such events, our data show, will become even more frequent and more severe...The future is now. And it is hot.

— James Hansen, Washington Post, 3 August 2012.

Sunday, February 10, 2013 4:00pm • St. Francis Auditorium • $20-$50 Tickets: 505-988-1234 www.ticketssantafe.org

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The Santa Fe Concert Association 321 West San Francisco Street, Suite G Santa Fe, New Mexico 87501 Phone: 505.984.8759 Fax: 505.820.0588

PASATIEMPO

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Rob DeWalt I The New Mexican

BOTANY BAY Honoring the first American botanist

I had always since ten years old, a great inclination to plants, and knew all that I once observed by sight, though not their proper names, having no person nor books to instruct me. — John Bartram, in a letter to Peter Collinson, 1764

Prints of drawings made by botanists John Bartram and his son William Bartram; below, box such as those used

by John Bartram to ship seeds and cuttings to clients in Britain

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????. ? - ?, 2012

ften referred to as America’s first botanist, John Bartram (1699-1777) was a brilliant man who, despite his self-consciousness about having no structured education, introduced many native plant species in the American colonies to his patrons and other curious parties in Europe.

“Bartram was a farmer and made most of his living that way,” botanist and Institute for American Indian Arts science coordinator and ethnobotany instructor Thomas Antonio told Pasatiempo by phone from his off-the-grid straw-bale home in Cerrillos.

“He was a simple guy: self-taught, and insecure about his lack of education. But he hung around an incredible crowd in Pennsylvania and became friends with numerous influential people, including Benjamin Franklin.

The whole continent was pretty much unexplored, and it was at a time when all the learned people here knew each other.” (Bartram and Franklin went on to organize the American Philosophical Society.)

On Thursday, Feb. 7, the Santa Fe Botanical Garden presents Antonio, who also serves as president of the Santa Fe chapter of the Native Plant Society of New Mexico, in a lecture titled “Honoring John Bartram, America’s First Botanist,” at the Museum of International Folk Art. Antonio’s fascination with botany took hold when he was a child, traversing the Ohio landscape with his aunt in search of wildflowers.

Antonio’s education was more formal than Bartram’s. He enrolled as an undergraduate at Miami University in Oxford, Ohio. “I didn’t know what to major in once I got to college, so I decided to major in accounting.

Soon I was thinking to myself, Oh my god, this is awful; it’s so boring I can hardly bear it.” The next semester Antonio switched his major to botany. He received his Ph.D. in plant systematics from the University of Oklahoma and worked in Chicago before moving to New Mexico.

Bartram’s interest in plants led him to study botany books written in Latin that were given to him by friends in Philadelphia, Antonio said. Bartram hired a local schoolmaster to teach him Latin, and by 1720 he was collecting and cataloging plant specimens when time allowed.

“Because Bartram was a farmer,” Antonio said, “he could do most of his plant collecting after the harvest was complete, which was perfect because that’s when all the seeds were coming from the trees and shrubs. He collected primarily seeds and dried plants, and the occasional fossil or other oddity.

He was able to send a few live plants back to Europe, but those were reserved

primarily for Peter Collinson” — a wealthy English Quaker and cloth merchant who would serve as Bartram’s patron for close to four decades.

Bartram, who was introduced to Collinson through Philadelphia merchant and intellectual Joseph Breintnall, soon began sending Collinson “guinea boxes,” wooden containers of seeds and plant specimens that usually cost between 5 and 10 guineas each.

“Actually, lots of patrons in England would pay Bartram to do it,” Antonio said. “Was it something done almost exclusively by the upper class? Yes. It was the height of the British Empire, so there was a lot of money for fancy gardens. I kind of look at it like this: today people are willing to go to great lengths to get the yachts and fancy electronics and everything else they desire. But back then, to have that one special plant — something your rich neighbor didn’t have — that was the neighborhood coup. It was the civilized Old World’s equivalent of keeping up with the Joneses.” In 1765, after some correspondence and in-person lobbying by Collinson and Franklin, King George III gave Bartram the title of King’s Botanist for North America.

Bartram is credited with introducing between 40 and 200 new species to England. The number is up for debate due to the collection work of Philip Miller, who served as chief gardener of the Chelsea Physic Garden in London from 1722 until just before his death in 1771. Bartram, who used his own sprawling Pennsylvania garden as a home base for horticulture research and the cultivation of seeds and rootstock, was frequently in correspondence with Miller, who paid a subscription to Bartram’s guinea box program. Evidence in their correspondence suggests that many new species sent to Collinson from Miller may actually have been the fruits of Bartram’s botanizing labor.

“What’s so charming about Bartram is the sheer volume of correspondence that has survived,” Antonio said. “He wrote letters to everyone, and they wrote back. Most of the conflicts that stand out are financial: ‘I sent you this seed or specimen so I need more money’ — that kind of thing. At the beginning of his botany career, Bartram’s spelling was atrocious and his grammar wasn’t so great, and his patrons would actually correct him. It must have been awkward for him.”

Having patronage overseas had its downside, despite any eventual favor given to Bartram by the Crown. Collinson, who was constantly chastising Bartram for not spending his money wisely, initially sent Bartram clothes as payment. Had the colonial botanist with a family to feed not been an experienced farmer, there’s no telling how long their business relationship would have lasted. “Collinson would send Bartram a dress for his wife to continued on Page 21

Above images, John Bartram House and Garden in Philadelphia

DOWN THE GARDEN PATH Begun in 1987 by a handful of gardeners, botanists, and others with the mission to establish a local botanical garden, the Santa Fe Botanical Garden oversees both the Leonora Curtin Wetland Preserve and the Ortiz Mountains Educational Preserve.

In 2006 the City of Santa Fe released a 14-acre parcel of land on Museum Hill to SFBG through a long-term lease. Development of a botanical garden on the site began in 2012. When completed, it will include four specific areas designed by landscape architect W. Gary Smith: the Orchard Gardens, the Naturalistic Gardens, the Courtyard Gardens, and the Arroyo Trail system. A target opening date of July 19-21 has been set for phase 1, the Orchard Gardens.

In January SFBG announced the hiring of Clayton Bass at its chief executive officer. Bass, who holds 20 years of experience in the nonprofit sector, with a strong focus on management and development within the arts, science, education, and environmental communities, most recently worked for Alexander Haas Fundraising Consultants of Atlanta. The firm played a key role in the New Mexico History Museum’s initial fundraising campaign. — RDW

PASATIEMPO

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Left, plan of John Bartram’s house and gardens, 1758; below, catalog of plants in Bartram’s garden, printed in 1785; bottom, magnolia, a species discovered

by Bartram; opposite page, 1803 print of the Venus’ flytrap, another species discovered by Bartram

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February 1-7, 2013

“Holding your hand through the entire process”

John Bartram, continued from Page 19 settle a bill,” Antonio said, “and then tell him not to divulge where it came from. They argued about money, and probably for good reason.”

Bartram’s contributions to the discovery, preservation, and dissemination of native-growing American species are a matter of record. His legacy includes the establishment of Bartram’s Garden, the first botanical garden in the United States (which continues to draw international visitors).

“Bartram was also one of the first hybridizers,” Antonio added. “His was a time when people were not convinced that plants had sex, and his research on the matter became widely known and respected.”

Bartram is credited with discovering and introducing to Europe the kalmia, rhododendron, and magnolia species, as well as the Franklin tree, which is now extinct in the wild, and for pioneering the cultivation of the Dionaea muscipula — better known as Venus’ flytrap.

Species identification and introduction worked both ways between Europe and America. According to Joe Roman, a conservation biologist, author, and researcher at the Gund Institute for Ecological Economics, who also runs the Eat the Invaders website (www.eattheinvaders.org), Bartram introduced the Norway maple — an invasive species native to eastern and central Europe and southwestern Asia — to the Philadelphia landscape.

“Speaking about introduced weeds,” Antonio added, “Bartram found the broadleaf plantain (Plantago Plantago major major) in so many places on his travels [in the colonies] that he did not know whether it was native or an importation from Europe. When he asked the Indians about it, they told him that wherever a European walked, the plant grew up in his footsteps. For that reason they named it the Englishman’s foot.

It now occurs in all the lower 48 states and actually was introduced here from Europe.”

And one wonders what Collinson thought of his vegetal namesake, Collinsonia canadensis, which Bartram canadensis and his son William Bartram cataloged thus: “This Plant grows five Feet high; hath, in the Fall, after Harvest, a Smell something like Hops; the Seed is much like Sage Seed. This, in some Parts of the Country, is called Horse Weed, not only because Horses are very greedy of it, but it also is good for sore gall’d Backs.

The Root is hard and knobby, and is much commended for Womens Afterpains, being pounded, boiled and the Decoction drank.” ◀

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LISTEN UP

James M. Keller

© Elias

a radical fringe group inspired by the anarchist Mikhail Bakunin. During those years, Liszt served as Wagner’s surrogate in German musical circles, conducting Wagner’s operas in the composer’s stead and doing whatever he could to champion the scores Wagner sent in from beyond the border. In this concert, the audience was served Liszt’s settings of music from Tristan und Isolde (the “Liebestod,” or, as Wagner called it, “Isolde’s Transfiguration”) and Tannhäuser (its famous Overture), and Lortie eked out the “Liebestod” with his own introductory transcription of the Tristan und Isolde Prelude.

Wolf is remembered today chiefly as a composer of songs. He was a staunch Wagnerian of the succeeding generation (he was born in 1860), one whose adoration of Wagner’s music led to despondency. “He has left me no room,” Wolf lamented, “like a mighty tree that chokes with its shade the sprouting young growths under its widely spreading branches.” In about 1882, he composed concert paraphrases on both Die Meistersinger and Die Walküre, and from the latter Lortie played the section devoted to the “Magic Fire Music.”

The other transcriber presents a still more disturbing case: Joseph Rubinstein, a Russian Jew who served as pianist in residence for the Wagner household, accepting no payment for his services, begging the master to redeem him from his affliction of Jewishness while enduring withering scorn and constant abuse from Richard and Cosima, who were among the era’s most virulent and outspoken anti-Semites. It was not a healthy relationship, and a year after Wagner died, Rubinstein committed suicide. Come to think of it, perhaps it was for the best that these back stories were left untold in the program book. Wagner’s music is easier to appreciate when the waters are not muddied by the unsavory realities of his biography.

Louis Lortie

Wagner, through the eyes of his contemporaries: pianist Louis Lortie The music-lovers who gathered at St. Francis Auditorium on Thursday evening, Jan. 24, did not constitute an especially large audience, but they were treated to a concert that was super-sized in quality. The performer was the Canadian pianist Louis Lortie, brought to town by the Santa Fe Concert Association, and his subject was Richard Wagner, whose bicentennial is being celebrated this year.

About a dozen piano pieces by Wagner are extant, and the fact that all of them are inconsequential had no impact on this recital, because those were not the works from which Lortie constructed his imaginative program. Instead, he drew from Wagner’s operatic scores as massaged by other musicians into versions for solo piano.

Settings of this sort were quite the rage in the 19th century, at a time before recordings made operatic music available on demand and when the art of pianism soared to levels of previously unimagined virtuosity. While some piano formulations were crafted as simple reductions of what were conceived as scores for voices with orchestra — these are usually called transcriptions — others involved elaborate reworking of the original material into what were titled fantasies, reminiscences, or concert paraphrases. This recital presented Wagner as viewed through the prism of three of his contemporaries — Franz Liszt, Hugo Wolf, and Joseph Rubinstein — as well as by Lortie himself.

As no program notes were provided, it may be enriching to point out that each of the three 19th-century arrangers had interesting connections to Wagner. Liszt was the most revered pianist of the century. He was only a year and a half older than Wagner, but in 1870 he became Wagner’s father-in-law, his daughter Cosima having cast off her first husband (the famous conductor and pianist Hans von Bülow) to pledge her troth to Wagner and become the most imperious and intimidating composer’s spouse in the entire history of music. Wagner spent 13 years in exile outside Germany due to indiscreet political involvement with 22

February 1-7, 2013

Louis Lortie’s performance was riveting.

His involvement with these scores was complete to the point at which listeners might feel they were witnessing the act of musical creation itself.

L ortie’s performance was riveting. His involvement with these scores was complete to the point at which listeners might feel they were witnessing the act of musical creation itself. From the very first notes of the Tristan und Isolde Prelude his nuance of tone was extraordinary; notes were connected to, or separated from, one another with shadings of overlap or division that were calibrated to convey emotional import. It was a sensual interpretation, riding the waves of Wagner’s erotic score with an alternation of control and abandon. The balance of lines could prove counterintuitive yet persuasive, as when right-hand scale passages that would normally dominate a phrase yielded to outbursts of melodies lurking in the midst of a dense texture. The Wagner-Wolf “Magic Fire Music” was also riotously colorful, though stressing brighter hues, and Lortie paced it at a measured tempo, not yielding to the temptation of giddiness. Rubinstein’s transcription of Wagner’s Siegfried Idyll was simple, essentially an unelaborated transcription of this gentle serenade Richard wrote to awaken Cosima on Christmas morn of 1870, the day after her 33rd birthday. (Cosima’s birthday was December 24, but not wanting to be overshadowed by anyone — not anyone — she claimed December 25 as the date on which her birthday should be celebrated.) Again, the music flowed out of Lortie with rhythmic fluidity. This and the Wagner-Liszt Tannhäuser Overture, which concluded the program with exhilarating dexterity and immense tone, seemed enhanced for being played against the backdrop of the mural that adorns the rear stage wall of St. Francis Auditorium, its verdant, pastoral imagery evoking a German Romantic stage set.

The only interloper in this otherwise Wagnerian concert was one of the most famous of all piano paraphrases, Liszt’s Réminiscences de Don Juan, a grand fantasy on themes from Mozart’s Don Giovanni, which closed the recital’s first half. We moderns tend to view Mozart as the embodiment of Classical grace, but the Romantics played up his demonic side and accordingly preferred his opera Don Giovanni (Don Juan) to his others. Much of Liszt’s piece is given over to variations on the duet “Là ci darem la mano,” and as these unrolled it sometimes sounded as if Lortie must have 15 fingers distributed among three hands. A sudden sidestep into the Don’s “Champagne Aria” inspired Liszt to let loose all manner of keyboard tricks. Lortie dispatched the flying octaves to perfection and infused this section with bracing Magyar spirit. It was an extraordinary recital. Although Lortie is certainly respected in the concert world and enjoys an excellent career, he has tended to work in rarefied circles, recording extensively for the connoisseur label Chandos rather than the major labels with their built-in publicity boost. This recital clarified that he would not be out of place on any recital series devoted to the world’s greatest pianists.

Chopin’s often-played études: pianist Jan Lisiecki

The preceding weekend found me (on Jan. 19) at the Walt Disney Concert Hall in Los Angeles, where I had traveled with friends to catch a duo-recital by soprano Renée Fleming and mezzo-soprano Susan Graham, assisted by pianist Bradley Moore. It was a delightful event, constructed as a sort of salon musicale with potted ferns (removed at intermission, though, because they blocked some sight lines). The mostly French program was crafted to entertain, with solo sets for the two singers providing variety from what could have been an overly sweet succession of two women’s voices in tandem. The emotional high point was their heartrending delivery of Berlioz’s La mort d’Ophélie (his own recasting of his original solo-voice version), a work that began insouciantly but drew listeners in as its tragedy unrolled. Graham, who resides part-time in Santa Fe, will be starring in Offenbach’s La Grande-Duchesse de Gérolstein at Santa Fe Opera this summer. In this recital, her performance of a solo set of songs by Reynaldo Hahn displayed the gorgeous tone, superb diction, and poised sophistication musiclovers have come to expect of her.

Santa Feans who have not yet experienced the Walt Disney Concert Hall must rectify that. A tour of the building, inside and out, is fun and rewarding.

Spectacularly designed by Frank Gehry and opened in 2003, its auditorium envelops the audience in warm wood paneling that curves about in emulation of a ship’s hull or a whale’s rib cage. Subtle blue lighting around the hall’s upper edges lends the allusion that listeners are connected to the outdoors, à la Santa Fe Opera House. The acoustics are honest, not very reverberant, seemingly crafted for listeners accustomed to excellent recorded sonics. The sound travels well, not losing its focus as it expands through the hall. This was at least clear from another performance (a Jan. 19 matinee), in which Pablo Heras-Casado led the Los Angeles Philharmonic in largely perfunctory interpretations of Kodály’s Háry János Suite, Bartók’s Concerto for Orchestra, and a new violin concerto (titled DoReMi) by Hungarian avant-garde notable Peter Eötvös, a work to which the violinist Midori brought impassioned effort and which I ardently hope never to hear again. ◀

Susan Graham

PASATIEMPO

Dario Acosta

The week turned out to be a bit of a showcase of Canadian pianists, as the next three days boasted concerts with the Polish-Canadian Jan Lisiecki. He was sponsored by Santa Fe Pro Musica in a Chopin recital on Friday, Jan. 25, and as the soloist in Beethoven’s Fourth Piano Concerto with the Santa Fe Pro Musica Orchestra (Thomas O’Connor conducting) on Saturday and Sunday, Jan. 26 and 27, all at the Lensic Performing Arts Center. It would be unfair to compare the two pianists more than glancingly: Lortie is 53 years old and obviously a mature master, while Lisiecki is 17 and near the beginning of what one hopes will be an ever-deepening exploration of his repertoire. Lisiecki enjoys some advantages to build on: he is attractive and personable, eager to please, and obviously ambitious, and he has the astonishing good fortune of having been signed to a recording contract by Deutsche Grammophon, a music-industry powerhouse that has provided him with an aggressive publicity campaign and bookings with major international orchestras.

