The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
April 4, 2014
METaLaCHi
EVERYTHING’S COMING UP MOSES!
HaMakom The Place for Passionate and Progressive Judaism
SECOND NIGHT PASSOVER SEDER Bishop’s Lodge Resort Tuesday, April 15 at 5:30 PM
RESIDE
Reserva�ons Required 505.992.1905 $65 Member /$75 Non Member /$16 Children www.hamakomtheplace.org
This Week’s Lunch Special starts today…takeout available “BLT” Pasta
Herbed Linguine w/ Crumbled Bacon, Brioche Croutons, Oven – Roasted Tomatoes & Grilled Romaine Chiffonade 10.00
Upcoming
Wednesday, 4/16/2014
The Hoopes Wine Dinner
Open seating from 5:30pm – 4 courses w/ wine pairings
$75.00 per person Hoopes menu, reservations, recipes & ‘instant’ gift certificates: www.santacafe.com
Lunch & Dinner Everyday Join us for Sunday Brunch! 231 washington ave., santa fe 505 • 984 • 1788 2
PASATIEMPO I April 4 - 10, 2014
HOME
ON THE PLAZA
15% Locals Discount Open daily 11:30am till close Heated Balcony Happy Hour twice daily
505-490-6550 • ThunderbirdSantaFe.com • Facebook.com/ThunderbirdBarGrill 50 Lincoln Ave, on the Santa Fe Plaza
LAURA SHEPPHERD ATELIER
Bridal & Mother of the Bride
Incredible markdowns!! 30% - 75% off! 65 w. marcy st santa fe, nm 87501 505.986.1444 laurasheppherd.com •
photosantagto.com
&
b o t w i n
e y e s
e y e
g r o u p
o p t i c s s a n t a
f e
optometric physicians Dr. mark botwin Dr. Jonathan botwin Dr. Jeremy botwin
505.954.4442
The premier source for Native American Jewelry 101 W. SAN FRANCISCO ST. SANTA Fe
505-988-1866 OPeN 7 DAYS
we are a unique enterprise melding medical eye care and fashion. we defy the norm in eyeglass boutiques and optometrist offices by combining the best of both; state-of-the-art eye care and the coolest, hippest eyewear. mon-Fri 8:00-6:00, sat 8:30-12:00 444 st michaels Drive | botwineyegroup.com
PASATIEMPOMAGAZINE.COM
3
Andrea Fisher
Fine Pottery
21st Birthday Sale
Santa Fe Pro Musica Baroque Ensemble Kathryn Mueller, soprano Thursday, April 17 at 7:30pm Friday, April 18 at 7:30pm Saturday, April 19 at 6pm Loretto Chapel
April 1st- 30th
PURCELL Sonata No. 9 in F Major “Golden Sonata” PERGOLESI Salve Regina CORELLI Sonata da Chiesa in F Major, Op. 1, No. 1 BACH Solo pour la flûte traversière HANDEL Gloria in excelsis Deo $20, $35, $45, $65 Santa Fe Pro Musica Box Office:505.988.4640 Tickets Santa Fe at the Lensic: 505.988.1234 www.santafepromusica.com
Fantastic Reductions on 100 Select Pieces! Maria Martinez, Margaret Tafoya, Nampeyo of Hano, Lucy Lewis, Juan Quezada, and many more!
Major Lodging Sponsor:
The 2013-2014 Season is partially funded by New Mexico Arts (a Division of the Department of Cultural Affairs) and the National Endowment for the Arts.
www.andreafisherpottery.com 505.986.1234 100 West San Francisco Street, Santa Fe, NM 87501
Kathryn Mueller’s appearance is sponsored by the Mill Foundation Emerging Artist Grant.
The Lensic & the Spanish Colonial Arts Society present
Serenata of Santa Fe
T h e 1 4 th A n n ua l
Nuestra Música April 4, 7 pm
Spring for Mozart presents
An evening of shared songs and stories that celebrate New Mexico’s rich musical heritage. Featuring
FRIDAY, APRL 11, 2014 7:00 PM Scottish Rite Center WITH GUEST ARTIST YI-HENG YANG and L.P. How and David Felberg, violins Shanti Randall, viola | Sally Guenther, cello
Rob y Lorenzo Martínez Cipriano Vigil y La Familia Vigil Roberto Mondragón Trio Jalapeño con Antonia Apodaca Frank McCulloch y Sus Amigos
DON’T MISS! A Master Class taught by Yi-heng Yang Featuring talented young Santa Fe-area pianists Saturday, April 12, 10-11:30am Scottish Rite Center
Photo: Kate Russell
FEATURING MOZART CONCERTOS NO 13 & 9 WITH WORKS BY ARVO PÄRT & ALFRED SCHNITTKE
All Chamber Music, All the Time
FOR TICKETS VISIT: SERENATAOFSANTAFE.ORG OR CALL the Lensic Box office: (505) 988-1234. For program details: (505) 989-7988.
$10 / Free for Seniors
Ticket Reservations Required Tickets: 505-988-1234 www.TicketsSantaFe.org S E R V I C E C H A R G E S A P P LY AT A L L P O I N T S O F P U R C H A S E
t h e l e n s i c i s a n o n p r o f it, m e m b e r- s u p p o rt e d o rga n i zat i o n
4
PASATIEMPO I April 4 - 10, 2014
WIN YOUR SHARE OF MORE THAN
30,000
$
Now through May 11 • Earn entries today! Sundays at 2 pm, 4 pm, 6 pm & 8 pm Visit Club Rock for details. Must be 21+ to play. Management reserves all rights.
TS BATTER UP HOT SEA
500
$
WIN
Ce rri
llo
sR
d.
I thru May 2 Every MON, WED, FR m–10pm 10a m fro r hou f hal Every
I-25
10 Minutes North of downtown Santa Fe
Exit 175 on Hwy 84/285
1-800-GO-CAMEL camelrockcasino.com
JOin US EaStEr BrUnch Sunday, april 20, 2014 from 11:00am – 3:00pm
Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room
•
Bedroom
•
Entertainment
•
Lighting
•
Accessories
Hopi Bedroom $980 $27 Per Person. For A Complete Brunch Menu Visit LaCasaSena.com For Reservations Please Call 505-988-9232
Queen $840 Nightstand $375
New Shipment of Beds and Nightstands
Blanket Chest $396
Selection of attractive designs available
SANTA FE COUNTRY FURNITURE Open Daily 11:00am until 10:00pm | 125 East Palace, Santa Fe (505) 988-9232 | www.lacasasena.com
525 Airport Road • 660-4003 • Corner of Airport Rd. & Center Dr. Monday - Saturday • 9 - 5 • Closed Sundays www.santafecountry.com
PASATIEMPOMAGAZINE.COM
5
THE SANTA FE NEW MEXICAN
April 4 - 10, 2014
www.pasatiempomagazine.com
ON THE COVER 24 Moshing mariachis Metalachi is not your average metal band, and it’s definitely not your average mariachi band. The Los Angeles-based quintet of string- and horn-wielding metalheads has been reinterpreting the music of the likes of Black Sabbath and Iron Maiden ever since making the transition from quinceañeras to seedy rock clubs. Metalachi appears at Santa Fe Sol Stage & Grill on Saturday, April 5. The cover photograph of band member Maximilian “Dirty” Sanchez is by Robert Bejil (robertbejil.com).
MOVING IMAGES
BOOKS 14 32
40 The Missing Picture 41 Aatsinki 42 Pasa Pics
In Other Words Heart of Darkness and A Life in Men Janelle Lynch Barcelona
CALENDAR
MUSIC AND PERFORMANCE 16 18 20 22 27 28
49
Terrell’s Tune-Up Dex Romweber Duo Pasa Tempos CD reviews Poro corazón Nuestra Música Pasa Reviews Joyce DiDonato Onstage Percussionist Tatsuya Nakatani The melodies linger on John Donald Robb
Pasa Week
AND 11 13 46
ART
Mixed Media Star Codes Restaurant Review: Thai Café & Noodle Treats
34 Point of Impact Floyd Solomon 38 Art in Review Feast at SITE Santa Fe
In the story about pianist Alan Pasqua in last week’s issue of Pasatiempo (March 28), we misidentified the composer of The Milagro Beanfield War soundtrack; Dave Grusin wrote the music.