For his solo recital Lisiecki played both principal sets of Chopin’s Études (op. 10 and op. 25), calling-card pieces crafted to confront specific technical challenges in the context of serious and satisfying compositions. Every concert pianist plays them, most of the greats have recorded them (the online CD source ArkivMusic currently sells 92 packagings of op. 10 and 96 of op. 25), and music-lovers have at their disposal complete accounts by such titans as Vladimir Horowitz, Claudio Arrau, Maurizio Pollini, Nelson Freire, Murray Perahia — and, yes, Louis Lortie — to shape their expectations. For the most part, Lisiecki has both sets firmly in his fingers, and he really does let his fingers do much of the work, since he uses the pedals frugally. Balances seemed occasionally offkilter; in the very opening étude of op. 10, for example, the combination of an overemphasized left hand and a somewhat ragged, dynamically recessed right hand got things off to an unpromising start, and the same issue surfaced in the E-Minor Étude (op. 25, No. 5). He achieved an effective interpretation of the famous “Revolutionary” Étude (op. 10, No. 12), and the C-sharp-Minor Étude (op. 25, No. 7) invited some of his finest playing as he infused its downwardsweeping bass line with a sense of sure destination. I expected that for an encore he might play one of the three Chopin études not attached to the two principal sets, but instead he served up a genuinely amusing joke: he launched into the opening of Bach’s Goldberg Variations, raising the startling possibility that he might be embarking on an hour-long encore. In the event, he settled for just the innocent aria that opens Bach’s behemoth, an illogical conclusion to the recital but sweet nonetheless.

In the orchestral concerts (I heard the one on Saturday), Lisiecki offered a clear account of Beethoven’s Fourth Piano Concerto, one that grew more centered as it progressed. He wisely hewed to simplicity in the slow movement, apparently Beethoven’s depiction of Orpheus taming the beastly guardians of Hades.

O’Connor supported this interpretation nicely, guiding his players to fade into submission as the piano grew increasingly dominant. Elsewhere, the musicians brought their talents to bear on Beethoven’s Creatures of Prometheus Overture and Haydn’s Symphony No. 101 (the Clock), the latter especially compelling in the flute-and-bassoon dialogue of the Trio section of the Minuet and in the clear-cut negotiation of the double fugato that ups the ante in the finale.

Two voices: Renée Fleming and Susan Graham

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Adele Oliveira I The New Mexican

Object lesson D

12

Benchwarmers 24

February 1-7, 2013

uring a Tuesday evening rehearsal for Benchwarmers 12, actors, producers, and directors passed in and out of the Santa Fe Playhouse’s low-ceilinged lobby, trying on costumes, tossing hats and winter coats onto wide bancos, and stepping outside for cigarette breaks.

Actors’ projected voices made their way from the stage through the closed lobby doors. As usual, rehearsal was overseen by Benchwarmers’ producer for the past several years, theater veteran Dan Gerrity.

Gerrity speaks with the smooth, measured diction of a performer and moves while he talks — sitting, standing, squatting, and leaning against the ladder that leads up to the light booth of the Playhouse, Benchwarmers’ home since its inception more than a decade ago.

Along with the annual Fiesta Melodrama, Benchwarmers — a collection of eight roughly 15-minute plays — is probably the most popular of the Playhouse’s offerings. “Benchwarmers hasn’t changed much since the beginning,” Gerrity said. “Our task has always been the same. It’s theater for people with short attention spans, those who prefer buffets to sit-down meals. ...

And it’s a collaboration incorporating people — actors, writers, directors — of different skill levels. We have pros alongside wide-eyed people who always dreamed of getting on stage.”

Now in its twelfth season, Benchwarmers received more than 60 submissions for this year’s production. The selection process is blind, conducted by Gerrity and a handful of others. Each year, the eight short plays take place around just one stage prop: a bench. “I love the bench,” said Kelly Huertas, a Playhouse board member whose play this year is called What Little Girls Are Made Of ... . Huertas has had work in the project for the past three years. “That’s all you have to work with — you have to create a world around one object. It’s both challenging and freeing.”

This year, many of the plays have surrealist elements, and as Gerrity put it, a comedic flair. “Many of the plays are in a lighter vein, and many also have twists and turns.” Gerrity noted that during the economic downturn a few years ago, Benchwarmers’ submissions tended toward the somber. “It’s always interesting to see what people are thinking about. The national consciousness definitely has an effect.”

Benchwarmers offerings are traditionally eclectic. Gerrity listed the locations the bench has stood for in past productions, ticking them off on his fingers. “The bench has been the railing of the Eiffel Tower. It’s been a broken roller coaster and a shipwreck and turned upside down. Really, it’s not that much of a limitation. It’s about building a play around an artistic construct as opposed to an entire set.”

A couple seasons ago, a screen was added to provide a backdrop for the plays. “When you’re moving between eight discrete plays, and you don’t want to bring up the house lights, you need something almost like a title card to tie it all together,” Gerrity explained. The images projected on the backdrop also add an element of scenery and ambiance to each play.

This year’s plays take place in a courtroom, a diner, an inn in Nova Scotia, a theater, a farmhouse, an artist’s studio, a department store, and on and around a city bench. Old hands and first-timers spoke about the production process as the best part of Benchwarmers.

“Collaboration really gets stressed,” said Michael Burgan, a second-time Benchwarmers playwright and professional writer.

Burgan’s play, Nothing to Declare, is a chimerical ode to Oscar

Photos Clyde Mueller/The New Mexican

Wilde. “Benchwarmers really puts an emphasis on the playwright’s involvement, and we’re integral to process. It’s a rare opportunity, and is part of working in community theater. ...

I attend almost every rehearsal, sit in on auditions and casting, and am part of logistics. It’s my vision, but the actors and director also discover their interpretations.”

“I love this theater,” said playwright Martha Ann Lategan, a newcomer to the series. She lives on a farm in southern New Mexico where she grows alfalfa and pecans and rides horses, but has always had an affinity for Santa Fe. Her parents met at La Fonda, and when Lategan’s father died, her mother hired a plane so the family could scatter his ashes over the hotel during lunchtime. “I came up in August for Indian Market and talked to Rebecca [Morgan, director of the Playhouse], and she said I should submit something. I was pleasantly surprised,” Lategan said of being selected for Benchwarmers 12. Her play, A La Carte, focuses on a cerebral encounter between a waitress and a patron in a small-town diner. “It’s my first time producing,” Lategan continued. “It’s hands-on, we have deadlines, and I’m watching the play become multi-dimensional. I like to say we’re playing in the passion of infinite possibilities. There’s a magic and mystery about the Santa Fe Playhouse.”

During the rehearsal, Natalie Bovis, the actress playing the waitress in A La Carte, emerged from the lobby bathroom in costume — a starched white uniform-like dress. “What do you think?” she asked the assembled producers. “Is it too tight?”

“Add an apron and it’ll be fine,” someone suggested, and she hurried to change before the next rehearsal began.

Most of all, participation in Benchwarmers is good fun — for the audience, and perhaps even more so for the crew. “The fun is in the process, in assembling eight separate companies into one,” Gerrity said. “Benchwarmers reminds me a bit of high school, that feeling of ‘we’re going to put on a play.’ It’s not laborious. What’s MGM’s old motto?” Gerrity asked. He paused for half a second to think. “Ars Gratia Artis!” he exclaimed. “Art for Art’s Sake. I’d like to co-opt that for the Playhouse.” ◀

From left, Steve Oakey, Matthew Montoya, and Kathi Collins in Country Down Top left, Mario Ulibarri and Cindy Coulter in Xenaphobia Top right, Mary Beth Lindsey and Andrew Primm in The Day Santa Ignored Us Opposite page, from left, Hedy Beinert and Ann Roylance in What Little Girls Are Made Of ...

details ▼ Benchwarmers 12 ▼ Preview 7:30 p.m. Thursday, Feb. 7; Friday, Feb. 8, opening-night gala 6:30 p.m., curtain 7:30 p.m.; 7:30 p.m. Thursdays-Saturdays, 2 p.m. Sundays through March 3 ▼ Santa Fe Playhouse, 142 E. De Vargas St. ▼ $20 (discounts available), preview $10, gala $25; 988-4262, www.santafeplayhouse.org for reservations

PASATIEMPO

25

PASA TEMPOS

album reviews

HANK ROBERTS Everything Is Alive (Winter & Winter) Jazz cellists are a rare lot, often whittling from their own eclectic stick. That’s certainly true of Hank Roberts, a veteran of gigs with outsidethinking musicians including saxophonist Tim Berne, keyboardist Marilyn Crispell, guitarist Bill Frisell, and bassist Mark Dresser’s Arcado String Trio. Lately, Roberts has found a point of inspiration in Americana, a direction that sees him working folk and traditional-sounding originals as well as rock and jazzinfluenced compositions. Everything Is Alive follows suit with its entirely Roberts-written program, performed with longtime associate Frisell, bassist Jerome Harris, and drummer Kenny Wollesen. The music ranges across horse-and-buggy rhythms and Middle Eastern-flavored stewing to backbeat of the sort that goes 4/4 a count better. The themes, often played in twisted unison with Frisell, are accessible but not necessarily easy. Roberts’ pizzicato solos dance and leap while carrying their own strange sort of melodicism. In support, he’s constantly employing double stops that make the group sound larger than it is. At times, he sings along with his play, not in the absent-minded way that a bassist grunts to his pluck or like Keith Jarrett whining along with the piano, but consciously, as if to Hank give the pieces a more natural, more human feel. This is a relaxed, soothing date — music to get comfortable with pizzicato — not stuffy or tiresome in the least. — Bill Kohlhaase

WOODEN WAND Blood Oaths of the New Blues (Fire) James Jackson Toth’s career path has been more of a meandering stroll than a straightforward stride. He’s recorded as Wooden Wand & the Vanishing Voice, WAND, and Wooden Wand, releasing material both accessible and abstract, in no discernible pattern. This shape-shifting may be the only way for an Americana artist to have the mystique once enjoyed by those of the 78-RPM-record and AM-radio days. This time out, Toth has found a good shape to shift into: that of the laid-back troubadour who relays rambling anecdotes and dispenses world-weary wisdom while trying to figure things out himself.

The music plods along, as Toth slowly breathes life into his songs and then lets them slowly bleed out, in between laconically singing lines such as: “Life goes by so fast, but its minutes drag on slow/Sometimes nowhere seems the only place to go.” The approach is nicely summarized in “Outsider Blues,” a song set to acoustic strumming and hand drums, which starts with a deadpan account of a trip to a blues festival before veering into musings on how, while driving, Toth can see through the trees to “someplace I’ve never known and I won’t live to see/ Roberts’ There are simply too many other places I got to get to.”

Despite the album’s hints at settling down, it’s clear solos dance that Toth is going to keep meandering. — Robert Ker

and leap while carrying

ImOgEN HOlST Choral Works (Harmonia mundi) INDIANS Somewhere Else (4AD) Copenhagen singertheir own strange sort Though overshadowed in posterity by her father, Gustav songwriter/multi-instrumentalist Søren Løkke Juul, aka Holst (composer of The Planets), Imogen Holst (1907Indians, chose an appropriate title for this, his debut of melodicism.

1984) was a mover and shaker of British musical life for full-length release. Somewhere Else carries an otherworldly decades, serving as Benjamin Britten’s amanuensis for a tone from start to finish, with ethereal acoustic melodies dozen years. In that capacity she prepared piano reductions and flights of electronic fancy blending seamlessly behind of his Noye’s Fludde and War Requiem, and she created an Juul’s upper-register voice. The album unfolds like mist orchestral expansion of his cantata Rejoice in the Lamb (originally dissipating from a grove of trees — a haunting occurrence, or accompanied by organ), a colorful, percussion-rich setting that is perhaps a mystery, but not a particularly threatening one. Juul included in this welcome release of her choral music. She studied with completed writing for the album while tucked away in a rural Danish Vaughan Williams early on, and one spies his influence in her a-cappella Mass studio, and that sense of self-imposed isolation, those moments when one in A Minor from 1927; its modal writing and melodic contours are equal parts has nothing but the landscape and his or her thoughts to contend with, neo-Renaissance and English pastoral. Her harmonic language grows braver shines through on this relatively sedate, and oftentimes brooding, 10-track in her Three Psalms of 1943, where the choir, accompanied by strings, dream-pop release. Opener “New” segues from its chime-heavy intro builds to an active textural climax in the concluding “Alleluya.” The to a lush study in synth strings and bare bones snap-clap percusmost engaging item in this collection is her Welcome Joy and Welcome sion, while “I Am Haunted” and “Cakelakers” make good use of the Sorrow, a group of six movements to poems by Keats, which she acoustic guitar in the vein of Wisconsinite Bon Iver. Indians fits composed in 1951 for the Aldeburgh Festival. Scored for women’s snugly on the 4AD roster between abstruse UK stalwarts like chorus and harp, this delicate setting calls to mind Britten’s the Cocteau Twins and newer acts such as Fleet Foxes and A Ceremony of Carols. Graham Copenhagen brethren Efterklang, who, Ross directs the Choir of Clare despite strong American folk influences, College, Cambridge, in fervent, bring something distinctively Scandinavian vigorous interpretations, with the to their melancholy, psychedelic-oriented youthful women’s voices proving styles. The title track, which closes the particularly congenial in the context. album, proves that the theremin can still The instrumentalists of the Dmitri be used in contemporary pop music Ensemble provide adept support. without sounding contrived.

— James M. Keller — Rob DeWalt

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February 1-7, 2013

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27

TERRELL’S TUNE-UP Steve Terrell

Dale Watson, I presume Honky-tonk music is alive. Alive? It’s rarely sounded healthier, judging

by Dale Watson’s latest album.

The record is called El Rancho Azul. There on the back cover you see Watson and his band, the Lone Stars, standing beside their tour bus in front of the Broken Spoke in Austin. That’s the famous old saloon where I last saw Watson play. (He did a solid three-hour-plus set without taking a break.) Even though this was a couple of years ago, I’m pretty sure I heard at least a couple of these songs that night.

This is no song cycle or rock opera, but El Rancho Azul does deal with certain recurring themes. Number one is drinking. Four of the album’s 14 songs have the word “drink” in the title. There’s “I Lie When I Drink” (“and I drink a lot,” Watson sings in the refrain), “Drink to Remember,” “I Hate to Drink Alone,” and “Drink Drink Drink.” Then there’s a song called “Smokey Old Bar” (in which Watson enjoys drinking cold Lone Star) and one called “Thanks to Tequila” (in which Watson makes fun of the way cactus juice slurs his speech).

There are a couple of minor themes at work on the album, as well.

One is dancing and the other is weddings. Come to think of it, drinking, dancing, and weddings go together. On the dancing front, there are two similar songs that deal with a woman teaching a man how to survive on the dance floor. These are “Quick Quick Slow Slow,” followed by “Slow Quick Quick,” which is about waltzing. Then there’s “Cowboy Boots,” in which Watson sings of his love for women dancing in such footwear.

Watson’s wedding tunes are quite different. “We’re Gonna Get Married” is a fast song sung from the perspective of an enthusiastic groom. This is followed by “Daughter’s Wedding Song,” which is sung from the viewpoint of the bride’s father. “It’s hard to let go of that little girl whose whole body would sleep on my chest,” Watson says, starting off the second verse. It’s slow, pretty, heartfelt, and overtly sentimental.

Merle Haggard fans will note similarities between this and Hag’s “The Farmer’s Daughter.”

Dale Watson, center

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February 1-7, 2013

Dale Watson’s ‘El Rancho Azul’ deals with certain recurring themes. Number one is drinking. Four of the album’s 14 songs have the word ‘drink’ in the title.

Watson finally got around to recording “Where Do You Want It,” his black-humor outlaw song celebrating the shooting incident near Waco that involved the mighty Billy Joe Shaver. Billy Joe was eventually acquitted of aggravated assault charges connected with the confrontation. (What Texas jury is going to convict Billy Joe Shaver when Willie Nelson is sitting right there in the courtroom?) Though Watson wrote this song, it was originally recorded by Whitey Morgan & The 78’s about two years ago.

Watson’s on a real roll lately. I thought his previous album, The Sun Sessions — recorded at Sun Studio in Memphis with a stripped-down version of his band and an early Johnny Cash feel — was the best thing he’d done in years. But this one is even better. Check out www.redhouserecords.com/Watson.html.