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. E-mail: pasa@sfnewmexican.com PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com
Detail of Fig Trees 9, 2010, by Janelle Lynch
■
Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com
■
Assistant Editor — Madeleine Nicklin 505-986-3096, mnicklin@sfnewmexican.com
■
Chief Copy Editor/Website Editor — Jeff Acker 505-986-3014, jcacker@sfnewmexican.com
■
Associate Art Director — Lori Johnson 505-986-3046, ljohnson@sfnewmexican.com
■
Calendar Editor — Pamela Beach 505-986-3019, pambeach@sfnewmexican.com
■
STAFF WRITERS Michael Abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 505-986-3039, billk@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com
■
CONTRIBUTORS Loren Bienvenu, Taura Costidis, Laurel Gladden, Peg Goldstein, Robert Ker, Jennifer Levin, Robert Nott, Jonathan Richards, Heather Roan-Robbins, Casey Sanchez, Michael Wade Simpson, Steve Terrell, Khristaan D. Villela
■
PRODUCTION Dan Gomez Pre-Press Manager
The Santa Fe New Mexican
© 2014 The Santa Fe New Mexican
■
Robin Martin Owner
www.pasatiempomagazine.com
■
Ginny Sohn Publisher
■
■
ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007
■
MARKETING DIRECTOR Monica Taylor 505-995-3824
■
GRAPHIC DESIGNERS Rick Artiaga, Jeana Francis, Elspeth Hilbert
■
ADVERTISING SALES - PASATIEMPO Art Trujillo 505-995-3852 Matthew Ellis 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830
Ray Rivera Editor
Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet
NEW BOOK EXPLORES O’KEEFFE’S THE BLACK PLACE THE BLACK PLACE: TWO SEASONS Photographs by Walter W. Nelson Essay by Douglas Preston Introduction by Katherine Ware
BOOK LAUNCH Author Presentation & Book Signing Wednesday, April 9, 6 p.m. Collected Works 202 Galisteo St., Santa Fe (505) 988-4226
SAVE THE DATES
The Black Place Exhibitions (authors will sign books at opening receptions) Saturday, May 3, 1-5 p.m. Friday, May 2, 5-7 p.m. Café Pasqual’s Gallery Chiaroscuro Gallery The Black Place Paintings The Black Place Photographs 103 East Water Street, Ste. G, Santa Fe 702 1/2 Canyon Road, Santa Fe
Museum of New Mexico Press
BECAUSE
art
MATTERS
BECAUSE
culture
MATTERS
BECAUSE
books
MATTER
try on and win
MEET THE EXPERTS! FRI., APRIL 11th • 11am to 4pm Come experience ultimate comfort and walk away a winner. Stop by On Your Feet and try-on a pair of Clarks shoes for your chance to win a $5 or $10 Gift Card and other great prizes.
ON YOUR FEET
530 Montezuma Ave, Santa Fe, NM 87501 505.983.3900 • www.onyourfeetsf.com Store Hours: Mon.–Sat. 10am–6pm + Sun. 12pm–5pm
PASATIEMPOMAGAZINE.COM
7
THURSDAYS COUNTRY LADIES NIGHT
NO COVER FOR WOMEN $
3 WELL DRINKS FRIDAYS DJ 12 Tribe
SATURDAYS DJ Flo Fader
. 4/4/2 014 AT 8 PM N O S K O O R B IX K
ALE NOW! T IC K E T S O N SAT THE CASINO BOX OFFICE TS.COM OR AVAIL ABLE AT TICKE
S. SERVES ALL RIGHT MANAGEMENT RE R. DE OL OR E AG OF MUST BE 21 YEARS RESORT.COM BUFFALOTHUNDER
8
PASATIEMPO I April 4 - 10, 2014
THE SANTA FE
HO ME S H OW
innovative solutions for better living
$5 MILLION BACK TO YOU
April 5 & 6, 2014
10 am - 5pm • Tickets $5.00
Santa Fe Community Convention Center Remodelers Showcase Cash Prizes • Giveaways
2nd Annual Santa Fe Community College Design Competition Sponsored by
Northern New Mexico’s Premiere HOME SHOW
Get Your Tickets Today at: santafehomeshow.com 505 982 1774 Thank you to our Sponsors:
Tesuque Stucco John Baker Photography
PASATIEMPOMAGAZINE.COM
9
Celebrate Spring!
Easter Sunday Brunch april 20 • 11:30am –3pm
Make your reservations today 505.982.4353 653 Canyon Road compoundrestaurant.com
Lunch • Dinner • Bar
photo: Kitty Leaken
HOUSE SPRING CLEANING FOR
80!
$
REGULAR PRICE $180!
m
eTaos.co Splurg
ECOLISTIC CLEANING
This week only, get the jump on spring cleaning with 50% off a spring cleaning session by Ecolistic Cleaning! Pay only $80 for two professional cleaners to come to your house, clean it up, and make it sparkle!
Exclusively available at SplurgeTaos.com To receive this offer, visit SplurgeTaos.com before midnight Wednesday, April 9, and purchase the Splurge certificate, which can be redeemed for the above offer. This advertisement is not a Splurge certificate.
10
PASATIEMPO I April 4 - 10, 2014
MIXED MEDIA
Spring Workshops with Daniel Bruce
Center for Conscious Living
Mindfulness Based Stress Reduction Tuesday evenings, from april 15 through June 3, 6–8:30 pm
Daniel J. Bruce
Tai Chi-Qi Gong
nationally & internationally recognized Teacher and clinician
Wednesday mornings, from april 16 through June 4, 10–12 am
Serving the Santa Fe Community for 30 years
Day of Mindfulness Retreat Saturday, June 14, 9 am–4:30 pm
To register visit danieljbruce.com For more information call 988.5106.
at upaya
NO GIMMICKS E JUST GREAT CAR
Richard Pasley
LOcavORes, ceLebRate JOe’s 2Nd aNNuaL
buRgeR Week
apRiL 7 - 13
aNy 2-tOppiNg beef* buRgeR (reg. 12.99) for an unbelievable
$7.99!
David Allen Sibley
Flyways and byways David Allen Sibley reshaped the world of birding when he introduced The Sibley Guide to Birds in 2000. Like John James Audubon and Roger Tory Peterson before him, Sibley is equal parts naturalist and artist. His depictions of different species of birds from various groups and at different stages of their lives emphasize markings in ways that both distinguish the bird and make it come to life. He pictures birds in flight seen from below, as we most often view them. Those of us who thought the birding guides reached their apex when the National Audubon Society published guides with silhouettes and photographs in the 1970s were sadly mistaken. A big burly volume not necessarily meant for the field (more portable editions soon followed), the Sibley guide was a revelation in the immensity of the information it held and the respect it showed for subject and craft. On Tuesday, April 8, at 5 p.m., Sibley comes to Garcia Street Books (376 Garcia St., 505-986-0151) to talk about the new second edition of his guide, published by Alfred A. Knopf). The biggest improvement? The illustrations, digitally remastered, are all 15-to-20-percent larger. There are also some 600 paintings not included in the first edition, including 111 rare species not previously depicted,and the guide’s 700 maps have been updated to reflect changing seasonal ranges. If birding has a superstar, Sibley is it. Here’s a chance to catch him on the wing. — Bill Kohlhaase
471-3800 joesdining.com Rodeo Rd at Zia Open 7 days a week all day 7:30am - 9:00pm
*NM beef raised and finished on grass and grass alone – sustainable, delicious and far superior nutritionally.
T H E W O O D CA R E S P E C I A L I S T A n t i q u e s F i n e F u r n i t u re K i t ch e n s B u i l t - i n C a b i n e t r y !
!
Touch-up
!
Repair
Polishing
CALL BARRY METZGER
505-670-9019
OR VISIT OUR NEW LOCATION
1273-B Calle De Comercio, Santa Fe, NM 87507
www.thewoodcarespecialist.com
PASATIEMPOMAGAZINE.COM
11
PAYNE’S
SPRING WORKSHOPS
Payne’s South 715 St. Michael’s 988-9626
Informative, fun and interesting talks absolutely FREE! All participants receive a 20% discount card to use the day of the workshop. All the workshops will be at our SOUTH store on St. Michael’s Drive and start at 11:00 AM.
Payne’s North 304 Camino Alire 988-8011 Spring Hours
Mon - Sat 9 - 5:30 Sun 10 - 4
Payne’s Organic Soil Yard 6037 Agua Fria 424-0336 Mon - Fri 8 - 4 Sat 8 - Noon
Lynn Payne
April 5 Sam McCarthy: Compost and Organic Soil Improvement April 12 TJ Jones: Growing Vegetables in Containers
Sam McCarthy
April 19 Happy Easter! No Workshop Easter Weekend. Closed Easter Sunday April 26 Lynn Payne: America’s Favorite Flower, The Rose
Joan Myers will discuss her work in Beneath Our Feet. Making pictures for nearly forty years, Myers uses her camera to explore relationships between people and the land. Free.
Sunday, April 6, 1–4 pm · FAMILY FUN DAY · “Get to Know Your Art Museum.” Learn how a museum works and why through lively conversation and art projects. Make your own miniature art gallery to take home. Free. TJ Jones
Payne’s Discount Coupon
20% OFF Miracle-Gro 5 lb. & 10 lb. All Purpose Plant Food
www.paynes.com
Friday, April 4, 5:30–6:30 pm · GALLERY TALK · New Mexico photographer
Good at either St. Michael’s Dr. or Camino Alire location while supplies last. Coupon must be presented at time of purchase. Limit one coupon per customer, please. Cannot be combined with any other coupon or offer. Good through 4/10/14.
Friday, April 25, 5:30–7:30 pm · EXHBITION OPENING · Southwestern Allure: The Art of the Santa Fe Art Colony presents paintings from 1915 to 1940, fertile years when artists began to settle in the Santa Fe area, discovering the rich culture and picturesque imagery that provided a matchless blend of inspiration. Enjoy refreshments and music. Free.
NEW MEXICO MUSEUM OF ART 107 W. PALACE AVE | ON THE PLAZA IN SANTA FE | 505.476.5072 | NMARTMUSEUM.ORG |
Santa Fe Community Orchestra
Oliver Prezant, Music Director
2013-2014 Concert Season
Spring Concert Saturday, April 12th, 7:30pm
Cathedral Basilica of St. Francis of Assisi
Elijah Selections from the Oratorio by
Felix Mendelssohn
Christina Martos, soprano Jacqueline Zander-Wall, mezzo soprano Carlos Archuleta, baritone Community Chorus, over 60 members Free admission - Donations appreciated
Proudly Featuring the Best CraFt Beer new MexiCo has to oFFer now pouring tHese seasonal Beers... Zythos pale ale • a single-Hopped session pale from Blue Corn Brewery Monk’s wit • Belgian inspired wheat ale from abbey Beverage Company pogue Mahone • irish dry stout from la Cumbre Brewing Company
This concert is sponsored in part by
Thornburg Investment Management stay ConneCted
@draFtstation
draFt station
For more information visit our website: www.sfco.org or call 466-4879
SFCO projects are made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, The National Endowment for the Arts, the Santa Fe Arts Commission, and the 1% Lodger’s Tax.
12
PASATIEMPO I April 4 - 10, 2014
Hours: Monday - sunday, 12:00 pM - Close 60 east san FranCisCo st. | (505) 983-6443 | draFt-station.CoM
JOAN MYERS, ABÓ, NEW MEXICO, (DETAIL), 1980. PIGMENT PRINT. COURTESY OF THE ARTIST.
NURSERIES
STAR CODES
Implant Dentistry of the Southwest If you are missing one
If you are missing one more teeth, or or more teeth, whywhy not not be a consider a Dental Implant? part of a study or clinical research? They maythem be your bestmoney. solution. Replace and save
Heather Roan Robbins
Dr.Burt BurtMelton Melton Dr.
Most of our days will be perfectly lovely, but in the background we
can feel the large rolling waves of history. We sense the world around us is on the move even when our life is quite simple. It will be important to enjoy springtime and stay involved in the larger cycles. Let’s talk to our friends and enemies as the weekend begins and the moon, Venus, and Mars form a loose grand trine. Although we’re not great at handling frustration and may not have a great attention span, we can use the social flow to touch on some difficult subjects. Let’s do this now because the mood is much touchier by the end of the week. We can communicate with some finesse and speak of gentle feelings, though we may have trouble getting to the point with Mercury in sensitive and poetic Pisces, but Mercury enters direct, impatient Aries on Monday. Tempers are inflamed. Venus in friendly Aquarius soon enters sensitive, poetic Pisces and approaches conjunction with creative, dreamy, intuitive, and sometimes delusional Neptune. Our feelings are becoming more and more sensitive but our way of expressing them is direct and tactless, even confrontational — a tricky combination at home or abroad. Midweek we get touchy and generous but with a self-indulgent and dramatic streak as the sun opposes Mars. We can become irritated easily. Let’s choose what kind of excitement we want with care. Friday, April 4: People need comic relief and have trouble concentrating on the hard stuff. News pours in this morning as the moon squares Chiron. Respond appropriately to the moment and let the present heal the past. Conversation bubbles over dinner. Saturday, April 5: Sleep in, skipping early morning’s indecisive mood. Follow up creative ideas midday, even if the result is less than professional. Later we hit a wave of introspection under a comfort-loving Cancer moon. If someone seems withdrawn, be spacious and accepting, and offer good food. Sunday, April 6: We find the day’s mood better for connecting than for doing chores. We can make social blunders but mean well midday as a Cancer moon conjuncts Jupiter. Discontent grows later. We can respond either by working more closely together or by getting prickly — it’s our choice. Monday, April 7: Things get spicy as thoughtful Mercury enters fiery Aries when the moon squares Mars. Although the Cancer moon keeps us caring, self-protective, and personally focused, our thinking is easily inflamed, pushy, and reactive. We are innovative but may not think before leaping.