Also recommended: Be Right Back! by Chris O’Connell. Even if you don’t recognize her name, chances are you’ve heard the voice of Chris O’Connell. She was the original female with Asleep at the Wheel, before those latter-day saints of western swing moved to Texas. Yes, she was the female singer on the early Wheel hit “The Letter That Johnny Walker Read.” And, from the same album, Texas Gold, she sang lead on “Bump Bounce Boogie,” which was one of the sexiest songs to come out of the Cosmic Cowboy era.

O’Connell worked with the Wheel on and off for a couple of decades.

She has collaborated with a bunch of folks, including Wheel alums like Floyd Domino and Maryann Price (one of Dan Hicks’ most famous Lickettes). And she took a 12-year break from the biz of show before coming back to record her first solo record.

There are plenty of tunes here — opener “A Little Mo’ Love,” “Everything Is Movin’ Too Fast,” and “One More Day” — that wouldn’t seem out of place on an Asleep at the Wheel record. “My Baby Don’t Love Me Any More,” written by Johnny Paycheck, is a fine country song that features two of country rock’s greatest guitarists, Bill Kirchen and Junior Brown, backing O’Connell. She takes a bluegrass turn with “City Water,” with another former Wheel member, Cindy Cashdollar, on dobro. Cashdollar also plays on O’Connell’s nicely understated version of “Shenandoah.”

O’Connell ventures out of the country/western-swing realm, getting jazzy on some tracks and going to the cocktail lounge on others like “When Love Was New” and “Skid Row in My Mind.” She draws from a variety of sources including Rodgers and Hart (“Everything I’ve Got Belongs to You”), Irving Berlin (“It’ll Come to You”), and Elvis (a strong performance on “(Marie’s the Name) His Latest Flame.” Visit www.cdbaby.com/Artist/ChrisOConnell. ◀

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Lottery Drawing on March 5, 2013 Applications (see website) due by 4 PM Friday, March 1 We are a caring community of learners with an emphasis on excellence.

Our program combines high school and college courses in a dual-credit program and we focus on rigorous academics and high standards. Support is always available from teachers and tutors. STEM is emphasized, as is service to the community.

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ON STAGE L.A.-based experimental-psych-metal powerhouse Intronaut, currently on tour with American prog-metal outfit Animals As Leaders and Swedish extreme-metal kings Meshuggah, is using an off date to make your ears bleed at the outskirts of town. The ensemble opened for Tool on its last tour, and Intronaut drummer Danny Walker joined Tool onstage in Albuquerque for a scorching percussion battle early last year. At 7 p.m. Monday, Feb. 4, Intronaut (right) hits the stage at Santa Fe Sol Stage & Grill (37 Fire Place, www.solofsantafe.com), along with local progressive metal-urgists As In We, New Mexico metal supergroup Carrion Kind, sludge-party outfit Obelisk, and Albuquerque atmospheric-metal band Distances. Advance tickets, $10, are available at www.solofsantafe.com. Tickets at the door cost $15. The show is 21-and-older without a parent or guardian.

ERASE HATE ERASE HATE ERASE HATE ERASE HATE ERASE HATE ERASE HATE

ERASE HATE ERASE HATE

Shepard’s story: The Laramie Project

At 7 p.m. Friday and Saturday, Feb. 1 and 2, Capital High School’s Capital Arts and Production Academy presents a staged version of The Laramie Project, a play written by Moisés Kaufman and members of the Tectonic Theater Project about the public reaction to the 1998 murder of gay University of Wyoming student Matthew Shepard.

The play, directed locally by Juliet Salazar, is based on hundreds of interviews conducted in Laramie, Wyoming, five weeks after Shepard’s death. The Laramie Project is presented at CHS’s Bryan Fant Theatre (4851 Paseo del Sol) in conjunction with the school’s community-outreach Erase Hate anti-bullying campaign, which continues through 2013. Tickets are $7 in advance, $10 at the door; reservations can be made by calling 467-1070.

ERASE HATE ERASE HATE ERASE HATE ERASE HATE

THIS WEEK

Intronaut puts the pedal to the ...

Balkanization: Rumelia’s CD release

Students banding together

An instrument sticks with you for life.

Sometimes it’s a physical attachment, gained as you move for the umpteenth time, wondering why you’ve hauled the same heavy trombone across half the country. Other times, it’s a spiritual connection — perhaps the memory of daily clarinet practice. For many local music students, these feelings may be forged at a concert presented by the Santa Fe Public Schools District Band Education Programs on Monday, Feb. 4, when musicians from eight middle and high schools come together at the Lensic Performing Arts Center (211 W. San Francisco St., 988-1234).

Students perform pieces by Tchaikovsky, Michael Story, and Brian Balamages. The concert, sponsored by the Santa Fe Concert Association and the Lensic, begins at 6:30 p.m.; $8 suggested donation.

30

February 1-7, 2013

Oh, the Balkans — a region infamous for the 1914 assassination of Archduke Franz Ferdinand and home to perpetual political unrest, where borders shift early and often. It has also inspired some toe-tapping good music. Santa Fe gets its own taste of southeastern Europe on Saturday, Feb. 2, when local Balkan band Rumelia (left), along with Czech Megaphone of Taos and the Balkan/ Mideast Ensemble from the Santa Fe University of Art and Design, takes the stage at the Railyard Performance Center (1611 Paseo de Peralta). The evening celebrates the January release of Rumelia’s new album, Lost and Found, with band members Nicolle Jensen (vocals and percussion), Sitara Schauer (vocals and violin), and Deborah Ungar (accordion and clarinet). Doors open at 6:30 p.m., the concert starts at 7 p.m., and tickets cost $5 to $20.

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31

Paul Weideman I The New Mexican

Light sensitive Kate BreaKey’s photograms Kate Breakey: Conepatus mesoleucus/Western Hog-Nosed Skunk Images courtesy the artist, unless otherwise noted

Sylvilagus audubonii/Desert Cottontails

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February 1-7, 2013

THE

most recognizable fruits of photographer Kate Breakey’s career are pictures of dead animals, presented with no artifice beyond the monochromatic backgrounds. If it weren’t for the visceral subject matter, the appearance would be almost austere, in some ways relating to Imogen Cunningham’s and Edward Weston’s 1920s plant and shell photographs, which were considered to have a radically simplistic focus.

One important segment of Breakey’s work transforms the details of carcasses into the shadow realm. This is the photogram, which she has been experimenting with since art school in her native Australia. In the dark, she placed a eucalyptus leaf onto a sheet of photosensitive paper and exposed it to light. After putting the paper through baths of developer and fixer solutions, she had a bright “shadow” image of the leaf standing out against the black background of the exposed paper. She was hooked.

This cameraless process was invented by William Henry Fox Talbot in the 1830s. He called it “photogenic drawing.” Perhaps the most famous photogram artists are Man Ray and László Moholy-Nagy, creators of dynamic and modernistic black-and-white images, nearly a century ago. However, Breakey relates more to the 19th-century botanist Anna Atkins, who specialized in capturing images of certain plant varieties with cyanotype photograms. She self-published these in a series of volumes titled Photographs of British Algae.

Breakey has made arresting photograms of plant leaves and flowers, but it’s her animals that practically shout at the viewer, both for their liveliness and the variety of form. She has written that she makes a photogram of a deceased animal “so that its beauty and its death are memorialized.” Her new book, Las Sombras/The Shadows, features 99 plates that represent a veritable almanac of the American Southwest — included are images of a bobcat, a bush cucumber, an armadillo, a prickly pear cactus, a desert cottontail rabbit, an Arizona walnut leaf, and a Gila woodpecker.

The photograms are preceded by an introduction by poet Liz Purpura and a one-page text by the photographer. “I picked the dead coyote up off the road,”

Breakey begins her piece. “It had been hit by a car, probably at dawn that morning. It was surprisingly heavy, but its coat was finer and softer than I had imagined.” As she collects the body of the female coyote, she pictures “her pack, maybe even her young, waiting for her, calling her.”

Breakey has lived outside of Tucson since 1999. She and her husband have four acres of land and are surrounded by “a tremendous amount of animals,” she told Pasatiempo. “It does remind me of Australia here. I grew up in a fairly small country town on the coast of South Australia, 400 miles from Adelaide, where I went to school. There was lots of wilderness and lots of animals, and I grew up going out to friends’ farms and had family that had all sorts of rescue animals around, magpies and parrots and I guess they had a wombat.”

Her family’s animal-loving tradition is being continued by the Breakeys, who have adopted a desert tortoise. That tenderness is translated into her photograms. You never get the feeling that these are just ratty old critter corpses dumped onto the paper. It’s easy to think that she goes to great lengths to present the animals in lifelike ways. Her roadrunner actually looks like it’s running. The great horned owl appears to be in flight. “It’s not as conscious as that, really.

I’m just trying to get the best silhouette I can. I’m arranging for the shape that expresses what they are.”

In the same way a photographer approaches a subject from different angles and takes a number of photos, Breakey likes making multiples. “I keep the animals in the freezer until I’m ready, and then I thaw them out and they get sort of pliable, so I do get to manipulate them a little bit. I try to do 10 of each, although that’s a huge undertaking with all the chemistry involved in developing these big prints.”

The photogram process is essentially very simple. The artist requires neither a camera nor an enlarger, although Breakey uses an enlarger because it offers a controlled, focused light source. She “fogs” her animal and plant pictures: “I take the creature off the paper and I flash the light, so that it comes out gray continued on Page 34

Dicotyles tajacu/Collared Peccary (Javelina)

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Las Sombras, continued from Page 33

Cnemidophorus inornatus/Little Striped Whiptail Top, Installation, courtesy Etherton Gallery, Tucson

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February 1-7, 2013

and black instead of white and black, and then I tone the print so it’s in browns.”

Her typical exposure under the enlarger is about 10 seconds. By contrast, Anna Atkins’ photograms of seaweed and algae had to be in the sun all day. Atkins’ fine cyanotypes demonstrate a sensibility both artistic and scientific. This broad approach is also seen in Breakey’s work, not only because of her rather encyclopedic portrayal of the ecosystem but in her titles: she knows her taxonomy, naming each one of her photograms with the organism’s common name and its Latin name. The Pandora sphinx moth is, precisely, Eumorpha pandorus. That coyote is none other than Canis latrans.

“I live with a molecular biologist, so that helps. My husband of 30 years is a scientist, and we’ve always been interested in the natural world. At one point, though, he did get sick of me storing my dead animals in the freezer alongside the food, so I had to buy my own.”

She didn’t have to worry about freezing the specimen for her bald eagle photogram. “You’re not allowed to collect a bald eagle if you find one.

This one I got commissioned to do, to illustrate an Annie Proulx short story, and they flew me to the National Eagle Repository in Colorado to do that photogram.”

That’s one of the Breakey pieces that can be viewed in the show Desert Grasslands at the Tucson Museum of Art through July 7. “Apart from what you see in the new book, I frame these in vintage frames, and it becomes an installation, a giant sea of animals, like a great big tapestry that ranges from the tiny scorpion in a 3-inch frame and then you step back to see the eagle.” The framed bald eagle (Haliaeetus leucocephalus) is 43 by 79 inches The major archive of Breakey’s work — traditional photographs as well as photograms — is held by the Wittliff Collections at Texas State University, San Marcos. The Wittliff has more than 200 of her photograms on display, also through July 7. Las Sombras/The Shadows is the third Breakey book in the Wittliff’s Southwestern & Mexican Photography series. The first was Small Deaths: Photographs (2001), featuring pictures of dead birds, lizards, insects, and flowers. The second

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book, 2010’s Painted Light, is a retrospective, with images from nine suites of photographs, among them Still Life, Cactus, and Memories and Dreams, which features images of tiny feathery and furry corpses; her arrangements sometimes remind you of Joel-Peter Witkin’s work with the human dead.

“Mostly what I do are big, hand-colored portraits of dead birds,” Breakey said.

“I’ve always used a camera.

I’m still a mechanical-camera person, besides the photogram work. I still use a Hasselblad.” Breakey is an instructor in the Santa Fe Photographic Workshops, and she will teach a course there in July. She is represented locally by Photo-eye Gallery.

“Someone just found me a fawn,” she said during the interview in mid-January. “I have all these ranchers who are perpetually bringing me things.” That creature would pose a bit of achallenge, but there would be no problem fitting it onto the piece of photographic paper, which she buys in rolls 42 inches wide. “I can’t do an entire cow. The javelina I did must have weighed 100 pounds, and it’s hard on the back. And of course it’s nasty. Sometimes they’re spilling blood.”

This is an art that entails both the primitive and something ethereal.

In her text for Las Sombras, the photographer says that she burns these “shadows” of animals and plants onto photographic paper “with light and with love.” ◀

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“Las Sombras/The Shadows” by Kate Breakey is published by University of Texas Press.

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What’s happening tonight music at the museum

Note by Note: the Making of Steinway L1037

■ February 1 Friday 5:30–7:30 PM Enjoy a screening of award-winning documentary “Note by Note” with music and commentary by Joe Illick, Santa Fe Concert Association. Free.

next week opening reception

Back in the Saddle and Georgia O’Keeffe

■ February 8 Friday 5:00– 8:00 PM Two new exhibitions explore the traditional art of the Southwest, through horse imagery in all media, and the work of Georgia O’Keeffe. Music by Atomic Grass.

Refreshments served by the Women’s Board of the Museum of New Mexico. Free.

coming up public demonstration

An Evening with Zen Master and Calligrapher Shodo Harada Roshi ■ February 26 Tuesday 6:00– 8:00 PM The Roshi will share his teachings on the practice of calligraphy as a spiritual art form. Books and calligraphies will be available for purchase. Simultaneous translation and videocast provided. $5 at the door.

New Mexico MuseuM of Art

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Hearing Loss Seminar

Do you think you have hearing loss? Are you overwhelmed with receiving non-stop print material and listening to sales pitches? Do you want to learn about hearing loss from a medical perspective?

You are invited to the FREE Southwestern Ear, Nose and Throat Hearing Loss Seminar! No sales, just education.

SWENT physicians and audiologists will explain hearing loss and balance disorders and the different therapies and technologies used to address these problems.

Friday, February 8 at 12:30 pm Inn and Spa at Loretto 211 Old Santa Fe Trail Lunch will be provided as well as hearing assistance for those who need it.

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PASATIEMPO

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Michael Abatemarco I The New Mexican

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If the sorrow and confusion and longing in a man’s heart is eloquently expressed through art, I think it gives comfort and even exaltation to his audience, by making them feel less lonely. — Tennessee Williams, as quoted in “My Life in The New York Times” ROSS BLECKNER’S NEW BOOK,

My Life in The New York Times, is a surprisingly touching exploration of word and image despite its ironic title (he never worked for the Times). But Bleckner, a New Yorkbased painter, is an avid reader of the daily paper. Over the course of many years he has filled notebooks with snippets of text cut from the Times and saved for personal use. For My Life in The New York Times, Bleckner gathers the excerpts and presents them alongside images, many of them details from his own paintings.

Themes of mortality, impermanence, and loss are peppered throughout the book in the form of epitaphs, short poems, obituaries, and memorials, along with other selections.

While these themes are associated with his recent work, the quotations in the book suggest Bleckner’s interest has been ongoing. The book, however, is not arranged in a traditional chronology although it reflects, mostly indirectly, something of Bleckner’s life. “It kind of goes from starting a career to having a career,” Bleckner told Pasatiempo, “the defeats and triumphs of a career, 38

February 1-7, 2013

the rejections, the disappointments, the hopes. It really has to do with what it means to be an artist; you just keep pushing through. You keep moving forward in time. How you keep yourself inspired is really the chronology.”

In part, it is the poignancy of the quotations that make My Life in The New York Times eminently readable.

“I am the swift uplifting rush of quiet birds in circled flight,” reads a snippet of an obit, drawing from a poem attributed to Mary E. Frye, “ I am the soft stars that shine at night, Do not stand at my grave and cry, I am not there, I did not die.”

Another, in memorium, quotes W.H. Auden: “He was my North, my South my East and West, My working week and my Sunday rest, My noon, my midnight, my talk, my song.” Beneath, it, a line to the departed signed simply Robert: “Ten years and your memory burns as brightly as ever.” Other unattributed quotes, removed from their original context, become surreal. “Imagine you fall off a boat out in the open ocean,” reads one, “and you turn around, and the boat is gone. And then the water’s gone. And then you’re gone.” The original source was a clinical psychologist interviewed for a story on hallucinogens that ran in the Times in 2010.

“I don’t attribute the quotes because I don’t care who said them but what they say,” Bleckner said.

“They struck my attention. They have a certain gravitas to them and a very short amount of words.

I culled them — this is something I do very informally — from all kinds of magazines and all kinds of books. Just things to inspire me or to remind me. I went back over the notebooks from a number of years and realized I had taken a lot from The New York Times. So, I put together this collection. It’s really about the subjectivity of reading.

Even though it’s supposedly a hard newspaper, there’s so many quotes you can pull out of it that, in the morning when you’re reading, just kind of wake you up, get you going.”