2 Locations Albuquerque 7520 Montgomery Blvd. Suite D-3 Mon - Thurs 505-883-7744
Santa Fe 141 Paseo de Peralta, Suite C Mon Wed -- Fri Fri 505-983-2909
Babies are on the way... Support their moms by volunteering with us 983-5984
www.manymothers.org
Many Moons
Collections
Bohemian
Chic
Handmade Jewelry Organic Clothing Art and Gifts
Bring in coupon for 15% off your total purchase
Fashion • art • GiFts 130 n. Guadalupe • santa Fe (in the Little Adobe) (505) 820-9920
Karen – Vest Dinah – tunic
Tuesday, April 8: An outgoing Leo moon helps us release resistance and flow into the heart of the action. Act from the Leo heart — from real generosity, not pride or impatience — and beautiful things happen. Our competitive urge needs to be direct. We feel better after we exert ourselves physically, but watch out for a combative edge. Wednesday, April 9: Our situation is probably not as bad as we think — let’s not get melodramatic as the moon squares serious Saturn and enters persnickety Virgo. Urgency knocks. If romantic Venus conjuncts Neptune and distracts us with daydreams, let’s imagine a trip to Tahiti. Thursday, April 10: We can attack detailed-filled and essential work over the next two days if we stay focused. The Virgo moon gives us practical competence, but that romantic Venus-Neptune aspect can lead us into fantasy thinking. ◀ www.roanrobbins.com PASATIEMPOMAGAZINE.COM
13
IN OTHER WORDS book reviews
Heart of Darkness by Joseph Conrad, Illustrated by Matt Kish, Tin House Books, 200 pages Three years ago, self-taught artist Matt Kish and indie publisher Tin House released a sumptuous illustrated edition of Moby-Dick with 552 renderings of the book’s scenes — one for every page. Now the duo is back with a page-perpicture graphic accompaniment of Heart of Darkness, Joseph Conrad’s dark symphony of European imperialism in Congo. Kish works largely in watercolor, rendering the nominally light and airy medium
into a torpid palette drawn from a rainforest in decay. His is a daylight Congo, where the slave trading, ivory poaching, murder, and land theft described by Conrad come to pass under the blare of a midday African sun. As the artist writes in the book’s introduction, his accompanying artwork is “a place filled with bright acid greens, the patterns of leaves and the shadows of trees, a sickly diseased yellow sky rotten with the kind of sunlight that casts everything into a sharp and lacerating clarity.” Those who know Conrad’s novella — or even its reification as a haunting
SUBTEXTS April verses: National Poetry Month “April is the cruellest month,” claimed T.S. Eliot in The Waste Land. That’s not been true since 1996, when the Academy of American Poets established it as National Poetry Month. Now April is a time to ponder Wallace Stevens’ lines — “Let be be the finale of seem./The only emperor is the emperor of ice-cream” — and to enjoy even cooler poetic treats than usual in our verse-centric city. The City of Santa Fe Arts Commission is sponsoring a series of free poetry events at the Community Gallery, 201 W. Marcy St. (inside the Santa Fe Community 14
PASATIEMPO I April 4 -10, 2014
Convention Center). At 1 p.m. on Saturday, April 12, poets and spoken-word competition winners Colleen Gorman, Damien Flores, and Jasmine Sena y Cuffee will read in a program presented by New Mexico CultureNet. On Wednesday, April 16, at 6 p.m., our own emperor of ice-cream, Santa Fe poet laureate Jon Davis, presents the fourth in his series of six readings. This one features Davis and four other poets, including former laureate Valerie Martínez, whose recent book-length poem Each and Her was nominated for a National Book Critics Circle Award. Davis returns on Saturday,
April 19, at 6 p.m. to give us the scoop on American poetry since 1950 in a lecture titled “Pushing a Red Wheelbarrow Through the Waste Land.” Joan Logghe,reads from work written while she was the city’s poet laureate (2010-2012) in a program entitled Odes and Offering Revisited at 1 p.m. on Wednesday, April 23. Finally, the Cut + Paste Society brings together 16 women to read on the theme of wind, one of April’s remaining cruelties, on Saturday, April 26, at 2 p.m. Hold on to your proverbial hat. Call 505-955-6705. — Bill Kohlhaase
A Life in Men by Gina Frangello, Algonquin Books of Chapel Hill/ Workman Publishing, 405 pages
morality play of the Vietnam War in Francis Ford Coppola’s Apocalypse Now — will remember that the plot is slim, the language taut and allusive, and the fictional story all the more haunting for drawing on Conrad’s real-life encounters working for a Belgian company, piloting a steamboat up the Congo River and being forced to reckon with his fellow Europeans’ criminal cruelties. In the novel, Conrad finds an alter ego in Marlowe, an uptight journalist from a Dutch concern on assignment to track down Mr. Kurtz, an elusive procurer of elephant ivory. By various accounts, Kurtz has gone mad in the tropics and retreated deep into the bush, where he is flanked by tribal followers who worship him as a god. If this sounds like the worst sort of thriller-cum-apologia for European conquest, you’re half right. What Conrad has in store is a whole macabre stage show of colonialism’s depravities, carried out in broad daylight by men who consider themselves culturally virtuous and their actions charitable and unimpeachable. There is no shortage of ghastly scenes to illustrate. In the first 20 pages, the reader witnesses African tribesmen chained and force-marched under their white European enslavers and French gunboat crews firing their rifles and cannons randomly into the jungle river–
Illustrations by Matt Kish; courtesy Tin House Books
banks and villages they so fear. Kish wisely spurns realism in his depictions, instead creating a grid landscape of operatic color abstractions peopled with graffiti-inspired faces of mischief and longing. Think of the landscapes in the paintings of Paul Klee and juxtapose them with the garish cartoon visages that haunt the canvases of Jean-Michel Basquiat and Keith Haring. Strung together over 200 pages, these day-glo memento moris of ink and watercolor make up a fiery visual annotation that reinvigorates a classic work of literature. Here it should be admitted as well: the illustrations also make Conrad’s language — alternately arch, droll, and ecstatic — altogether easier to digest. As our society and smartphones make uninterrupted leisure more difficult to come by, any attempt to make reading more graphic and eye-friendly should only be welcomed and replicated. It’s been a good 500 years since the illuminated manuscript reigned, but as both of Kish’s illustrated books suggest, we would do well to once again take up the practice of making our best books as visual as they are literary. — Casey Sanchez
There is much to praise in Gina Frangello’s A Life in Men, which, despite what might be perceived from its title and its cover image of a woman in a bikini top seemingly poised to jump joyously into a body of water, is not genre chick lit. The title, more complex than first meets the eye, is tied to the novel’s structure, and the cover image — typical of contemporary fiction by women, regardless of its connection to the plot — is, in this instance, completely accurate. The story begins with Nix and Mary vacationing in Greece before their junior year of college. They wear bikini tops, and in one of the book’s most pivotal scenes, they do indeed jump into the water, although there is nothing joyous about the swim they take. A Life in Men is a tightly woven, deeply plotted literary novel with some brutally honest writing. Frangello tackles a wealth of angles and themes as she tells the story of Mary’s life, which will be cut short by cystic fibrosis, from the narrative distance of a dead Nix, whose life is cut even shorter by a surprise attack. There is world travel; living with illness and disease; the nature of friendship, family, and betrayal; sex for pleasure and experience; and the secret drives that lie in all of our dark hearts, though some hearts are darker than others. Nix, from the undescribed afterlife, is an omniscient narrator, not a ghost. A Life in Men is an earthbound book, anchored firmly in the real. We follow Mary through her relationships with men, both romantic and familial. She cannot sit still after Nix dies, driven by her memory to live with vigor, even in the face of her terminal condition. We see Mary through Nix’s eyes and those of the men in her life: each chapter heading bears Mary’s current location and the man that defines that span of time, though the point of view moves fluidly between characters as needed. There are boyfriends and lovers, a brother, a roommate, and a predator. We see these men through Nix’s and Mary’s eyes. People in this novel are stripped bare, often in spite of themselves. Life, we learn plainly, isn’t fair, and everything can change in an instant — and keep changing, instant after instant. Sometimes we can affect that change, and sometimes we can’t. A Life in Men is stuffed with flawed characters who inspire the reader’s emotional investment without requiring the reader’s love or sympathy, though those feelings may grow as the story builds its layers. Frangello spares no physical detail or nuance of opinion — though sometimes Nix does — and no one is let off the hook. A kind, smart, and loving husband is still driven primarily by his sexual urges; a junkie eschews redemption but receives it anyway; girls who look like Midwestern cheerleaders do not behave as expected; and sex is very rarely, if ever, linked directly to love. Yet there is nothing cynical going on here. We don’t always know why we do the things we do. A Life in Men blurs the lines between what we think we know about ourselves and one another and the truth about what we are. — Jennifer Levin
PASATIEMPOMAGAZINE.COM
15
TERRELL’S TUNE-UP Steve Terrell
Dynamic Duo
The Dex Romweber Duo — singer/guitarist Dex and his sister Sara on drums — are back with another rocking album, blending all the musical elements that make up Dex Romweber’s vision — rockabilly, country, surf music, blues, avant-garde spook-show soundtracks, jazz, and show-stopping sleazo-profundo ballads. Like the North Carolina natives’ previous albums on Bloodshot Records, Images 13 is a minimalist affair. For the most part it’s just Dex and Sara, though some tunes are augmented by guests, including a couple of North Carolina musicians: Mary Huff of Southern Culture on the Skids and Melissa Swingle, late of Trailer Bride and The Moaners. Though I believe he’s done some of his best work during the past few years with the Duo, Dex is probably best known as the frontman for Flat Duo Jets — another rockabilly-fueled two-person band that was active in the ’80s and ’90s. The current Duo probably isn’t as frantic as the Jets were. But that wild spirit still remains. Dex said in a recent interview that his sister is the best drummer he’s ever worked with. And I believe him. She’s getting more impressive with each album. The album starts out with a metal-edged rocker called “Roll On.” That’s followed by “Long Battle Coming,” a hopped-up, doom-laden, minor-key stomper. Then comes “Baby I Know What It’s Like to Be Alone,” a pensive tale of a loner who sounds as if he’s about to crack and roams the streets at night. A listener isn’t quite sure whether the singer is stalking
16
PASATIEMPO I April 4 -10, 2014
the woman he’s singing about. The lyrics are vague and more than a little creepy: “The tombstone mind watching the street sign/I hope to find you there/At night in my neighborhood I stroll around/The snow fallin’ on the ground.” “So Sad About Us” is an obscure song by The Who, but the Romwebers perform it as an uptempo, jangly folk-rocker that wouldn’t have been out of place on an album by The Byrds or The Beau Brummels. That’s Huff singing background harmonies here. Dex shows his country/rockabilly chops with “Beyond the Moonlight,” in which the only percussion is snappy hand claps. Another country-sounding tune is “One Sided Love Affair.” That’s a Johnny Burnette song — though I had to check the credits, because I could have sworn that it was something Nick Lowe had written. On this version, the duo actually is just Dex and his acoustic guitar. But the Romweber songs I love the most are the slow, intense ones. The best one of these is “I Don’t Want to Listen,” a dance that sounds like it came from a sock hop in hell. That’s also the case with the soulful “We’ll Be Together Again.” Dex’s crooning is especially powerful on this song, which was co-written by Jackie DeShannon and Sharon Sheeley for Sheeley’s boyfriend, rockabilly great Eddie Cochran, who died in a car crash in 1960. The album includes four instrumentals, which is probably too many (I’d rather just hear Dex’s voice more), though each one is enjoyable. “Prelude in G Minor” is a noirish little number on which Sarah proves her worth on the drums. It’s followed by “Blackout!,” which sounds like a close cousin of the Peter Gunn theme. Here the duo is joined by a horn section. “Blue Surf” is a fast, furious surf tune. And then there’s the aptly titled “Weird (Aurora Borealis),” which features Swingle on musical saw. It’s from the soundtrack of the supernatural TV drama One Step Beyond from the late ’50s and early ’60s. While digital versions of Images 13 can be found wherever music downloads are sold, there’s one nifty surprise that makes it worth opting for the CD version. That’s a piece of art inside the CD package, a reprint of an album cover from one of those campy teen-hop compilations — the kind you find these days at Goodwill. This one is Hits A’ Poppin’: Radio and TV
Favorites. (You can find a used copy of this 1957 record on Amazon for $10.) What makes this relevant to Dex and Sara Romweber is that the young dark-haired woman holding a bunch of LPs on that cover is their mom, whose is also named Sara Romweber. It seems rock ’n’ roll is in the Romweber blood. For more on the fabulous Romweber siblings, visit www.bloodshotrecords.com/artist/dex-romweber-duo. And check out a podcast with Dex Romweber playing some of the music that’s influenced him — with songs by Johnny Cash, Eddie Cochran, and Tav Falco — and more obscure sounds, including some bizarre pipeorgan music. That’s at www.tinyurl.com/DEXPODCAST. Also recommended: Anywhere but Home by Kern Richards. This is a collection of tough-minded roots-rock tunes by a singer-songwriter from Southern California with a deep, ragged, world-weary voice who sings from the gut and writes from dark regions of his soul. He’s a former Orange County punk rocker who was in a band called Pig Children. His sound is softer now, but it still hits hard. The first song that grabbed me by the throat here is “Prison Town.” With an arrangement and a guitar hook that reminds me of Steve Earle’s “Guitar Town,” Richards sings about living in a place where the main industry is the corrections system and “the air’s so thick I thought I’d drown.” In this town, everyone seems like some sort of inmate. “Saw prisoner’s kin with broken lives/Where guards all braggin’ they beat their wives/It’s only pain that makes us sound/There ain’t no love in a prison town,” Richards growls. The ravages of liquor is a theme that pops up in various tracks. The title song starts out with the line “Monday drunk in Barstow, Tuesday couldn’t care/Wednesday night, sick with fright and headin’ for nowhere.” And “Alcohol Dreams” starts off, “Woke up standing against a bar somewhere, time was standing still.” And, of course, it gets worse: “If the bartender could read my mind, man he’d call the police/They’d put me in a straitjacket, nobody here would sign my release.” Richards shows a glimpse of dark humor on the blues-rocker “Down on Blues,” which starts out, “I got a job, I hate my job. I got a girl, she hates me.” Later he complains, “I’ve got swine flu, I’ve got jungle rot/ Ain’t no disease exist that I don’t got.” Richards is backed by a highly capable band that includes former Santa Fe resident Tony Gilkyson, (who’s picked his guitar with Lone Justice, X, Chuck E. Weiss and others) and John Bazz of The Blasters. The album is on a label run by Stevie Tombstone, who knows a thing or two about dark, mournful roots sounds. All in all, it’s an impressive solo debut album by an artist who deserves a wider audience. See www.kernrichards.com. ◀
▼
FIRST FRIDAY 2014
Downtown Museum District
ART WALK
ENJOY AN EVENING IN THE HEART OF DOWNTOWN SANTA FE
ART WALK
Photo: Ivan Barnett
Explore museums, galleries, restaurants, bars, boutiques and hotels within a 4-block radius, and plenty of parking. COME JOIN US!
PASATIEMPOMAGAZINE.COM
17
PASA TEMPOS
album reviews
RUDY ROYSTON JOHN MUSTO 303 (Greenleaf Music) Piano Concertos No. 1 & 2; Drummer Rudy Royston’s SFé Two Concert Rags (Bridge) Jazz appearance with saxophonist J.D. The American composer John Musto, Allen’s trio in 2012 was a percussive born in 1954, is acknowledged as one revelation. Royston appeared to ignore of the finest vocal composers of his genhis snare, pulling color and shading eration, but his capabilities extend to from his toms, propelling the music instrumental works as well. He also proves with his bass, and adding accents from a virtuoso pianist in this CD, playing both cymbals and rims — getting a sound of his piano concertos plus two concert that rumbled under the music even as rags for solo piano. The Concerto No. 1, the tempos were crisply set. Royston, heard in the bands of trumfrom 1988 (revised 2005), is a big, rangy piece cut from rather peter Dave Douglas and guitarist Bill Frisell, has come out with his Brahmsian cloth, especially in its brooding first movement, while its own recording. Not surprisingly, he proves to be a smart, innovative powerful finale admits more French influence. Next comes what he composer as well as a decidedly different kind of drummer. The sextet calls “a Mahlerian rag,” again working up to high emotions. If the piano features trumpeter Nadje Noordhuis and saxophonist Jon Irabagon in a is closely integrated with the orchestra throughout the First Concerto, sort of next-generation Jazz Messengers style, the instruments blending in