In a short introduction, Bleckner describes his intent for the book in part as a story of words and images and in part a tribute to the medium of newsprint. “It’s kind of a running journal, really, of images and themes that repeat themselves, that move forward, that go back.”

Bleckner’s book reflects themes present in his work throughout his career. In the 1980s he produced paintings in response to the AIDS epidemic and abstract paintings of human biology at the cellular level, including cancer cells. A midcareer retrospective opened at the Guggenheim in 1995.

While offering insight into the subjects that interest him, the book also connect to his own life in some concrete ways. Some of the obituaries mention members of his own family, for instance. “The first one, almost like the dedication page, was for my mother,” he said. The name Ruth Bleckner appears among a list of names under the heading “Deaths” in a clipping from the Times dated August 4, 2008.

Bleckner lends a scrapbook feel to the book, leaving in the yellowed tape, hand-written notes, and fingerprints from the original notebooks. The art is a selection of graphic imagery and photography arranged collage-like on the page.

The details from Bleckner’s paintings, many with floral imagery, underscore the book’s pervasive sense of the transience of life.

“The whole process of blooming and decaying and fading — it’s like a time-lapse. It all happens so quickly. It’s there and gone, the life cycle. I have always used the floral image to represent that metaphorically.” The imagery also seems like a good fit for the epitaphs and other death-related texts, a salute to their writers and the objects of their affections. In short, My Life in The New York Times is a glimpse into the emotional life and philosophical concerns of humanity. Taken from their original context, the words become descriptive of Bleckner’s artistic inquiry into the nature of life itself. “They’re put into the context of me being an artist and the ideas that I work with,” he said. “A lot of them I find very touching and very moving, like with the memorials and the things that people write about other people. There’s something about the language or words that inspired me to think about life, to think about other people’s lives and the fragility and fleetingness of it. It reminds me to get to work.” ◀ “My Life in The New York Times”

by Ross Bleckner was published by Allworth Press in 2012.

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The Food Depot • 1222 Siler Road, 87507 www.thefooddepot.org PASATIEMPO

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A Yiddisher papa Jon Bowman I For The New Mexican Tevye, adaptation of Sholem Aleichem stories, not rated, in Yiddish with subtitles, Center for Contemporary Arts, 3 chiles After Sholem Aleichem had immigrated to the United States in 1905, a judge introduced the Ukraine-born Yiddish playwright and author at a conference as “the Jewish Mark Twain.” Twain, also attending the event, replied to the judge, “Please tell him I am the American Sholem Aleichem.”

The comparison with Twain is apt. Besides the fact that they both used pen names, the two authors wrote tales brimming with wit and humor, set among the common folk, with a heavy dosage of vernacular language. But while Twain’s domain was rural America, Aleichem explored the realm of the shtetls, the Jewish villages once commonplace throughout Eastern Europe and Russia.

Aleichem is perhaps most remembered nowadays through the musical Fiddler on the Roof, based on a cycle of his folk tales revolving around the dairyman Tevye’s struggles raising seven daughters.

This weekend, the Santa Fe Jewish Film Festival presents a striking, earlier adaptation from this same series of works — a 1939 film, in Yiddish with English subtitles, called Tevye der Milkhiker or Tevye the Dairyman.

Shot on a potato farm on Long Island, which doubled for the Ukraine countryside, Tevye stands as one of the crowning achievements in Yiddish cinema. It was, in fact, the first non-English language movie added to the National Film Registry, deemed worthy of preservation by the Library of Congress.

Maurice Schwartz, often billed as “the Laurence Olivier of the Yiddish stage,” acquired the movie rights from Aleichem’s widow, also buying rights to several other stories that Schwartz never found the financial backing to produce. He got this one made on a shoestring budget of $70,000, the money coming from Harry Ziskin, who ran a kosher restaurant in the vicinity of Times Square. To economize, 40

February 1-7, 2013

Schwartz drafted the script himself, directed the picture, and played the lead role. Considering the meager budget, Tevye looks remarkably polished, faithfully recreating the look and feel of Eastern Europe. The costuming and props also are quite elaborate, as Schwartz could draw upon the resources of the Yiddish Art Theatre, which he founded in 1918.

Taking creative liberties with Aleichem’s original work, Schwartz boiled the focus down to the dairyman’s strained relations with his daughter Khave, who breaks her father’s heart by marrying outside the faith. Khave, played by Schwartz’s niece Miriam Riselle, upsets her family by taking up with

Tradition: Maurice Schwartz and Miriam Riselle

Fedya, a Christian peasant from a neighboring village. He woos her by secretly slipping her novels

by Maxim Gorky and showering her with love and “universalist” ideals.

Tevye takes this act of defiance as the consummate betrayal, not only of himself, but also of the Orthodox religion he holds dear. “The pain is great,” he says, “but the disgrace is even greater.” He declares Khave persona non grata, forbidding anyone in the family from even mentioning her name.

Thus is set in motion a tragic drama of star-crossed lovers, reminiscent of Romeo and Juliet but also containing shades of King Lear, the title role Schwartz often assayed on the stage. He isn’t driven mad here, but he emphasizes Tevye’s eccentricities as the one lone Jew seeking to maintain his religion while surrounded by a sea of nonbelievers. Even though Tevye’s neighbors tolerate him and some even respect him, a wave of anti-Semitism has swept across Russia, and soon he will come to taste the bitterness of life as an outcast. It will test the depths of his faith.

The film has drawn criticism for its melodramatic overtones and its caricatures of the Ukraine peasantry as “potato peelers” and “pig breeders,” prone to drink excessively and engage in wild wrestling matches like the Cossacks of yore. The boorishness is more broadly drawn than in Aleichem’s writings.

But one must also bear in mind that, while Tevye was in production, Hitler invaded Poland and Stalin signed off on a pact of non-aggression with the Nazis. Schwartz can’t be faulted for expressing legitimate outrage over the turn of events threatening beloved relatives in the Old World.

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Schwartz, director and star of Tevye der Milkhiker, on location in Long Island

Leon Liebgold, who plays Fedya, had come from the Yiddish theater in Poland. His U.S. visa had expired, but Hitler’s invasion left him a man adrift, unable to go home. Others in the cast and crew occupied the same boat, so a profound sense of urgency, as well as sadness, echoes Sholem Aleichem throughout Tevye.

Is it a flawless work of art? No. But it is quite wise, deeply felt, and honestly rendered. Even in a jaded era such as our own, this film will tug at your heartstrings and lead you to ponder the role of religion as a vessel to pass down communal values and traditions.

For an actor nurtured on stage, Schwartz has an intuitive grasp of what he must do differently in front of a camera. He fine-tunes his performance for the more intimate venue, but still works in some flashy stagecraft — signature tics, songs, and sayings that transform Tevye into a memorable character. It’s his show, but he avoids overindulgent showboating.

The musical score, by Russian-born composer Sholom Secunda, is especially enchanting. He worked exclusively in Yiddish cinema, so he is mostly forgotten now. But his tune “Bei Mir Bist du Schön,” popularized by the Andrews Sisters, has become a staple.

In case you were wondering, Sholem Aleichem’s full name at birth was Solomon Naumovich Rabinovich. He died on May 13, 1916. But his tombstone lists his date of death as May 12a, 1916. He harbored a lifelong superstition about the number “13” and never used it in the pagination of his books, instead substituting “12a.” Fate would dictate he died on the 13th day of a month. ◀

details ▼ Screening of Tevye, presented by the Santa Fe Jewish Film Festival ▼ 3 p.m. Sunday, Feb. 3, followed by Skype discussion with scholar Avinoam Patt ▼ CCA Cinematheque, 1050 Old Pecos Trail, 982-1338 ▼ $10 in advance from www.santafejff.org, $12 at the door; 216-0672 for information (visit festival website for tickets to a three-event celebration of Tevye)

MARCH 5–6

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MOVING IMAGES pasa pics

— compiled by Robert B. Ker

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 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, with 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) See review, Page 52.

Early retirement: Only the Young, at Center for Contemporary Arts in Santa Fe

opening this week BULLET TO THE HEAD Arnold Schwarzenegger struck out on a comeback vehicle when The Last Stand recently fizzled in theaters. Now, it’s Sylvester Stallone’s turn, and who could say no to a title like this? He plays a dude who’s mad and thinks all of his problems can be solved with guns. He also solves problems with axes and fists — but mostly, it’s guns.

Rated R. 91 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) ONLY THE YOUNG The hopes, dreams, desires, and passions of teenagers in Southern California — along with, like, you know, chilling out and skateboarding — are put under a microscope in this coming-of-age documentary. Not rated. 70 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) PERFORMANCE AT THE SCREEN The series of high-definition screenings of performances from afar continues with an encore showing of Mozart’s The Marriage of Figaro from London’s Royal Opera House.

Erwin Schrott and Miah Persson star. 11 a.m. Sunday, Feb. 3, only. Not rated. 186 minutes, with one intermission. The Screen, Santa Fe. (Not reviewed) 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 42

February 1-7, 2013

home for musicians, among them brooding Reg (Tom Courtenay), sweet daffy Cissy (Pauline Collins), and 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) See review, Page 48.

TELLURIDE MOUNTAINFILM FESTIVAL Extreme hikers rapelling down endangered glaciers, animated whales talking about their fates, and slow-motion shots of skiers crashing through fresh powder? It must be time for the annual program of environmentally themed short films to travel down from Telluride. Not rated. 124 minutes total. 7 p.m.

Wednesday, Feb. 6, only. The Lensic Performing Arts Center, Santa Fe. (Not reviewed) TEVYE Maurice Schwartz, a titan of the Yiddish theater, also broke ground with the Yiddish cinema. His most lasting screen contribution is this 1939 adaptation of Sholom Aleichem’s novel Tevye and His Daughters, the same source that inspired the musical Fiddler on the Roof.

The drama centers on Khave, who marries a Christian peasant, leading Tevye to disown her. This one pulls at the heartstrings, perhaps a tad too melodramatically.

3:30 p.m. Sunday, Feb. 3, only; presented by the Santa Fe Jewish Film Festival. Not rated. 93 minutes.

In Yiddish with subtitles. Center for Contemporary Arts, Santa Fe. ( Jon Bowman) See story, Page 40.

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 surrealistic (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) See review, Page 50.

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 live-action 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 setpieces.

Curfew tells of an ex-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 polo-like game on horseback. The stunning Buzkashi 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 languages with subtitles. Not rated. 106 minutes total. The Screen, Santa Fe. (Robert Ker) See review, Page 50.

WARM BODIES Twilight for zombie fans — and for people with senses of humor — comes lurching into theaters in the form of this story about a zombie (Nicholas Hoult) who falls for a human survivor of the apocalypse (Teresa Palmer). Together, their love will tear the zombie apocalypse apart. John Malkovich co-stars. Rated PG-13. 97 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)

now in theaters 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 — brilliantly played by 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) BARBARA A Berlin doctor runs afoul of the East German authorities and is exiled to a provincial hospital. Barbara (Nina Hoss) finds herself being tailed by undercover Stasi agents. When she lets down her guard with another doctor (Ronald Zehrfeld), we question whether he’s attracted to her or is keeping her under surveillance.

This drama takes a while to build momentum owing to the restrained performances and a subtle depiction of the claustrophobic Cold War milieu. Hans Fromm’s cinematography is a strong suit — the dark, elongated shadows recalling the netherworld of film noir.

Rated PG-13. 105 minutes. In German with subtitles.

The Screen, Santa Fe. (Jon Bowman)

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 Hurricane Katrina. 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) BROKEN CITY Mark Wahlberg plays Billy Taggart, an ex-NYPD officer who is down and out. Fortunately for him, the city’s popular mayor (Russell Crowe) suspects a man is having an affair with his wife (Catherine ZetaJones) and hires Billy to investigate. This simple shot at redemption, however, opens a big can of worms, and Billy responds by opening a big can of whoop-butt.

Rated R. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) 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) DJANGO UNCHAINED Quentin Tarantino’s first film since 2009’s Inglourious Basterds is an homage to the spaghetti Western, but it mixes, matches, and mismatches ideas, themes, and music from a lot of other movies as well. Django ( Jamie Foxx) is a freed slave who partners with a bounty hunter (Christoph Waltz, a best supporting actor Oscar nominee) to find and free Django’s enslaved wife. The performances are solid and often terrific (as with Leonardo DiCaprio’s foppish Southern plantation owner), and the blood and humor flow openly. Still, it’s longer than it ought to be. Nominated for Best Picture by the Academy.

Rated R. 165 minutes. Regal Stadium 14, Santa Fe. (Robert Nott) 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

Warm Bodies

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. Screens in 3-D only at Storyteller, Taos. (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 (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, and 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. Three Oscar nominations.

Rated PG-13. 169 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. (Robert Ker) HYDE PARK ON HUDSON In June 1939, King George VI (Samuel West) and Queen Consort Elizabeth (Olivia Colman) flew to President Franklin Roosevelt’s estate in upstate New York to make sure they had support in the upcoming war. This bit of history could have made for a gravely serious film, but instead director Roger Michell (Notting Hill) cast Bill Murray as FDR continued on Page 44 PASATIEMPO

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MOVING IMAGES pasa pics

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and Olivia Williams as his wife, Eleanor. Murray is never fully believable, and the meeting of the powers is staged as an easygoing weekend in the country.

Much of the drama actually stems from Roosevelt’s distant cousin Margaret “Daisy” Suckley (Laura Linney), with whom the president had an affair.

Rated R. 95 minutes. Regal DeVargas, Santa Fe. (Robert Ker) LES MISÉRABLES The stage musical version of Victor Hugo’s great novel is the longestrunning musical of all time. This movie could put an end to all that. In the hands of director Tom Hooper, who guided The King’s Speech with subtlety and grace, it 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 slavery, criticism from his political enemies, and dysfunction in his own family. Daniel Day-Lewis looks and sounds the part of the 16th president,

spicy bland

medium

mild

heartburn

Send comments on movie reviews to pasamovies@sfnewmexican.com.

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February 1-7, 2013

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; Storyteller, Taos. (Robert Ker) PARENTAL GUIDANCE Billy Crystal and Bette Midler play an aging couple who try to help raise their grandkids, often to comic effect. Rods are spared, children are spoiled, and everyone learns life lessons. Rated PG. 105 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) PARKER Jason Statham plays a thief who is doublecrossed in a heist for his share of the cash. The other thieves think they killed him, but they didn’t. Uh-oh.

Expect lines of dialogue such as “leaving me alive was your first mistake” and “you don’t need to look for me — I’m coming for you.” Maybe you won’t hear those exact lines, but it’s that kind of movie. Jennifer Lopez co-stars. Rated R. 118 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE RABBI’S CAT After snacking on a parrot, a cat acquires the power of speech. And he’s not just a talker but also an acerbic wit with an earthy, salacious outlook on the world. All the better to guide his kindly rabbi master, living in an Algerian port city in the 1930s.

This animated feature from France offers shimmering hand-drawn scenes that give a dreamy hue to the exotic setting and story. It’s quite special — more for adults than children — but ends on a less satisfying note as the rabbi, cat, and friends venture off into the desert in an Indiana Jones-style escapade. Not rated.

89 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. ( Jon Bowman) SEARCHING FOR SUGAR MAN Malik Bendjelloul’s film about the search for a talented musician named 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 Oscar. Rated PG-13. 85 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) 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 — but only if he will agree to be her partner in a dance competition. The finely honed dialogue, attention to detail, and impressive performances make the film a near-perfect oddball comedy. The four principals are up for Academy Awards, and the film garnered four additional Oscar nominations. Rated R. 122 minutes.

Regal DeVargas, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Laurel Gladden) ZERO DARK THIRTY Kathryn Bigelow’s CIA procedural about the hunt for Osama bin Laden has stoked a fierce debate over the effectiveness and the 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; Storyteller, Taos. ( Jonathan Richards)

other screenings Center for Contemporary Arts 7 p.m. Wednesday, Feb. 6: Primer. Chris Moore presents as part of the “Science on Screen” series.

7 p.m. Thursday, Feb. 7: Amour. Screens as part of the French Film Salon.

DreamCatcher A Haunted House, The Last Stand.

Regal Stadium 14 Gangster Squad, Movie 43.

Storyteller The Guilt Trip, Wreck-It Ralph.

Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 Sunday-Tuesday, Feb. 3-5: Rust and Bone. ◀

, Stephen Holden

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) Thurs. 7 p.m.

Chasing Ice (PG-13) Fri. and Sat. 2:15 p.m., 5 p.m.

Sun. 7 p.m. Tue. to Thurs. 4 p.m.

Only the Young (NR) Fri. 7:15 p.m. Sat. 1:15 p.m.

Sun. 5 p.m. Tue. to Thurs. 6 p.m.

Primer (PG-13) Wed. 7 p.m.

The Rabbi’s Cat (NR) Fri. to Sun. 3 p.m.

Searching for Sugar Man (PG-13) Fri. and Sat. 4 p.m., 6 p.m., 8 p.m. Sun. 1 p.m., 6 p.m., 8 p.m.