the Second (from 2006) displays more typical contrast between the solouncomplicated themes and harmonies. Guitarist Nir Felder creates textural ist and the orchestra. The climate is far sunnier — modernist and wildly interest, providing tonal variations that complement both the mood entertaining, a bit in the tradition of Prokofiev or, in places, Bernstein. and sound of the pieces. Royston’s tunes are relaxed, considered, The capable assisting orchestras are, for the First Concerto, and pleasantly suspended over the drums. Felder’s glistening the Odense Symphony conducted by Scott Yoo, and for the tones support pianist Sam Harris’ developing chordal patterns Second, the Greeley (Colorado) Philharmonic conducted on “Mimi Sunrise” until brief trumpet and tenor calls float by Glen Cortese. The two solo concert rags are worthy of over Royston’s spacious timekeeping. “Goodnight Kinyah” standing with the splendid modern contributions to the Rudy Royston proves is a gentle lullaby set to a tick-tock rhythm. Radiohead’s ragtime repertoire by such figures as William Bolcom “High and Dry” is given a warm arrangement for guitar and William Albright. “Regrets” is an introspective to be a smart, innovative and piano. “Ave Verum Corpus,” done as a slow ballad, is meditation that wafts through surprising modulacredited to Mozart but won’t be mistaken for the original. tions, while “In Stride” evokes the toe-tapping style of composer as well as 303 sounds like jazz, but different. — Bill Kohlhaase James P. Johnson and Fats Waller. — James M. Keller
a decidedly different
TODD TERJE It’s Album Time (Olsen Records) Like many artists in the electronic-music world, Todd Terje kind of has released his work in dribs and drabs — a single here, a remix there — whetting a latent audience’s appetite for his eccentric brand of Norwegian space-disco. After all of these teases, it was finally time for him to release an album, and so here is his debut, It’s Album Time. The music is every bit as cheeky as the title; the first four songs are devoted to lounge-y schmaltz, Latin-jazz tomfoolery, and (despite being instrumental tracks) a chap named Preben who dons a leisure suit and heads to Acapulco. That’s all warmup; the show begins in earnest with “Strandbar,” a bit of Stevie Wonder funk that morphs into a devastating banger that sounds more like Daft Punk than the last Daft Punk album. Bryan Ferry joins Terje for a dark, sultry rendition of Robert Palmer’s “Johnny and Mary,” which gives way to “Alfonso Muskedunder,” a goofy number that brings to mind a theme to a 1960s European spy picture. The album closes with the goods that everyone came for: two euphoric, seven-minute disco tracks that hint at heaven when heard through good speakers. All the twists and turns on the way resemble the playful dance party of a good Phish setlist, and the ending makes you ravenous for “It’s Follow-up Time.” — Robert Ker
18
PASATIEMPO I April 4 -10, 2014
PRAY FOR BRAIN None of the Above (7d Media) Pray for Brain is a heavy-on-the-improv Albuquerque drummer. trio featuring Mustafa Stefan Dill on guitars and oud, Jefferson Voorhees on drums and percussion, and Christine Nelson on upright bass. Two track names on the trio’s latest album,“Sufisurf” and “Bhangrabilly,” could serve as tentative descriptors for the group’s East-meets-West sound. Both follow through in providing the sounds one might anticipate from the titles — even if those sounds might be hard to imagine before hearing them. The group’s more intense moments are evocative of hard/ experimental rockers like Primus (during that band’s more mellow moments), as in “Grind Responsibly,” in which a driving straight-ahead intro in five quickly transitions into a jazzy swing feel and comes all the way back to the beginning by song’s end. The album has been a long time in the works — it was tracked at Third Eye Studios in Tijeras during two multiday sessions back in August 2012 and May 2013. Mixing took place at the same studio in September of last year, and only now is the album officially seeing the light. But the wait was worth it, particularly for anyone who enjoys unique crossover music that is familiar enough to not deter the ear and sounds as fun to play as it is to listen to. — Loren Bienvenu
RESTAURANT | RETAIL | OFFICE | LOFTS 505.490.6391 | info@lunasantafe.com
Santa Fe’s First Walkable Green Community
505 Cerrillos Road
Santa Fe’s Most Interesting Products & Services
Fine Foods, Coffee, Toys, Apparel & Accessories, Sustainable Wood Floors and Craft Beer. PASATIEMPOMAGAZINE.COM
19
Paul Weideman I The New Mexican
PURO CORAZÓN Cipriano Vigil and Nuestra Música
N
oted El Rito musician and folklorist Cipriano Frederico Vigil has a brand new book in which he presents the lyrics of scores of songs and discourses on the history of local music tradition. Like all of the text, the title is given in two languages: New Mexican Folk Music: Treasures of a People/Cancionero del Folklor Nuevomexicano: El Tesoro del Pueblo. The songs in the book, published by University of New Mexico Press, cover all sorts of subjects. There is one about the hardships when the Works Project Administration program ended, one about the simple joy of picking piñon nuts, and a protest song about genetically modified chile, not to mention tunes about romance and love and cheating and the valonas or “dirty songs” — although these are quite clean by today’s standards. His research approach is fairly nontraditional. It’s basically the result of experience, and what he calls puro corazón,, which he explained by saying, “All this music we do comes from the heart.” Vigil grew up in Chamisal and first learned how to play the guitar from neighbors Lalo Pacheco and Luz López. He used to go to dances in neighboring Peñasco when he was a young boy.
Cipriano Vigil with his grandsom Mitzael Piñon; photo Kate Russell
20
PASATIEMPO I April 4 -10, 2014
There he’d stand in front of the musicians and, using a pencil and small pad of paper, sketch the positions of their fingers on the guitar fretboard. He loved watching the informal gatherings of local musicians on the sunny side of a house to practice and share songs. Soon he was also recording music and stories from the viejitos, the village elders. As a young musician, Vigil was completely self taught and couldn’t read music. He went on to earn a degree in music education and then a master’s in bilingual education, from New Mexico Highlands University and a master’s degree in ethnomusicology from the National Institute of Fine Arts in Mexico. He taught at Northern New Mexico College for 24 years, including a decade spent as chairman of the school’s fine-arts department. The recipient of a Governor’s Award and a New Mexico Endowment for the Humanities Award, he has performed countless times in New Mexico, at the Smithsonian Institute in Washington, D.C., and at cowboy poetry events in Elko, Nevada. On Friday, April 4, Vigil and his family play as part of the 14th Annual Nuestra Música program, a celebration of New Mexico’s musical heritage presented by the Lensic Performing Arts Center and the Spanish Colonial Arts Society. Also on the evening’s program are Rob and Lorenzo Martínez; David F. García; Roberto Mondragón, accompanied by singer Robel “Chacho” Taylor and guitarist Victor Avila; Frank McCulloch y Sus Amigos (Melody Mock on violin and Luís Campos on guitar); and Trio Jalapeño, featuring Antonia Apodaca with Ray Casías and Bernardo Jaramillo. Pasatiempo: In your book, you go into great detail about the entregas, or rites of passage, and the music that goes with them. Are these rites still practiced? Cipriano Vigil: Yes, the entregas are still practiced, but the ritual for the baptism is not practiced so much. The most popular one is for weddings, even though the music now is more commercial, less traditional. Pasa: You have CDs full of hundreds of songs you recorded of other musicians, going back many decades. When did you start recording people playing? Vigil: In 1960. There was one man I recorded who was 95 years old, and he had Parkinson’s disease and dementia; he would forget the words. When he picked up the violin, I wondered how this guy was going to play, because he was shaking so much. But he had the most beautiful vibrato. Pasa: You must have used a reel-to-reel tape recorder early on. Vigil: I did. It was a hassle changing the tapes and everything, but when I transferred it to CDs, the music came out really nice. Pasa: You do that yourself? Vigil: Yeah. I bought a Macintosh computer and the Finale music-notation software. I also have four booklets I wrote about traditional folk music that are used at the schools, and those come with CDs as well. I also have a CD of my own compositions. My company that produces the CDs is Northern New Mexico Folklore Institute. I have a studio. I make CDs at my home; I taught myself how to record and duplicate CDs. Pasa: How can people get these CDs? Vigil: I bring them to book-signing events and wherever I go. Also people can order them from my website [www.newmexicofolkmusictreasure.com].
ALAN ROGERS, M.D., P.C.
I’m planning to play at the national bilingual conference in Albuquerque, and I will promote the book. They’re looking for materials and this is perfect, because it’s in Spanish and English. Pasa: When did you start teaching at Northern New Mexico College in El Rito? Vigil: It was 1980. There was no fine arts at the Española campus, and I started teaching a guitar class. Then I did classes in music appreciation and theory. Then the department grew to a full-fledged music program. I taught music for many years. I also make cigar-box guitars with the kids in the schools. They get to keep them. I collect the boxes. I’ve done probably about 1,500 with the kids all over Northern New Mexico. Pasa: You have a house full of instruments, is that right? Vigil: Yes. I have a collection of over 320 instruments from all over the world. That covers the five categories: idiophones, membranophones, chordophones, aerophones, and electrophones. The sitar is a beautiful instrument. I also have a chang from China, an ocean harp, a harmonium from India, and the original saxophone, a bamboo saxophone called the zaphone that was invented by the Hawaiian people. Pasa: You used to walk three miles alone to dances in Peñasco to watch the musicians when you were only 8 years old. Where did that desire come from? Vigil: I just loved music. Lalo Pacheco used to lend me his guitar. He only knew one chord, the D chord, but it sounded so beautiful to me when he strummed it, and he knew how to tune the guitar. I used to watch at the dances and listen to the radio, and I’d go back and try to learn songs by trial and error till I could figure out what key or what chord it was. I remember when I learned my first melody on one string, I was so proud I ran out of the house with my guitar and I would corner everybody I would meet and have them listen to me play it. I wrote a script for a play based on this story about going to Peñasco one time at night. There’s a creek between Chamisal and Peñasco, and there were a lot of legends, stories the viejitos used to say, that things would come out of it at night. I don’t know if it was my imagination or what, but when I got to that creek, I was confronted by a white furry ball right in the middle of the road, and it wouldn’t let me pass. I thought it was a cat, and I tried to shoo it away, but the thing wouldn’t budge. So I said the heck with it and I ran back home as fast as I could, and of course my mom was waiting for me with the belt already because I had snuck out of the house. This was mostly because of disobedience. When I got home and told my mom, she said it was probably my guardian angel, because that night at the dance there was a big fight and a lot of innocent people got hurt. Many years later when I wrote the song about “La Bola Blanca,” she realized that what I was doing, sneaking out to listen to music when I was so young, was for my own learning. ◀
details ▼ 14th Annual Nuestra Música program ▼ 7 p.m. Friday, April 4 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $10, seniors no charge; 505-988-1234, www.ticketssantafe.org
Comprehensive .Compassionate .Patient Centered Health Care
Family Physician | Board Certified ABFM In Santa Fe since 1987
983-6911 530-A Harkle Road
www.alanrogersmd.familydoctors.net
$50 Credit On Initial Visit With This Ad No longer accepting insurance, but reasonable fees.
Dr. Glenda King
*Board Certified
Foot and Ankle Care & Surgery Call now for an appointment! Office Hours: Monday–Friday 9–5 *Certified by the American Board of Podiatric Surgery
2019 Galisteo Street, Unit A4 • 505.988.3338
“Featuring New Mexico Folk Artists” The Rainbow Man Since 1945 107 East Palace Ave Santa Fe NM 87501
Open 7 Days a Week 505-982-8706 www.rainbowman.com
Text
When the Stars Trembled in Río Puerco An oral history play based on recuerdos collected & edited by Nasario García; Adapted and directed by Shebana Coelho
Share Your Recuerdos Open Mic before Sunday performances
OPENING TONIGHT 4/4 April 4, 5, 6, and 11, 12 ,13
Fri/Sat 7:30pm, Sun 4pm • Tix $15/12; wSundays pay-what-you-wish Teatro Paraguas 3205 Calle Marie, Santa Fe NM 87507 Reservations: Tel: 505-424-1601 or recuerdosvivosnm@gmail.com
INFO: teatroparaguas.org • www.recuerdosvivosnewmexico.com PASATIEMPOMAGAZINE.COM
21
upaya is offering special pricing on
PASA REVIEWS
april 16 - 27
Spring Zen Circle
with Shinzan Palma and Joshin Brian Byrens april 18 - 20
Spring Weekend:
Touching the Earth and Sky
Joyce DiDonato Lensic Performing Arts Center, March 31
april 22 - 27
Sesshin: Timeless Spring Enter into a Time and Space for Retreat, Learning, and Meditation for Renewal s e e w w w. u paya.org for details
santa fe, new mexico 505-986-8518 www.upaya.org registrar@upaya.org
Echoing into our hearts
T
“Holding your “Holding your hand through the hand through the entire process” entire process”
• Over 20 Years Experience Expert Personalized | Service & Instruction • Over• No 20“Geek YearsSpeak” Experience Expert Personalized | Service & Instruction Home or Office | Onsite Repairs Same Day Service • • No “Geek Speak” PC ororMac | iPhones & Repairs iPads Home Office | Onsite
• Same Day Service
PC or Mac | iPhones & iPads
$23
three courses before 7 p.m. eVerY NIGHT
1501 Paseo de Peralta, Santa Fe | 5:30-10:00pm | 505.955.7805 | www.hotelsantafe.com 22
PASATIEMPO I April 4 -10, 2014
he internationally acclaimed mezzo-soprano Joyce DiDonato has enjoyed a long-standing connection with this town, having been a Santa Fe Opera apprentice in 1995 and appearing in several leading roles since, including last summer’s spectacular run in Rossini’s La donna del lago. The Santa Fe Concert Association snagged a spot in her busy schedule for a recital on March 31 at the Lensic Performing Arts Center, where she was assisted by pianist Craig Terry. Until not so long ago, concertgoers could assume that a vocal recital would comprise art songs from whatever tradition — German lieder, French mélodies, Russian romances — but songs as opposed to opera arias. DiDonato did not choose to go that route. She did essay two song sets, but at least as much of her program was given over to arias. Six songs by the Spanish composer-arranger Fernando Obradors served as settling-in material, allowing her to warm to the space without the pressure of great interpretative demands. The set served its purpose, and her splendid voice shone forth more fully in the arias that occupied the rest of the first half. The “Willow Song” scene from Rossini’s Otello showed her at her finest. She filled its 10-minute expanse with extended phrases punctuated by complicating incursions of coloratura. These she articulated precisely, often reducing the volume of the figuration to emphasize its footnote status yet staying on the safe side of audibility. Another Rossini aria closed the first half: “Una voce poco fa,” from Il barbiere di Siviglia. It is practically a theme song for DiDonato, who sang it to a fare-thee-well, allowing breathing room to let her embellishments shine within the overall rhythmic flow. In between came two arias from Mozart’s Le nozze di Figaro. “Voi che sapete” received an endearing workout in which DiDonato imaginatively underscored the emotional distance it covers, the young courtier Cherubino radiating adolescent nervousness at the beginning but slipping into full-hormone infatuation as the piece unrolls. She then braved the heights of Susanna’s aria “Deh vieni, non tardar,” and although her performance displayed sustained, well-shaped lines, I was constantly distracted by the fussiness of Terry’s accompaniment. I was not a partisan of much of his work in this concert. Playing with the piano lid fully open, he often produced a harsh tone at a volume that (at least from my perspective in the balcony) threatened to overwhelm the soloist. After intermission, DiDonato continued with two more arias sung by the character of Cleopatra in operas by Hasse and Handel; the Hasse seemed little more than a standard-order excuse for rampant coloratura, but Handel’s famous “Piangerò la sorte mia” proved deeply affecting, its sentiment intensified by the singer’s firm and enveloping tone. Bringing up the rear was Reynaldo Hahn’s charming song cycle Venezia, already retrograde in its musical language when it was composed in 1901 but nonetheless appealing. A standout in this set was the second song, “La Barcheta,” in which Terry elegantly evoked the lapping of waves in a canal while DiDonato sang with earnest passion above. Terry completed his redemption through a cocktail-style arrangement of the evergreen “Caro mio ben,” hilarious at first but ultimately an affecting marvel. That was the first encore. The second, in honor of DiDonato’s Kansas origins, was a pensive interpretation of Harold Arlen and E.Y. Harburg’s “Over the Rainbow.” — James M. Keller
Sponsored in part by:
PASATIEMPOMAGAZINE.COM
23
The names in this book are invisible tokens to be uttered aloud, each conjuring a group of humans formed to play rock in its extreme forms — with the greatest impact of sound, in which the floorboards shake and walls quiver, and ears split and leak blood; or of sight, with faces painted, hair-preened birdlike, horse-like, arms and belts packed with stone and metal, skin stained life-long with arcane or vulgar signs; or of speech, wherein is screamed and growled what woman and man alike shun to speak of: death, abuse, horror, evil, hate, and the ever-yawning black maw. — Dan Nelson, All Known Metal Bands