Tue. 3 p.m., 5 p.m., 7 p.m. Wed. and Thurs. 3 p.m., 5 p.m.

Tevye (NR) Sun. 3:30 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 p.m., 9:45 p.m. Sun. to Thurs. 1:30 p.m., 4:20 p.m., 7 p.m.

Beasts of the Southern Wild (PG-13) Fri. to Thurs.

4:40 p.m., 7:40 p.m.

Hyde Park on Hudson (R) Fri. and Sat. 1:50 p.m., 10 p.m. Sun. to Thurs. 1:50 p.m.

Les Misérables (PG-13) Fri. to Thurs. 1 p.m., 4:15 p.m., 7:30 p.m.

Quartet (PG-13) Fri. and Sat. 1:40 p.m., 4:30 p.m., 7:10 p.m., 9:55 p.m. Sun. to Thurs. 1:40 p.m., 4:30 p.m., 7:10 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. 1:20 p.m., 4:10 p.m., 7:20 p.m., 9:50 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:20 p.m. regAl StAdium 14

3474 Zafarano Drive, 424-6296, www.fandango.com Broken City (R) Fri. to Wed. 1:45 p.m., 4:20 p.m., 7:10 p.m., 10:05 p.m.

Bullet to the Head (R) Fri. to Wed. 2:30 p.m., 5 p.m., 7:40 p.m., 10:15 p.m.

Django Unchained (R) Fri. to Wed. 1 p.m., 4:30 p.m., 8:15 p.m.

Gangster Squad (R) Fri. to Wed. 1:30 p.m., 4:15 p.m., 7:30 p.m., 10:30 p.m.

Hansel & Gretel:Witch Hunters 3D (R) Fri. to Wed. 2 p.m., 7:15 p.m., 9:45 p.m.

Hansel & Gretel:Witch Hunters (R) Fri. to Sun. 4:45 p.m. Mon. to Wed. 4:45 p.m.

The Hobbit:An Unexpected Journey 3D (PG-13) Fri. to Wed. 1:15 p.m., 8:40 p.m.

The Hobbit:An Unexpected Journey (PG-13) Fri. to Wed. 5 p.m.

IdentityThief (R) Thurs. 10 p.m.

Life of Pi 3D (PG) Fri. to Wed. 1:15 p.m., 7:15 p.m.

Life of Pi (PG) Fri. to Wed. 4:15 p.m., 10:15 p.m.

Lincoln (PG-13) Fri. to Wed. 1:25 p.m., 5:15 p.m., 8:30 p.m.

Mama (PG-13) Fri. to Wed. 1:50 p.m., 4:50 p.m., 7:50 p.m., 10:30 p.m.

Movie 43 (R) Fri. to Wed. 2:20 p.m., 5:05 p.m., 7:35 p.m., 10:25 p.m.

Parental Guidance (PG) Fri. to Wed. 2:15 p.m., 4:40 p.m.

Parker (R) Fri. to Wed. 1:05 p.m., 4 p.m., 7 p.m., 10 p.m.

Side Effects (R) Thurs. 10 p.m.

Warm Bodies (PG-13) Fri. to Wed. 1:30 p.m., 4:30 p.m., 7:20 p.m., 7:50 p.m., 10 p.m., 10:30 p.m.

Zero DarkThirty (R) Fri. to Wed. 1:10 p.m., 4:40 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) Sat. 1 p.m. Thurs. 2:30 p.m.

Barbara (PG-13) Fri. to Sun. 3 p.m. Mon. to Wed. 2:40 p.m.

The Marriage of Figaro: Royal Opera House, London (NR) Sun. 11 a.m.

Oscar Nominated Shorts:Animation (NR)

Fri. 5:15 p.m. Sat. 11 a.m., 5:15 p.m. Sun. 5:15 p.m.

Mon. and Tue. 7:30 p.m. Wed. 5 p.m.

Oscar Nominated Shorts: Documentary (NR) Wed. and Thurs. 7 p.m.

Oscar Nominated Shorts: Live Action (NR) Fri. to Sun. 7:15 p.m. Mon. and Tue. 5 p.m.

Thurs. 4:30 p.m.

Storyteller dreAmCAtCher CinemA (eSpAñolA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.storytellertheatres.com Broken City (R) Fri. and Sat. 6:45 p.m., 9 p.m.

Sun. to Thurs. 6:45 p.m.

Bullet to the Head (R) Fri. 3:50 p.m., 7:15 p.m., 9:15 p.m. Sat. 1 p.m., 3:50 p.m., 7:15 p.m., 9:15 p.m.

Sun. 1 p.m., 3:50 p.m., 7:15 p.m. Mon. to Thurs.

3:50 p.m., 7:15 p.m.

Hansel & Gretel:Witch Hunters 3D (R) Fri. 7:25 p.m., 9:30 p.m. Sat. 1:35 p.m., 7:25 p.m., 9:30 p.m. Sun. 1:35 p.m., 7:25 p.m. Mon. to Thurs.

7:25 p.m.

Hansel & Gretel:Witch Hunters (R) Fri. 4:35 p.m.

Sat. to Thurs. 4:35 p.m.

A Haunted House (R) Fri. 4:10 p.m., 7:20 p.m., 9:35 p.m. Sat. 1:10 p.m., 4:10 p.m., 7:20 p.m., 9:35 p.m. Sun. 1:10 p.m., 4:10 p.m., 7:20 p.m.

Mon. to Thurs. 4:10 p.m., 7:20 p.m.

The Last Stand (R) Fri. 4 p.m., 7 p.m., 9:25 p.m.

Sat. 1:30 p.m., 4 p.m., 7 p.m., 9:25 p.m. Sun. 1:30 p.m., 4 p.m., 7 p.m. Mon. to Thurs. 4 p.m., 7 p.m.

Mama (PG-13) Fri. 4:20 p.m., 6:50 p.m., 9:05 p.m.

Sat. 1:15 p.m., 4:20 p.m., 6:50 p.m., 9:05 p.m.

Sun. 1:15 p.m., 4:20 p.m., 6:50 p.m. Mon. to Thurs.

4:20 p.m., 6:50 p.m.

Parental Guidance (PG) Fri. 4:25 p.m. Sat. and Sun. 1:25 p.m., 4:25 p.m. Mon. to Thurs. 4:25 p.m.

Parker (R) Fri. 4:05 p.m., 7:05 p.m., 9:40 p.m.

Sat. 1:05 p.m., 4:05 p.m., 7:05 p.m., 9:40 p.m.

Sun. 1:05 p.m., 4:05 p.m., 7:05 p.m. Mon. to Thurs.

4:05 p.m., 7:05 p.m.

Silver Linings Playbook (R) Fri. 4:30 p.m., 7:10 p.m., 9:20 p.m. Sat. 12:50 p.m., 4:30 p.m., 7:10 p.m., 9:20 p.m. Sun. 12:50 p.m., 4:30 p.m., 7:10 p.m.

Mon. to Thurs. 4:30 p.m., 7:10 p.m.

Warm Bodies (PG-13) Fri. 4:15 p.m., 7:15 p.m., 9:50 p.m. Sat. 12:55 p.m., 4:15 p.m., 7:15 p.m., 9:50 p.m. Sun. 12:55 p.m., 4:15 p.m., 7:15 p.m.

Mon. to Thurs. 4:15 p.m., 7:15 p.m.

Zero Dark Thirty (R) Fri. 3:30 p.m., 6:40 p.m.

Sat. and Sun. 12:25 p.m., 3:30 p.m., 6:40 p.m.

Mon. to Thurs. 3:30 p.m., 6:40 p.m.

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110 Old Talpa Canon Road, 575-751-4245 The GuiltTrip (PG-13) Fri. 4:55 p.m., 7:15 p.m., 9:45 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:15 p.m., 9:45 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:15 p.m.

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

Hansel & Gretel:Witch Hunters 3D (R) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m.

Mama (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:55 p.m.

Sat. 2:20 p.m., 4:50 p.m., 7:30 p.m., 9:55 p.m.

Sun. 2:20 p.m., 4:50 p.m., 7:30 p.m. Mon. to Thurs.

4:50 p.m., 7:30 p.m.

Silver Linings Playbook (R) Fri. 4:40 p.m., 7:10 p.m., 9:40 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:10 p.m., 9:40 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:10 p.m.

Mon. to Thurs. 4:40 p.m., 7:10 p.m.

Warm Bodies (PG-13) Fri. 4:45 p.m., 7:25 p.m., 9:50 p.m. Sat. 2:30 p.m., 4:45 p.m., 7:25 p.m., 9:50 p.m. Sun. to Thurs. 2:30 p.m., 4:45 p.m., 7:25 p.m.

Wreck-It Ralph (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m.

Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m.

Zero DarkThirty (R) Fri. 6:45 p.m. Sat. and Sun. 2:15 p.m., 6:45 p.m. Mon. to Thurs. 6:45 p.m.

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Wander over to La Plazuela, for 12 oz. slow roasted prime rib served with roasted garlic mashed potatoes, seasonal vegetables, au jus and creamy horseradish.

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moving images film reviews

Downton but not out Jonathan Richards I For The New Mexican Quartet, comic drama, rated PG-13, Regal DeVargas, 3 chiles When a film director makes his debut at the age of 75, it’s no surprise that he turns his eye to the riper end of life. Dustin Hoffman has had a long and storied career as an actor. For his first stint behind the camera, he has selected a warm, sentimental tale set in an English country retirement home for elderly musicians, and peopled it with a cast of British greats. At the top of the bill is Maggie Smith, the one indispensable ingredient to any British undertaking these days that requires an aging grande dame. Filling out the quartet are Tom Courtenay, Pauline Collins, and Billy Connolly.

Most of the rest of the cast is made up of the retired musicians for whom such a home would provide sanctuary. And over the closing credits, in a gesture of inspired showmanship and gallantry, Hoffman identifies each and every one of them, showing them as they were in their prime and the roles or instruments on which they made their careers.

The movie has been adapted by Hoffman and Ronald Harwood from the latter’s 1999 stage play of the same name. The original was a four-hander, but for film purposes the cast has been happily swelled to include apparently every old geezer from the music world they could lay their hands on. The action takes place in Beecham House, a

Maggie Smith

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February 1-7, 2013

Still in the limelight: Billy Connolly, Maggie Smith, Tom Courtenay, and Pauline Collins

stately English manor that resembles a small wing of Downton Abbey, converted to an old musicians’ home. The residents, under the direction of retired opera director Cedric Livingston (Michael Gambon) are preparing to put on their annual musical gala in honor of the birthday of Giuseppi Verdi (Harwood’s inspiration was a documentary he saw years ago called Tosca’s Kiss, about a similar home in Milan established by Verdi, where each year the grateful residents gave a gala in honor of their benefactor).

Among the retired musicians are three former opera singers who long ago starred together in a famous production of Rigoletto. One is Reggie Paget (Courtenay), who whiles away his pursuit of “a dignified senility” teaching inner-city kids about opera and showing them how it relates to rap (intense emotion expressed through song) when he’s not complaining about marmalade at breakfast. Another is Cissy Robson (Collins), a sunny sweetheart who is beginning to feel the embrace of dementia. The third is Wilf Bond (Connolly), a randy old goat with a twinkle in his eye.

But it is the arrival of the fourth that sets the story in motion. Jean Horton (Smith) was a huge opera star in her heyday. But her performing days are long gone, she’s down on her luck, and her hip gives her the miseries. And so she finds herself pulling up to the door of Beecham House, to a heroine’s welcome.

This gives the flamboyant, caftan-sporting Cedric a great idea for the show, if he can only remember what it is. The idea, of course, is to reunite the four in an encore performance of the famous Rigoletto quartet as the grand finale of the gala. It will pack the place and assure the financially troubled old musicians’ home of meeting its budget and staying open.

Do I hear the word complications? Cissy and Wilf have health problems, Reg and Jean have a tangled romantic past. And Jean has another issue that makes her obstinately refuse to perform. “I can’t

insult the memory of who I was,” she says. On the sly, she listens to her old recordings and mourns for better days.

Quartet is not the fare you turn to for startling insights into the human condition, or for the bracing breeze of never-explored plot twists. This is Mickey Rooney and Judy Garland for the Best Exotic Marigold Hotel crowd. It does not aspire to the terrible staringdeath-in-the-face honesty of Amour, Michael Haneke’s grimly beautiful French study that also deals with musicians facing the ultimate indignity. Death is a constantly expected visitor here but keeps a discreet distance and doesn’t spoil the fun.

What Hoffman does is to give these venerable actors a setting and a charming story in which to work their magic. Beecham House is beautifully shot, and its denizens get a chance to emerge from the shadows of advancing age and grab a spark of limelight again. It’s great to watch an old music-hall team strut its stuff under Cedric’s disapproving gaze, or a diva played by the great soprano Gwyneth Jones lord it over the lesser mortals at the home and cast a wary eye on the arrival of her former operatic rival, Jean Horton.

A good deal of the fun comes from Connolly, the Scots actor best remembered as Queen Victoria’s beloved servant in Her Majesty, Mrs. Brown. He’s a lecherous old reprobate but a charmer, except perhaps to those who don’t find much humor in good-natured lechery. Sex and booze have always been staples of our comic arsenal, but there are some who are not amused. Others may find offense in the film’s sometimes affectionately comic, sometimes poignant sallies into dementia. And there may be a few who will wonder if Smith is ever going to get a completely different role to play. But it will take a hard heart indeed to resist the wonderful gala program to which the story builds, and the tried but true romance of reconciling lovers too long apart. ◀

each PrograM SeParate adMiSSion (excePt docuMentary) aniMation: Fri at 5:15; Sat at 11:00 and 5:15; Mon and tueS 7:30; Wed at 5:00 Live-action: Fri, Sat & Sun 7:15; Mon and tueS 5:00, thurS 4:30 docuMentary, PartS 1 & 2: Wed & thurS 7:00

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moving images Friday, August 10th Friday, February 1st to to Friday, Febry0th to Friday, December 2nd Thursday, August 16th toThursday, Thursday, June Thursday, Fary 16th 7th February 4:30 –to6:30pm 4:30-6:30pm 4:30 to 6:30pm 4:30 6:30

film reviews

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Seeing eye to eye: Head Over Heels

Whirlwind tour Robert Ker I For The New Mexican Oscar Nominated Short Films 2013, not rated, in various languages with subtitles, The Screen, 4 chiles (animation program), 3.5 chiles (live-action program)

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February 1-7, 2013

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A common criticism about the Academy Awards is how similar the nominated films and performances are from one year to the next. The Academy definitely has a “type,” and those tend to be costume dramas, biographies, or stories of people overcoming disabilities (or, in the case of The King’s Speech, all three). If you want variety on Oscar night, you’re better off looking at the part of the show that serves as a bathroom break for millions: the short-film awards. The annual showing of Oscar-nominated shorts gives you a rooting interest and marks a rare time when you can enjoy small stories on the big screen.

The 2013 animation program is the strongest in years. We have the familiar, as Disney and The Simpsons get nods, respectively, with Paperman and Maggie Simpson in “The Longest Daycare” — both of which are delightful, as expected. Then there’s the artsy story of Adam’s first dog in the Garden of Eden, gorgeously rendered in pastoral colors in Adam and Dog. Fresh Guacamole is very brief, consisting only of the surrealistic image of someone making guacamole from household objects. Head Over Heels poignantly and humorously depicts a husband and wife who have grown apart, by using Claymation to show one living on the floor of the house and the other on the ceiling. This is a terrific slate of films, and it’s perfect for children; there are none of the scary or “edgy” films of the past.

The live-action nominees are more uneven, with many drawbacks being byproducts of the films’ charms. Asad, for example, spins a fable of a young boy in a Somali fishing village; it was cast with Somalian refugees who have no acting experience, which makes the film inspirational but the performances subpar. The steampunk set pieces and concepts of Death of a Shadow are imaginative, yet they distance us from the film’s emotional core. Curfew tells of an ex-junkie who babysits his niece, and it contains such a mix of tones that it feels more like a calling card for director Shawn Christensen than a satisfying film. The gems here are Henry, a tale of an elderly concert pianist holding desperately to his memories, and Buzkashi Boys, about two boys in Kabul who yearn to play a polo-like game on horseback. Buzkashi contains one striking image after another and takes viewers inside Kabul in a way we’ve rarely been. If a short-film program is like a passport around the world, Buzkashi Boys is the brightest stamp here and worth admission alone. ◀

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51

moving images film reviews

Mélange à trois Jonathan Richards I For The New Mexican Stand Up Guys, buddy movie and more, rated R, Regal DeVargas, 3 chiles Stand Up Guys may not be everyone’s idea of a great movie, but it’s a hell of a lot of fun. Directed by Fisher Stevens from a screenplay by Noah Haidle, it’s built along the lines of the classic over-the-hill gang template, and borrows liberally from a grab bag of other genres, like buddy, gangster, and sex comedy. What makes it work is the mastery of its three venerable lead actors and the deep pockets of career history they bring along for this joy ride.

Val (Al Pacino) is getting out of the big house as the movie begins, and his old pal and (literally) partner in crime, Doc (Christopher Walken), is there at the prison gate to pick him up. Val has done 28 years in stir, keeping his mouth shut, taking the fall for his gang buddies for a job that went wrong.

The buddy movie is nothing without great chemistry between the buddies, and these guys deliver in spades. You feel their affection and their history from the start. You also realize before too many minutes have unspooled that there’s a downside to this buddy reunion. In the job that went south all those years ago, Val accidentally killed the son of the mob boss, a guy named Claphands (Mark Margolis), and Claphands is an unforgiving sort who has waited all this time for his revenge.

His chosen instrument for that revenge, of course, is Doc. Doc has retired from the hit-man business and has taken up painting sunsets, but when it comes to an obligation to the mob boss, you’re never that retired. Val knows it; we know it. It’s too bad, but it’s business. Meanwhile, there’s nothing to stop

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February 1-7, 2013

Last of the summer crime: Christopher Walken, Alan Arkin, and Al Pacino

them from having a good time until the business has to be done.

It’s been a long time between drinks, so to speak, and Val’s top priority is to get laid. Doc will deny him nothing, up to the point when he will reluctantly have to deny him everything. So off they go to the cathouse they used to frequent when they were young, or at least younger. The old madam has retired to Florida, but her daughter (the wonderful Lucy Punch) has taken over the family business.

When Val finds that his years of forced retirement from the sexual battleground have left the equipment rusty, the two old crooks causally break into a pharmacy and liberate some pills to solve the problem. What inevitably follows may be a cheap and obvious gag, but in the right hands, cheap and obvious can still be very funny.

Early in the movie, when they arrive back at Doc’s pad, Val picks up an old black-and-white photograph of three guys grinning at the camera, and wistfully mutters “Ah, the Three Musketeers.”

The three are himself, Doc, and their old pal and getaway driver, Hirsch (Alan Arkin). On a trip to the

emergency room to deal with the consequences of Val’s overindulgence in the above-mentioned pills, the ER nurse they encounter is Hirsch’s daughter Nina ( Julianna Margulies), who tells them that her father is now in an old-folks home.

They decide to bust him out. With Arkin’s entrance, the electrical circuit is completed, and the picture, already good fun, kicks into another gear. Doc and Val have stolen a very high-end car from a very highend owner, and when they put Hirsch behind the wheel and set off through the night on adventures and misadventures, Stand Up Guys becomes pure movie caviar.

There are various subplots, both violent and sentimental, to deal with, and while none of them will write any new pages into cinema history, they keep things going and give the guys a chance to work the room. And hanging over it all, of course, is the understanding that Claphands, as mean a mother as there is, expects to see his vengeful assignment carried out, and woe to the man who crosses him, and to his loved ones as well.

Movies that package career nostalgia into the casting scheme are a bumper crop this season, with entries like The Best Exotic Marigold Hotel and Quartet making good use of a generation of British actors who are approaching their use-by date.

Stand Up Guys reaches into the pantheon of that generation of American actors and gives them plenty of room and an entertaining armature with which to work their magic. That old Three Musketeers photo Val looks at shows us Pacino, Arkin, and Walken in the ’80s, during the era of Scarface, The In-Laws, and A View to a Kill.

This may be a movie with a generational slant to its appeal. It’s certainly also male-centric, with a fair amount of old-guy fantasy adding to the fun. But for those who either fit the demographic or have affection for it, Stand Up Guys delivers a tasty serving of entertainment and a chance to watch three old pros at work. ◀

Lensic Presents Big Screen Classics

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RESTAURANT REVIEW Bill Kohlhaase I For The New Mexican

Honey of a taco Bumble Bee’s Baja Grill 301 Jefferson St. 820-2862 Lunch & dinner 11 a.m.- 8 p.m. SundaysThursdays; 11 a.m.-8:30 p.m. Fridays & Saturdays Takeout & drive-through available Patio dining in season Beer, wine & wine margaritas Vegetarian options Noise level: moderate Credit cards, local checks

•

The Short Order Bumble Bee’s Baja Grill serves up terrific tacos, decent hand-held burritos, and other Southwestern fare in a casual atmosphere that takes the bee theme to extremes.

Choose from a big selection of burritos stuffed with traditional fillings, as well as with shrimp or tofu. The stews are wholesome if not stellar. Most of the dishes seem designed for generally Americanized tastes rather than New Mexican palates, but the place is especially accommodating to the vegetarian, vegan, and gluten-intolerant among us. Roast chicken is featured but tends to be overdone. Service is quick and efficient, but check your sack before leaving with takeout ordered from the counter. Recommended: fish tacos, steak tacos, Burrito de Tomás with grilled asparagus, chicken tortilla stew, squash and goat-cheese quesadilla, and homemade potato chips.

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 1-7, 2013

It’s hard to believe the hyperbolic claim — “World’s Slowest Drive-Thru” — on the outdoor menu at the downtown location of Bumble Bee’s Baja Grill. Each time I’ve pulled up to that window, the order came out relatively quickly, certainly not taking much longer than at any other takeout window whose restaurant’s fries are fried to order and the burritos aren’t preassembled. In fact, this innocent affront to truth in advertising — leading, not misleading — is really about something else, a reminder that this is not prefab takeout.

There’s a self-conscious efficiency to the execution of every order at this popular and quick meal spot. Inside, you walk up to the counter, black-and-yellow bumblebee piñatas turning overhead, and order, say, a veggie-especial burrito. The questions, as if from a cue card, come fast.

Brown rice or white? Black beans or pintos? Whole-wheat or flour tortilla? Add tofu? My head was spinning with so many questions that I nearly forgot the rest of my order.

The menu perhaps tries a little too hard to please, offering something for just about everyone and especially going out of its way for the vegans and gluten-adverse among us.

You order, take a number back to your table, and a server brings your food. When you order takeout inside, however, you get no number. When your order is ready, a server calls out some but not all of the food you ordered.

If someone else has made a similar order, as happened to me one busy evening, you might end up with the wrong food. (Luckily, I checked inside the bag before leaving.)

The place is rightfully known for its tacos. Fish tacos — a slab or two of grilled, unbreaded mahi-mahi, garnished with shredded cabbage, a thick slice of avocado, and a very un-tartar-like “secret” sauce (“no dairy,” the menu claims) — come with pale, soft corn tortillas. They’re as good as you might hope. Lamb tacos come with a modestly flavored green herb sauce and grilled onions, garnishes that allow the chewy lamb’s slightly gamy flavor to shine. Steak tacos are also minimally garnished with a roasted tomato salsa, a bit of onion, and a sprinkle of chopped cilantro, with the grilled meat being the dominating flavor. You can also order chicken, pork, shrimp, or tofu tacos. A televised announcement declared that tongue tacos were available, but the kitchen was out of tongue the day I asked for one.

The hand-held burritos are also good. The Burrito de Tomás, with grilled asparagus, avocado, rice (we added beans), and pico de gallo, was unique enough to hold my attention. Wash it down with a thick, sweet horchata, and you could be done eating for the rest of the day. A smothered red chile burrito — its red sauce nicely spicy and flavorful — was plump enough but not outstanding. The lengthy menu of stews, quesadillas, smothered burritos, salads, and deep-fried selections includes a few other standouts, but the rest of the menu never quite equals those fine tacos.

You can’t get a hamburger on a bun here — you’ll have to go to the southside location for that — but you can get one served between tortillas. We found the green chile tortilla

burger good and juicy but hard to handle because of the tortilla’s quick saturation point. The green chile didn’t exactly ignite our palates either, and the crushed corn chips in the burger seemed superfluous. (Maybe they’re meant to contain those juices?) What the downtown location has that the southside doesn’t is roasted chicken.

I picked one up for takeout and was disappointed to find the chicken dry, the skin not crispy (possibly because I drove home and didn’t eat it right away), and the cilantro lime rice boring. Only the pinto beans, with their healthy dose of oregano, satisfied. Much better was the seasonal chicken tortilla stew: a big bowl of chicken, rice, and beans topped with cotija cheese, sour cream, and guacamole. The broth itself wasn’t spectacular, but by the time I’d slurped down half the bowl and all the ingredients had swirled together, it didn’t matter. There were plenty of flavors to untangle as I swallowed. The green chile stew, with its sour cream, crushed chips, pico de gallo, and some ingredients that sunk into the bowl before I could identify them, was a mess — hardly authentic and without character, despite the garnish and all that thick green chile. Look elsewhere if traditional New Mexican is your desire. Also a disappointment were the Bee Stings, sliced and battered, deep-fried onions and jalapeños, which were overly done and missing the promised sting. But the homemade potato chips!

Greaseless, wonderfully flavored, and served still warm, they caused a battle of competitive grabbing at our table.

Another winner was the squash and goat cheese quesadilla — the squash and cheese similarly soft and flavorful, corn kernels adding contrast, a mild pesto holding it all together. It’s served with a crunchy jicama salad. Of course, our fussy vegetarian dining companion thought it could have used more squash. Just shows you can’t please everyone, no matter how hard you try. ◀

Check, please

Dinner for three at Bumble Bee’s Baja Grill: Red chile chicken burrito ....................................... $ 10.00 Squash goat cheese quesadilla ................................. $10.00 Two steak tacos ....................................................... $ 8.00 Homemade potato chips (small) ............................ $ 1.90 TOTAL .................................................................... $ 29.90 (before tax and tip) Lunch for two, another visit: Vegetarian especial burrito with tofu ...................... $ 7.70 Two fish tacos ......................................................... $ 7.60 Lamb taco ................................................................ $ 4.50 Horchata ................................................................. $ 2.50 TOTAL .................................................................... $ 22.30 (before tax and tip)

e v o LNotes

Apit venim us mil maxim inulla dias earia no s us everum q uatur, te eatis eum reicia m quid e. Ellacera e occusdam facerumqu i si omnim us, simagn molorem fa i ces aDus v ellorpor aut adigen eos maxim ihita enis quis aute pro-

Don’t disappoint your Valentine, share your expressions of love this Valentines Day with a personalized message in the Santa Fe New Mexican!

Publishes Thursday, February 14th Deliver your message on a small heart for just $20 (text only), or add a photo with your text on a large heart for $35.

For best results, Email your message and your optional photo to afleeson@sfnewmexican.com and include contact and payment information as indicated in the form below, or complete the printed form and deliver or mail to:: Love Letters, The New Mexican, 202 East Marcy Street, Santa Fe NM 87501, along with your check or credit card information.

If you would like your photo returned, please include a self-addressed stamped envelope.

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nimus Apit ve earia ias inulla d aximus m il m is nos eat ur, tem quid q uat e everum iae. Ellacera ic r eum e dam facoccus i si erumqu i n om Apit venimus inulla dias earia nos eatis mil maximus everumq uatur, tem quid eum reiciae. Ellacerae occusdam facerumqui si omnimus, simagni molorem faces aDus vellorpor aut adigenihita eos maximenis quis aute provita

Apit venim us mil maxim inulla dias earia no Apit venimus s atis us everum q uatur, te ein ulla dias earia eum reicia m quid e. Ellacera mil maximus tis e occusd ea s facerumqu no am i si omnim tur, tem quid us, si eraum evm molorem fa gniq ua ces aDus v m . Ellacerae ae ici eu re ellorpor aut adigenihit facam sd cu oc a eos maxim i enis erumqu si quis aute omni pro-

❑ LARGE $35

Message:

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Signature __________________________________________________________ Love Letters must be received by 5Pm on Friday, February 8th.

Not actual size. Size to be determined by volume.

PASATIEMPO

55

pasa week 1 Friday

nighTliFe

gallery/museum openings

adobe gallery 221 Canyon Rd., 955-0550.

Cochiti Pueblo Figurative Pottery, through Feb. 25.

Back pew gallery 208 Grant Ave., 982-8544.

Bienvenidos, works by First Presbyterian Church members, reception 6-7 p.m., through February.

Canyon road Contemporary art 403 Canyon Rd., 983-0433. The Heart Collective, group show, through February.

Center for Contemporary arts — spector ripps project space 1050 Old Pecos Trail, 982-1338. Alone Together, mixed-media paintings by Natalie Smith, reception 6-8 p.m., through March 10.

Downtown subscription 376 Garcia St., 983-3085. Paintings and prints by Elizabeth Hahn, through February. independent artists gallery 102 W. San Francisco St., second floor, 983-3376.

Water colors, pastels, and mixed media by Mohini Rawool-Sullivan, through February. manitou galleries 123 W. Palace Ave., 986-0440. Wine, Chocolate & Jewelry, group show, reception 5-7:30 p.m., through Feb. 15. marigold arts 424 Canyon Rd., 982-4142. Winter Shadows, landscape watercolors by Robert Highsmith, reception 5-7 p.m., through March 14. monroe gallery of photography 112 Don Gaspar Ave., 992-0800. Sid Avery: The Art of the Hollywood Snapshot, reception 5-7 p.m., through March 24. pop gallery 142 Lincoln Ave., Suite 102, 820-0788. Medical benefit art raffle and silent auction, 5-7 p.m., $20. santa Fe art Collector 217 Galisteo St., 988-5545. Grand re-opening, reception 5-8 p.m.

Vivo Contemporary 725-A Canyon Rd., 982-1320. Giving Voice to Image, collaborative exhibit between New Mexico poets and gallery artists, reception 5-7 p.m., through March 26. Poetry readings 5:30 p.m. (see Subtexts, Page 12).

ClassiCal musiC

TgiF concert Organist Linda Raney and trumpeter Jan McDonald, music of Tartini, Albinoni, and Buxtehude, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544, Ext. 16.

TheaTer/DanCe

‘erase hate: The laramie project’ A play by Moisés Kaufman and Tectonic Theater Project members presented by Capital High School’s Capital Arts and Production Academy Theatre, 7 p.m., Bryan Fant Theatre, 4851 Paseo del Sol, $7 in advance, $10 at the door, 467-1070, continues Saturday, Feb. 1.

Pasa’s Little Black Book......... 57 Exhibitionism...................... 58 At the Galleries.................... 59 Libraries.............................. 59 Museums & Art Spaces........ 59 In the Wings....................... 60 56

February 1-7, 2013

compiled by Pamela Beach, pambeach@sfnewmexican.com

The Roch — The Patron Saint of the Homeless, by Lynden St. Victor, Pop Gallery, 142 Lincoln Ave.

Books/Talks

lannan Foundation in pursuit of Cultural Freedom series Palestinian human-rights activist Omar Barghouti with Amy Goodman, 7 p.m., the Lensic, $6, discounts available, ticketssantafe.org, 988-1234 (see story, Page 16) Trojan horse or Troilus’ Whore? pandering statecraft and political stagecraft in ‘Troilus and Cressida’ Nalin Ranasinghe explores Shakespeare’s play, 7:30 p.m., Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge, 984-6199.

Elsewhere............................ 62 People Who Need People..... 63 Under 21............................. 63 Short People........................ 63 Sound Waves...................... 63

eVenTs

storyCorps mobileBooth tour The national nonprofit organization records interviews with residents daily through Feb. 9, (look for the Airstream trailer parked on Palace Avenue on the Plaza) collecting stories to be archived at the American Folklife Center at the Library of Congress. Segments of interviews will air on KSFR 101.1 FM. Call 800-850-4406 or visit storycorps.org to make reservations.

(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 R & B guitarist Terry Diers, 5-7:30 p.m., no cover.

Sean Healen Band, Western-tinged rock ’n’ roll, 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 Baracutanga, samba/cumbia/Latino reggae, 9 p.m.-close, $5 cover. hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Blues band Night Train, 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 mine shaft Tavern Open-mic night, 7-11 p.m., no cover. pranzo italian grill Geist Cabaret with pianist David Geist, 6-9 p.m., $2 cover. second street Brewery Local singer/songwriter Jono Manson, roots rock and blues, 6 p.m., no cover. second street Brewery at the railyard Blues/rock band The Attitudes, 6-9 p.m., no cover.

Tiny’s Classic-rock band The Jakes, 8:30 p.m.-close, no cover.

Vanessie Pianists/vocalists, Doug Montgomery, 6-8 p.m. and Bob Finnie, 8 p.m.-close, call for cover.

2 Saturday in ConCerT

Catfish hodge Blues guitarist/singer, 7:30 p.m., Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com.

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.

Rumelia CD-release party The local Balkan band performs selections from Lost and Found; with Santa Fe University of Art & Design’s Mideast Ensemble and Czech Megaphone, 7-11 p.m., doors open at 6:30 p.m., Railyard Performance Center, 1611 Paseo de Peralta, $5-$20 sliding scale at the door, student discounts available, call 690-2443 for information.

theateR/DanCe

‘erase hate: the Laramie Project’ A play by Moisés Kaufman and Tectonic Theater Project members presented by Capital High School’s Capital Arts and Production Academy Theatre, 7 p.m., Bryan Fant Theatre, 4851 Paseo del Sol, $7 in advance, $10 at the door, 467-1070.

books/taLks

Jorge aigla The poet reads from his fifth collection, First Lie/Primera Mentira, 4 p.m., Junior Common Room, St. John’s College, 1160 Camino de Cruz Blanca, no charge, 984-6102.

outDooRs

the Piñon and Juniper ecosystem of Cerrillos hills state Park Join park manager Sarah Wood for a nature hike, 10 a.m., 16 miles south of Santa Fe off NM 14, parking area one half-mile north of the village of Cerrillos, $5 per vehicle, 474-0196.

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.

d Wine bar 315 Restaurant an 986-9190 il, 315 Old Santa Fe Tra nt & bar anasazi Restaura Anasazi, the of Inn d oo Rosew e., 988-3030 113 Washington Av nch Resort & spa bishop’s Lodge Ra ., 983-6377 Rd e dg 1297 Bishops Lo Café Café 6-1391 500 Sandoval St., 46 ón es ¡Chispa! at el M 983-6756 e., Av ton ing 213 Wash uthside Cleopatra Café so 4-5644 47 ., Dr o 3482 Zafaran gro Club 139 at Mila St., 995-0139 o 139 W. San Francisc Q Cowgirl bb , 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 Sa d Ol 6 adobe 40 lton el Cañon at the hi 811 8-2 100 Sandoval St., 98 spa 309 W. San eldorado hotel & 5 45 Francisco St., 988-4 el Farol 3-9912 808 Canyon Rd., 98

santa Fe artists Market 8 a.m.-2 p.m., Saturdays through March at the Railyard plaza between the Farmers Market and REI, 310-1555. santa Fe Farmers Market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098.

Catfish Hodge

With 24 albums produced over a 40year career, bluesman (and Santa Fean) Catfish Hodge brings his signature emotionally charged style to the stage Saturday, Feb. 2, at Gig Performance Space, 1808-H Second St. The concert begins at 7:30 p.m. Tickets are $15 at the door.

nightLiFe

(See addresses below) Café Café Los Primos Trio, traditional Latin songs, 6-9 p.m., no cover. ¡Chispa! at el Mesón Flamenco Conpaz, 7-10 p.m., $10 cover.

Club 139 at Milagro DJ Poetics, hip-hop/house/Latin, 9 p.m., $5-$7 cover.

Cowgirl bbQ José Antonio Ponce Trio, jazz/blues/pop, 2-5 p.m.; Gary Farmer & The Troublemakers, blues, 8:30 p.m.-close; no cover. el Farol Rock ’n’ roll band Funadix, 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 Blues band Night Train, 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 Mine shaft tavern Jim & Tim, soulful blues, 3-7 p.m.; Connie Long & Fast Patsy, Janis Joplin meets Patsy Cline, 7-11 p.m.; call for cover.

Pranzo italian grill Geist Cabaret with pianist David Geist, 6-9 p.m., $2 cover.

Pasa’s little black book ill el Paseo bar & gr 848 2-2 99 , St. teo 208 Galis evangelo’s o St., 982-9014 200 W. San Francisc hotel santa Fe ta, 982-1200 1501 Paseo de Peral La boca 2-3433 72 W. Marcy St., 98 ina nt La Casa sena Ca 8-9232 98 e., Av e lac Pa 125 E. at La Fonda La Fiesta Lounge , 982-5511 St. o isc nc Fra 100 E. San a Fe Resort nt sa de da La Posa e Ave., lac Pa E. and spa 330 0 00 986-0 at the the Legal tender eum us M d oa ilr Lamy Ra 466-1650 151 Old Lamy Trail, g arts Center in rm Lensic Perfo o St., 988-1234 211 W. San Francisc e Lodge th at Lodge Lounge Francis Dr., St. N. 0 75 Fe a nt at sa 992-5800 rider bar Low ’n’ slow Low 125 Washington ó ay at hotel Chim Ave., 988-4900 the Matador o St., 984-5050 116 W. San Francisc

second street brewery Boris McCutcheon & The Saltlicks, alt. country, 6-9 p.m., no cover. second street brewery at the Railyard Singer/songwriter Zoe Evans, folk and blues, 6-9 p.m., no cover. taberna La boca Nacha Mendez Duo, pan-Latin rhythms, 6:30-9:30 p.m., no cover. tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover. totemoff Lodge at the santa Fe ski basin Weekly Beats on the Basin series; Grateful Dead cover band Detroit Lightning, noon-3 p.m., admission with lift tickets only. vanessie Pianists/vocalists, Doug Montgomery, 6-8 p.m. and Bob Finnie, 8 p.m.-close, call for cover.

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

3 Sunday oPeRa in hD

Performance at the screen Encore screening of Mozart’s Le Nozze di Figaro at London’s Royal Opera House, 11 a.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $20, discounts available, 473-6494.

books/taLks

a look at the environmental history of the Río grande River Steve Harris, executive director of The Río Grande Restoration Project in conversation with KSFR Radio host David Bacon, 11 a.m., part of Bacon’s Who Controls Water in the Bio Region series, Collected Works Bookstore, 202 Galisteo St., 988-4226.

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

Patty hammarstedt: This Is Who I Am, 2013, mixed media. Giving Voice to Image, a two-part exhibition pairing visual works by 14 gallery artists with poems by New Mexico writers, continues at Vivo Contemporary (725 Canyon Road). The show opened on Jan. 4 with the first group of artists and poets. The second part opens on Friday, Feb. 1, with a reception and poetry reading at 5 p.m. and features work from artists including Jane Rosemount, Rosemary Barile, and Patty Hammarstedt and poets including Elizabeth Raby, Renée Gregorio, and Zachary Kluckman.

Call 982-1320.

Robert highsmith: Canyon Walk, 2012, watercolor. Winter Shadows is an exhibition of recent watercolors by Robert Highsmith at Marigold Arts. Highsmith’s atmospheric, detailed landscapes capture the moods of the canyonlands and mountainous terrain of the Southwest.

There is a reception Friday, Feb. 1, at 5 p.m. The gallery is at 424 Canyon Road. Call 982-4142.

sid Avery: Marlon Brando With Bongos at His Beverly Glen Home, 1953, gelatin silver print. Get a candid look at the lives of movie stars through the photography of Sid Avery in The Art of the Hollywood Snapshot, at the Monroe Gallery of Photography (112 Don Gaspar Ave.). Avery, founder of the Motion Picture and Television Photo Archive, shot portraits of Steve McQueen, Elizabeth Taylor, Audrey Hepburn, and other celebrities. The show opens with a 5 p.m. reception on Friday, Feb. 1. Call 992-0800.

58

February 1-7, 2013

natalie smith: I’ll Show You Solitude, 2013, moving blankets, canvas, found material, and grommets.

The Center for Contemporary Arts (1050 Old Pecos Trail) presents Alone Together, a mixed-media installation by Albuquerque artist Natalie Smith. Smith takes a nontraditional approach to painting, combining elements of collage and textiles in her work. The exhibition opens Friday, Feb. 1, in CCA’s Spector Ripps Project Space. There is a reception at 6 p.m. Call 982-1338.

heidi Pollard: Little Pond (Burblossom), 2011, gouache on rag board, wood, and automotive paint. The work of eight artists was selected for Art on the Edge 2013, including that of New Mexico-based Heidi Pollard, Rebekah Potter, Donna Ruff, and Greta Young. Art on the Edge 2013 is the third biennial presented by Friends of Contemporary Art and Photography at the New Mexico Museum of Art (107 W. Palace Ave.). The exhibition was curated by Toby Kamps of The Menil Collection in Houston and also features the art of Rosemary Meza-DesPlas, Derrick Velazquez, Martina Shenal, and Joel Santaquilani. The show is up through April 14. Call 476-5072.

At the GAlleries A Gallery Santa Fe 142 W. Marcy St., Suite 104, 603-7744.

Abstract paintings by Vittorio Masoni, through March 16.

Axle Contemporary 670-7612 or 670-5854. Cold Storage, installations by Cheri Ibes, visit axleart.com for van locations through Feb.10.

Back Street Bistro 513 Camino de los Marquez, 982-3500.

Crossing the Line, paintings by Ricardo Gutierrez and Julianna Poldi, through March 3.

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.

David Richard Gallery 544 S. Guadalupe St., 983-9555. Material Distillation, paintings and sculpture by Eric Zammitt; Suspended Mobility, glass mobiles

by Philip Baldwin and Monica Guggisberg, through Feb. 9.

Gebert Contemporary 558 Canyon Rd., 992-1100. New Year’s Exhibition!, group show of gallery artists, through Sunday, Feb. 3.

Kristin Johnson Fine Art 323 E. Palace Ave., 428-0800.

Group show of gallery artists.

La Tienda Exhibit Space 7 Caliente Rd., Eldorado, 466-4211 or 466-6930. Plein Aire and More, group show, through Feb. 16.

Marion Center for Photographic Arts Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5052. Views From the Reservation, photographs by John Willis, ledger drawings by Dwayne Wilcox, Oglala Lakota tribal poetry, and historical images; Ghost Town, landscapes by New Mexico photographer Antone Dolezal; through May 10.

Peyton Wright Gallery 237 E. Palace Ave., 989-9888. Art of Devotion, 20th annual exhibit of art and objects from the Spanish Colonial Americas combined with an inaugural exhibit of European Old Master works of the mid-1500s to the 1800s, through March.

Photo-eye Gallery 376-A Garcia St., 988-5152. Here Far Away, photographs

by Pentti Sammallahti, through Feb. 9.

Santa Fe Clay 545 Camino de la Familia, 984-1122.

Ceramics by David Eichelberger, Donna Polseno, and Sam Taylor, through March 2.

Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111. Black Space, group show, through 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. MondayFriday; 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. Alone Together, mixed-media paintings by Natalie Smith, reception 6-8 p.m. Friday, Feb. 1, through March 10, Spector Ripps Project Space • Making Light of It: 366 Days of the Apocalypse, paintings

by Michelle Blade, Muñoz Waxman Gallery, through Feb. 17. 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.

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;

Part of the Cliff, in the exhibit Georgia O’Keeffe and the Faraway: Nature and Image, Georgia O’Keeffe Museum

Spyglass Field Recordings: Santa Fe; multi-media 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.

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 World Cuisine: The Histories of Chocolate, Mate y Más, through Jan. 5, 2014 • New Mexican Hispanic Artists 1912-2012, installation in Lloyd’s Treasure Chest, through February • 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. Altared Spaces: The Shrines of New Mexico, photographs by Siegfried Halus, Jack Parsons, and Donald Woodman, through Feb. 10 • Tall Tales of the Wild West: The Stories of Karl May, collection of photographs and ephemera in relation to the German author, longterm • 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. 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 • Alcove 12.8, revolving group show of works by New Mexico artists, through Feb. 24 • 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

59

In the wings MUSIC

60

February 1-7, 2013

Tracy Grammer Multi-instrumentalist folk singer, 7:30 p.m.

Friday, April 12, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.

Nuestra Musica 13th annual celebration of New Mexico music, 7 p.m. Friday, April 19, the Lensic, $10, seniors no charge, ticketssantafe.org, 988-1234.

THEATER/DANCE 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.

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.

Arlo Guthrie Here Comes the Kid, a tribute to Woody Guthrie, 7:30 p.m. Thursday, April 4, the Lensic, $20-$45, student discounts available, ticketssantafe.org, 988-1234.

‘The Warriors: A Love Story’ ARCOS Dance presents its multi-media performance, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, Feb. 8-17, Center for Contemporary Arts, 1050 Old Pecos Trail, $20 in advance, student discounts available, 473-7434 or info@arcosdance.com, visit arcosdance.com for information.

The Met Live in HD Verdi’s Rigoletto 11 a.m. and 6 p.m. Saturday, Feb. 16; Wagner’s Parsifal, 10 a.m. only Saturday, March 2; Zandonai’s Francesca da Rimini, 10 a.m. and 6 p.m.

Saturday, March 16, Lensic Performing Arts Center, $22-$28, discounts available, 988-1234, ticketssantafe.org.

Bill Maher Political comedian, 7:30 p.m. Sunday, Feb.17, Santa Fe Community Convention Center, $47-$67, ticketssantafe.org, 988-1234.

Eduardo Tardin

The Sound of the Trio Brian Bennett on piano, Andy Zadrozny on bass, and John Trentacosta on drums, 7 p.m.

Friday, Feb. 8, part of the KSFR Music Café Series, Museum Hill Café, 710 Camino Lejo, Milner Plaza, $20, 428-1527.

Eric Bibb and Habib Koité The guitarists perform in support of their album, Brothers in Bamako, 7 p.m. Saturday, Feb. 9, the Lensic, $19-$39, 988-1234, ticketssantafe.org.

Gabriela Montero Solo piano recital, 4 p.m. Sunday, Feb. 10, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$50, 988-1234, ticketssantafe.org.

Peter Mulvey Singer/songwriter, 7:30 p.m., doors open at 6:30 p.m., Friday, Feb. 15, Garrett’s Desert Inn, 311 Old Santa Fe Trail, $20 in advance, $22 at the door, brownpapertickets.com.

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. Saturday, Feb. 16, doors open at 7 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, $25 in advance, 984-6199.

New Shoots Trio Sandra Wong, Greg Tanner Harris, and Ross Martin, vibraphone, fiddle, and guitar, 7:30 p.m. Saturday, Feb. 16, Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com.

Serenata of Santa Fe The chamber music ensemble presents Sonic Genius, performers include oboist Pamela Epple, flutist Diva Goodfriend-Koven, and pianist Debra Ayers, 3 p.m. Sunday, Feb. 17, Scottish Rite Center, 463 Paseo de Peralta, $20 in advance, $25 at the door, discounts available, 988-1234, ticketssantafe.org.

Santa Fe Symphony Orchestra & Chorus Birds & Brahms, featuring violinist David Felberg, 4 p.m. Sunday, Feb. 17, pre-concert lecture 3 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 988-1234, ticketssantafe.org.

Hilary Hahn Solo violin recital, 7:30 p.m. Tuesday, Feb. 19, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$75, 988-1234, ticketssantafe.org.

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.

Martin Sexton Singer/songwriter, 7:30 p.m. Thursday, Feb. 28, Lensic Performing Arts Center, 211 W. San Francisco St., $22-$38, 988-1234, ticketssantafe.org.

Tin Hat Contemporary, acoustic chamber music quartet, 7:30 p.m. Wednesday, March 6, Gig Performance Space, 1808-H Second St., $25 at the door, gigsantafe.com.

Wynton Marsalis and The Jazz at Lincoln Center Orchestra 7:30 p.m.

Wednesday, March 6, Lensic Performing Arts Center, 211 W. San Francisco St., $25-$95, 988-1234, ticketssantafe.org.

Upcoming events

pianist gabriela montero performs sunday, Feb. 10, at the st. Francis Auditorium.

‘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.

‘Water’ Santa Fe University of Art & Design Documentary Theatre Project students present a play based on the demise of the village of 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, 988-1234, ticketssantafe.org.

‘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.

HAPPENINGS

‘Al-Mutanabbi Street Starts Here’ Traveling group show of book art, opening Friday, Feb. 8 at Santa Fe University of Art & Design’s Fine Arts Gallery as part of the school’s 2012-2013 Artists for Positive Social Change series. The exhibit continues through March 22.

WorldQuest 2013 Santa Fe Council on International Relations hosts a college bowl-style game of international trivia, 6-9 p.m. Friday, Feb. 8, Santa Fe Community College, 6401 Richards Ave., $40 in advance (includes dinner), 982-4931, sfcir.org.

Sweetheart Auction Annual fundraiser for the Cancer Foundation for New Mexico; dinner buffet; cash bar; silent auction, live auction, and vacation raffle, 5-9 p.m. Saturday, Feb. 9, Santa Fe Community Convention Center, 201 W. Marcy St., $45, 955-7931, Ext. 1, cffnm.org.

Chocolate tasting and lecture Santa Fe Community College instructor Mark J. Sciscenti speaks in conjunction with the Museum of International Folk Art exhibit, New World Cuisine: The Histories of Chocolate, Mate y Más, 2 p.m. Sunday, Feb. 10, 706 Camino Lejo, Museum Hill, by museum admission, 476-1200.

At the Artist Table Three-course dinner and art event with chef Tracy Ritter and artist Ron Pokrasso to benefit Partners in Education and City of Santa Fe Arts Commission programs, 6-9 p.m. Thursday, Feb. 14, Santa Fe School of Cooking, 125 N. Guadalupe St., $175, couples $300, cost of admission includes signed Pokrasso print and Sweet-art package that includes accomodations at the Eldorado Hotel, private artist-led gallery tour and demonstration, 474-0240.

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.

Saturday, Feb. 16, Pavilion, 1607 Paseo de Peralta, $25 includes dinner and one drink, tickets available durings Saturday Farmers Markets and online at santafefarmersmarket.com.

Salaton Ole Ntutu The Maasai chief speaks at six public events from Wednesday-Thursday, Feb. 20-24 to benefit his Kenyan village; for details and tickets visit andrew-naturopath.com; call 467-6421 to RSVP to ticketed dinners and concert.

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.

pasa week

3 Sunday (continued)

santa Fe Public school District bands 120 students (grades 8-12) from eight schools strike up their bands, music of Tchaikovsky, Michael Story, and Brian Balmages, 6:30 p.m., the Lensic, $8 suggested donation.

events

books/tAlks

from Page 57

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. Live music with Gerry Carthy, tenor guitar and flute, 10 a.m.-1 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 983-4098, railyardartmarket.com. santa Fe Farmers Market 10 a.m.-4 p.m., 1607 Paseo de Peralta, 983-4098.

nIghtlIFe

(See Page 57 for addresses) Dinner for two Classical guitarist Vernon de Aguero, 6 p.m., no cover. el Farol Nacha Mendez and guests, pan-Latin rhythms, 7 p.m.-close, no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Super Bowl party, 4-8 p.m., no cover. la Posada de santa Fe Resort and spa Wily Jim, Western swingabilly, 7 p.m., no cover. the Mine shaft tavern Americana guitarist Gene Corbin, 3-7 p.m., no cover. vanessie Pianist Doug Montgomery closes his winter season with selections from the Great American Songbook, 7 p.m.-close, no cover.

4 Monday In ConCeRt

Intronaut Los Angeles-based experimental psych-metal band, As In We opens, 7 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $10 in advance at holdmyticket.com, $15 at the door.

Talking Heads

breakfast With o’keeffe Santa Fe Art Institute professor A. Robert Jessen leads a seminar on topics and themes related to the Georgia O’Keefe Museum exhibit Annie Leibovitz: Pilgrimage, 8:30-9:45 a.m., Georgia O’Keeffe Museum, 217 Johnson St., by museum admission, 946-1039. bryen et butor Blandine Chavanne, director of the Musée des Beaux-Arts de Nantes, gives a presentation and lecture on French artist Camille Bryen (1907-1977) and French writer Michel Butor at the Santa Fe Art Institute, 6 p.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $10, discounts available, 424-5050. the early Peopling of America: From time Immemorial Steven R. Holen and Kathleen Holen speak as part of the Southwest Seminars Ancient Sites and Ancient Stories lecture series, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775. the Moral Underpinnings of 21st Century Power Conversation between authors Craig Barnes and Larry Rasmussen, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

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. el Farol Geeks Who Drink Trivia Night, 7 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Cathy Faber’s Swingin’ Country Band, 7:30-11 p.m., no cover. vanessie Bob Finnie, piano and vocals, 6:30 p.m.-close, call for cover.

5 Tuesday books/tAlks

Drone Attacks and ethical Questions Robert Naiman of Just Foreign Policy speaks, 7 p.m., Q & A follows, Unitarian Universalist Congregation, 107 W. Barcelona Rd., no charge, 982-9674.

nIghtlIFe

breakfast With o’keeffe talk series Santa Fe Art Institute professor A. Robert Jessen leads a seminar on topics and themes related to the Georgia O’Keeffe Museum exhibit, Annie Leibovitz: Pilgrimage at 8:30 a.m.

Monday, Feb. 4. Call 946-1039 for more information.

(See Page 57 for addresses) ¡Chispa! at el Mesón Argentine Tango Milonga, 7:30-11 p.m., $5 cover.

Cowgirl bbQ Country singer/songwriter Bill Hearne, 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.

Catch singer/songwriter Jono Manson at Second Street Brewery Friday, Feb. 1.

la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Cathy Faber’s Swingin’ Country Band, 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, 6:30 p.m.-close, call for cover.

6 Wednesday books/tAlks

the Alcove shows: 12.8 Part of the New Mexico Museum of Art docent talks series, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5072.

events

telluride Mountainfilm on tour Annual environmental- and conservationthemed film screenings presented by WildEarth Guardians, 7 p.m., the Lensic, $15, 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 Singer Izzy Cox, Voodoobilly jazz, 8 p.m., no cover. el Farol Salsa Caliente, 9 p.m., no cover. la boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la Fiesta lounge at la Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. la Posada de santa Fe Resort and spa Wily Jim, Western swingabilly, 7-10 p.m., no cover. tiny’s 505 Jam hosted by Synde Parten, John Reives, and M.C. Clymer, 7:30 p.m., no cover. vanessie Bob Finnie, piano and vocals, 6:30 p.m.-close, call for cover.

7 Thursday gAlleRy/MUseUM oPenIngs

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, reception 5-7 p.m., through March 7.

theAteR/DAnCe

‘benchwarmers 12’ sneak preview Annual showcase of eight fully staged playlets

by New Mexico playwrights, presented by Santa Fe Playhouse, 142 E. De Vargas St., $10, 988-4262, santafeplayhouse.org, ThursdaySunday through March 3 (see story, Page 24). ▶▶▶▶▶▶▶▶ PASATIEMPO

61

created at the institute over the past 30 years that explore the impact of the women’s movement on artists, through March 14.

Weyrich Gallery 2935-D Louisiana Blvd. N.E., 505-883-7410.

Feng Shui Plus: The Fine Art Tapestries of Donna Loraine Contractor, reception 5 p.m.

Friday, Feb. 1, through February.

Events/Performances

albuquerque baroque Players Double Reeds, 7:30 p.m. Saturday, Feb. 2, Fellowship Christian Reformed Church, 4800 Indian School Rd. N.E.; 3 p.m. Sunday, Feb. 3, Historic Old San Ysidro Church, Old Church Rd., Corrales, $18, discounts available, 505-400-9385, albuquerquebaroqueplayers.com. sunday Chatter Five-year anniversary celebration with music of Tchaikovsky; also, former UNM president Richard Peck tells stories of his journeys in Italy, 10:30 a.m. Sunday, Feb. 3, The Kosmos, 1715 Fifth St. N.W., $15 at the door, chatterchamber.org.

Portland Cello Project An ensemble with an eclectic repertoire ranging from classical music to hip-hop and rock, Alialujah Choir opens, 7:30 p.m. Tuesday, Feb. 5, doors open at 6:30 p.m., Outpost Performance Space, 210 Yale Blvd. S.E., $20 in advance at ampconcerts.org.

Tarina Westlund

Española

Portland Cello Project onstage Tuesday, Feb. 5, at the Outpost Performance Space in Albuquerque.

books/talks

Exhibit panel discussion Beau Beausoleil, Donna Ruff, and Suzanne Vilmain discuss art projects that bear witness to a society in crisis, 6 p.m., in conjunction with the Santa Fe Art Institute exhibit Al-Mutanabbi Street Starts Here, Tipton Hall, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., no charge, 473-6500. the Historic ties between the Jicarilla apache and santa Fe Veronica Tiller speaks as part of the Railyard Stewards winter workshop series, 5:30-6:30 p.m., Railyard Park Community Room on Callejon St., no charge, 316-3596.

Honoring John bartram: america’s First botanist Thomas Antonio discusses the plant hunter, 2 p.m., presented by Santa Fe Botanical Garden, Museum of International Folk Art, 706 Camino Lejo, Museum Hill, $5 at the door, 471-9103 (see story, Page 18). lost Worlds of turkey: the World’s oldest temple site and the Devastated World of the armenians Martha Simonsen and Ken Simonsen discuss the recent discovery of Gobekli Tepe, 1-3 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, 982-9274, renesan.org.

New Mexico literary arts’ 2012 Gratitude award readings Poet James McGrath and Society of the Muse of the Southwest members read from their works, 6 p.m., Collected Works Bookstore, $10 suggested donation, 202 Galisteo St., 988-4226 (see Subtexts, Page 12).

62

February 1-7, 2013

NiGHtliFE

(See Page 57 for addresses) ¡Chispa! at El Mesón Jazz pianist Andy Kingston, 7-9 p.m., no cover.

Cleopatra Café southside Saltanah Dancers, bellydancing, 6:30-8:30 p.m., no cover.

Cowgirl bbQ Byron Dowd and his Americana string band, 8 p.m.-close, no cover.

El Farol Man No Sober, roots rock duo, 9 p.m., no cover. la Fiesta lounge at la Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. la Posada de santa Fe Resort and spa Pat Malone Jazz Trio with J.Q. Whitcomb on trumpet, Asher Barreras on bass, and Malone on guitar, 7-10 p.m., Staab House Salon, no cover. the Matador DJ Inky spinning soul/punk/ska, 8:30 p.m.-close, no cover. taberna la boca Nacha Mendez, pan-Latin chanteuse, 6:30-9:30 p.m., no cover. the Underground at Evangelo’s Rappers Dezert Banditz, Cash Lansky, Big Ox, and others, 9 p.m., $5 cover.

Vanessie Todd Lowry and Kari Simmons, contemporary pop and American standards, 6:30 p.m.-close, call for cover.

▶ Elsewhere albuquErquE Museums/art spaces

516 arts 516 Central Ave. S.W., 505-242-1445. Gila, photographs by Michael Berman, fundraising auction, reception, and book signing of Gila: Radical Visions, The Enduring Silence; also, a conversation about the monograph with Berman and contributing essayists 5-8 p.m. Saturday, Feb. 2, through Feb. 16.

Framing Concepts Gallery 5809-B Juan Tabo Blvd., 505-294-3246.

Plein Air Pilgrims, group show, reception 5-8 p.m. Friday, Feb. 1, through February.

Mariposa Gallery 3500 Central Ave. S.E., 505-268-6828. Made in Japan, mixed-media work by Santa Fe artist Cate Goedert, reception 5-8 p.m. Friday, Feb. 1, through February.

National Hispanic Cultural Center 1701 Fourth St. S.W., 505-246-2261.

Stitching Resistance: The History of Chilean Arpilleras, a collection of appliqué textiles crafted between 1973 and 1990, longterm • ¡Aquí Estamos!, items from the permanent collection. Open 10 a.m.-5 p.m. Tuesday-Sunday; adults $3; seniors $2; under 16 no charge; Sundays no charge. tamarind institute Gallery 2500 Central Ave. S.E., 505-277-3901. Good in the Kitchen, retrospective exhibit of lithographs

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.

los alamos Museums/art spaces

bradbury science Museum 15th and Central Avenues, 667-4444.

Open 10 a.m.-5 p.m. Tuesday-Saturday, 1-5 p.m. Sunday-Monday; no charge. los alamos Historical Museum 1050 Bathtub Row, 662-4493. Permanent exhibits on the geology of the Jémez volcano, the Manhattan Project, area anthropology, and the Ranch School for Boys. Open 9:30 a.m.-4 p.m. Monday-Friday, 11 a.m.4 p.m. Saturday, 1-4 p.m. Sunday; no charge.

Pajarito Environmental Education Center 3540 Orange St., 662-0460. Exhibits of flora and fauna of the Pajarito Plateau; live amphibians, an herbarium, and butterfly and xeric gardens.

Open noon-4 p.m. Tuesday-Friday, 10 a.m.-1 p.m.

Saturday, no charge.

ribEra

El Valle Women’s Collaborative arts & Crafts bazaar Featuring Designer’s Guild fabrics, 11 a.m.-4 p.m. Sunday, Feb. 3, Thrift in La Sala, 203 NM 3, Interstate 25 south to Exit 323 toward Villanueva, turn right on NM 3 (about 47 scenic miles south of Santa Fe).

Call Pilar for more information, 510-910-5955.

taos Museums/Art Spaces

Harwood Museum of Art 238 Ledoux St., 575-758-9826. Open 10 a.m.-5 p.m. TuesdaySaturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday.

Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 11 a.m.-4 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge.

La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000.

Open 10 a.m.-4 p.m. Monday, Tuesday, Thursday-Saturday, noon-4 p.m. Sunday.

Adults $8; under 16 $4; children under 5 no charge.

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

National Theatre of London in HD The broadcast series continues with John Lithgow starring in The Magistrate, 7 p.m. Friday and Saturday, Feb. 1-2, Taos Community Auditorium, 145 Paseo del Pueblo Norte, $15, discounts available, 575-758-2052.

▶ People who need people Artists/Craftspeople/Photographers

After Dark II National juried art show about all things nocturnal hosted by Greg Moon Art of Taos July 6-27; midnight Monday, April 15, deadline; visit callforentry.org for details.

Fan Association of North America grants Offered to organizations, entities, or individuals that have projects regarding education, research, publication, and exhibition or conservation related to hand-held fans; grant requests from $100-$3,000 considered; submission deadline Friday, Feb. 1; visit fanassociation.org for details.

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; instructions and membership applications available online at santafesocietyofartists.com; 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/Performers/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; rules and guidelines available online at santafeindependentfilmfestival.com.

Santa Fe Opera auditions Singers between the ages of 8 and 18 may apply for thirty-eight openings in the special family performances of Noah’s Flood (Aug. 10-11); call 986-5996 to schedule a time between 2-4 p.m.

Saturday, Feb. 9.

Santa Fe Playhouse 92nd season Accepting play proposals of 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.

Global movement One Billion Rising flash mob rehearsals Participate in the movement to raise awareness of universal violence against women; 9:45 a.m. Saturday, Feb. 2, Genoveva Chavez Community Center, 3221 Rodeo Rd.; 3 p.m. Saturday, Feb. 2 and 9, Together Strong, 3212-A Richards Ln., 690-9344.

Kitchen Angels Cooking and driving shifts open; some as short as two hours, once a week; call 471-7780 or visit kitchenangels.org to learn more.

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.

New Mexico Center for Therapeutic Riding Aid health care professionals, equestrian specialists, and riders; training provided; volunteer orientation Sunday, Feb. 2; eight-week session begins the first week in March; call Devin at 795-7899 or visit nmctr.org.

▶ Under 21 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. Tuesdays through 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 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 admisssion, 989-8359.

Santa Fe Public School District bands 120 students (grades 8-12) from eight schools strike up their bands, music of Tchaikovsky, Michael Story, and Brian Balmages, 6:30 p.m.

Monday, Feb. 4, the Lensic, $8 suggested donation.

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. ◀

Medicine: show Tired? Depressed? World got you down?

Nothing lifts you up and soothes your troubled soul quite like Dr. Bobby D’s BeerFlavored Body Tonic, which also, oddly enough, doubles as actual beer. Of course, frothy goodness will only take you so far in the direction of happiness before it drops you right back off at the deep end of the Eternal Pool of Woe. So instead, why not ingest a double dose of Izzy Cox to cure your ills?

At 8 p.m. Wednesday, Feb. 6, Cowgirl BBQ (319 S. Guadalupe St., 982-2565) welcomes self-described anarchist voodoobilly jazz crooner Cox for a night of unbridled outlaw raunch and revelry. The singer has led an Izzy Cox interesting life so far, to say the least. Raised in rural Texas and Montréal, Canada, she once belonged to a religious sect in which she played in a marching band. She traveled with the circus, worked at horse-racing tracks, and immersed herself in the first-wave punk scene.

And that was all before she was 16 years old.

It was at the tender age of 16, while locked up in juvie, that Cox released her first original songs. While in Montréal a few years later, Cox shared gig real estate with some of my personal heroes, including Rufus Wainwright and Godspeed You! Black Emperor (formerly Godspeed You Black Emperor! — apparently punctuation is a sticking point for these Canadian post-rockers).

Cox delivers a spellbinding and high-energy combination of stripped-down rockabilly, country, punk, riot grrrl, roadhouse blues, murder balladry, and a touch of good ol’ sleazed-out Hollywood rock. Songs such as “Bad, Bad Woman,” “Killing My Kind,” “Electric Chair,” and “Devil in Me” speak to Cox’s love of the macabre and seedy, and her ability to wrap them in interesting and fun musical narratives is reason enough to hit the Cowgirl on Wednesday. The show is free, so you can save your money for band merch — or beer-flavored body tonic.

Follow the beats At 9:30 p.m. on Thursday, Feb. 7, The Underground at Evangelo’s (200 W. San Francisco St., 577-5893) hosts the Santa Fe leg of the Liquor & Love Tour, featuring hiphop artists Jivin Scientists, Cash Lansky, Gldn Ghst, and Big Meridox with local collective Dezert Banditz.

Tuscon’s Jivin Scientists, aka James Owens (MC Runt), beatmaster Ryan Troncoso (Phen), Soundsmith the Programmer, Jason Owens (DJ Deeko), and Marcus Lovato (Dr. Nope) have been tag-teaming the underground hip-hop scene in various formations since 1998. The Owens brothers — Jason’s the oldest — hail from Gallup, where they sowed many of their early B-boy/graff-art oats before making the move to the Ayn Rand-ian Republic of Joe Arpaio-stan. Despite their zip code, the Jivin Scientists have a come-one-come-all approach, and their rhymes flow with a recurring message: put up or shut up, and do unto others ... well, you know the rest.

Another act to look out for on this tour is Big Meridox, who attacks the mic with Chuck D panache and KRS-One/Wu-Tang wisdom. When he’s not teaching special-education students within Tuscon’s high school system, he’s slingin’ drinks behind the bar and tearing up clubs throughout the Southwest. Speaking of which, I highly recommend you hit up the track “Southwest feat. Big Meridox” on YouTube, as well as Big Meridox’s other online tracks.

His Facebook band page has plenty of songs to explore, including one of my faves, “Beef (Ballad of the Tough Tongue).” There’s a $5 cover at the door for the 21-and-older show.

— 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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