Loren Bienvenu I For The New Mexican
D
an Nelson’s afterword to his tome All Known Metal Bands (McSweeney’s) has all the cryptic flourishes of a Cormac McCarthy novel, but the book itself is more prosaic. It delivers exactly what it promises: a compendium of more than 50,000 metal groups, from ...Aaaarrghh to ZZ Bottom. That number includes multiples of a single name, like Legion (listed a total of 26 times, including the accented Legión) and Acid Rain (listed three times). There is only one Acid King, on the other hand, just as there is only one instance of the less frightening but perhaps more familiar Acid Indigestion. The book contradicts the tapering precision typical of most taxonomies of metal. True devotees usually pinpoint bands into smaller and smaller subgenres — a thrash metal band might be further specified into a subcategory like Teutonic thrash metal, whereas the doom metal heading can encompass drone metal and sludge metal. Metalachi, appearing at Santa Fe Sol Stage & Grill on Saturday, April 5, is a metal band that fits into the none-of-the-above category. Merging the sombreros
Metalachi’s band of brothers and instrumentation of mariachi with the studded leather and stage antics of metal, the band can truly lay claim to that most overused of music journalism clichés: “its own unique brand of music.” Metalachi features a motley cast of characters bearing the stage names El Cucuy, Vega De La Rockha, Ramon Holiday, Maximilian “Dirty” Sanchez, and Pancho Rockafeller. These bastard brothers, as they claim to be, were apparently born to a Veracruz woman with a penchant for sumo wrestling and horse tranquilizers who quickly dispatched her infant children to the Río Grande in the saddlebags of a burro. The “brothers Espinoza cinco” survived the crossing, arrived in the U.S., and launched the band in the late 2000s. (For this reason, Metalachi is not listed in All Known Metal Bands, whose cutoff date is 2007.) “When we were young, we played a lot of mariachi music and stuff,” El Cucuy explained to Pasatiempo. “We moved to Los Angeles when we were little kids and got in good with the mariachis there and started playing a lot of parties. We lived the mariachi life. We did quinceañeras; we did weddings. Then we started to play the metal music. Our first attempt was to do Black
big dude. He was like six-foot-five ... but the fool was so drunk that he couldn’t see straight, so he didn’t hit me. The security took care of him. Besides, I’m a lover not a fighter.” In addition to increased security, one benefit the band has reaped from playing in increasingly larger venues is access to more professional sound technicians. The average divey rock venue is not always equipped to amplify mariachi instrumentation, El Cucuy explained. “With this band, we don’t have like electric guitars. We have the violin, the trumpet. The hardest one [to mic] is guitarrón. That’s the worst.” The hefty six-stringed acoustic instrument covers the bass registers and is about as common in the metal world as a didgeridoo. Another challenge for Metalachi, and one that is probably more common for the average metal band, is ensuring that the whole band is together when it’s time to hit the road. “Sometimes we have problems with our violin player. Sometimes he like breaks his parole and has to go back to jail for a couple days, and we have to find someone else.” While it’s difficult to find players capable of melding metal and mariachi, the brothers can draw on their extended family to fill in any personnel gaps. “A cousin of ours, named Pancho, he plays violin sometimes. But ... sometimes he can’t come, so we get our other cousin, Nacho, who is kind of cousins with Pancho. It’s confusing, homie.” El Cucuy said he hopes Metalachi’s music inspires a new generation of guitarronistas and violinistas (ideally not related directly
to his family) to learn songs like “Sweet Child of Mine” on top of traditional mariachi fare like “Cielito Lindo.” But while Metalachi receives a lot of positive feedback from younger aspiring mariachis, the trumpeter admitted that not everyone approves of their approach: “There are those purists who hate what we do. They don’t like it at all. They say we are doing it wrong, like we’re committing a sin. I just think, man, they have a serious lack of chichis in their life.” Fortunately for the traditionalists, El Cucuy could not name any other bands emulating what he and his brothers are doing, at least as of now. But whether or not Metalachi establishes a lasting subgenre of metal, the band has certainly earned its place in the next edition of All Known Metal Bands. If a subsequent edition is ever published, Metalachi will find its rightful and comfortable berth in the chronicles of history, right between Metal Wolf and Metalakord. ◀
details ▼ ▼ ▼ ▼
Metalachi 8 p.m. Saturday, April 5 Santa Fe Sol Stage & Grill, 37 Fire Place $10; www.solofsantafe.com
er t Photos Rob
Sabbath, you know, but the thing is, like, we didn’t have a lot of money, so we were trying to play the music with mariachi instruments. That’s how it all started.” The admittedly “sleepy” El Cucuy (who takes his name from the boogeyman-like monster of Hispanic folklore) was speaking the morning after the band kicked off its tour in Tucson. Metalachi had already generated a few highlights from the road, the trumpeter said. “We only had our first show last night, and it got really crazy. It was supposed to be a familyfriendly show here at the casino, but the people got so crazy that it turned real adult real fast. This one vieja came for her 65th birthday, and she jumped onstage. We thought we would play her a serenada, thinking she was going to be a really sweet old lady and stuff. I gave her a hug, but then she put her hand on her mouth and then on my crotch piece. And then she went over to our singer and bit him.” Since releasing its debut album, Uno, in 2012, Metalachi has experienced a steady growth in popularity. The band now tours several times a year and is said to employ a burro for transport (“Don’t underestimate those little things; they’re strong. You got to steer clear because they will kick you”), perhaps in homage to their first childhood journey. Traveling by tour van this time around, Metalachi was slated to play Albuquerque a few nights after Tucson, and El Cucuy expected the pending appearance to make for an even more memorable show. “People there are crazy. The last time we did Albuquerque, this one vato jumped up on the stage, and he tried to fight me. He was crazy. He was a
raphy Bejil Photog
ave to ays, and we h d le p u co a r me, so we ack to jail fo es he can’t co d has to go b m n ti a e le m ro so a . p . . is t u sh homie. sometimes. B ’s confusing, he like break It s . lin e o io m v ch ti n e ys a m la P p h so lin player, Pancho, he f cousins wit — El Cucuy s with our vio f ours, named who is kind o o m , o n le si b ch u a ro N p co , e A n . v si e a eh cou e els get our other find someon Sometimes w
PASATIEMPOMAGAZINE.COM
25
CONNIE YOUNG 505-470-3826 youngconnieyoung@yahoo.com Stephen E. Darmitzel, DDS, MS Specializing in orthodontic treatment for children, teenagers and adults Clear braces, Metal Braces, Invisalign Extended hours including Fridays and Saturdays FREE consultation Call
505-982-6656
www.darmitzelortho.com
Moss Collection
Join us for the Brown Jordan Spring Sales Event. Save an ADDITIONAL 10% OFF all collections. NOW THROUGH MAY 12.
Moss Collection | 530 S. Guadalupe | Santa Fe | NM | 87501 | 505-989-7300 26
PASATIEMPO I April 4 - 10, 2014
ON STAGE
Jeremy Charles
Perpetual peregrination: Jacob Fred Jazz Odyssey Jacob Fred Jazz Odyssey has been exploring the realms of avant-garde jazz for 20 years — twice as long as Odysseus spent navigating the mysterious waters on his journey home. Currently performing in trio format, the lineup of musicians consists of Santa Fean Brian Haas (acoustic piano, Fender Rhodes, bass Moog, and synth), Chris Combs (electric guitar, lap steel, and synth), and Josh Raymer (drums). They celebrate two decades of music this year with two new albums and a 16-date national tour. Joining JFJO is the likeminded Mike Dillon Band. Together they arrive at Warehouse 21 (1614 Paseo de Peralta, 505-989-4423) on Thursday, April 10. The show starts at 7 p.m., and tickets, $8, are available at the door. Opening the show is local post-rock quartet As In We. — L.B.
THIS WEEK
Makoto Takeuchi
Ghost towns alive: When the Stars Trembled in Río Puerco Oral historian and folklorist Nasario García’s 1987 collection of stories Recuerdos de los Viejitos: Tales of the Río Puerco Valley tells of life in four towns, now abandoned, that once lay south of Cuba, New Mexico. The tales include accounts of raiding parties, influenza epidemics, battles over land regulation, and ghosts. The author and documentarian Shebana Coelho has written a stage adaption of García’s now out-of-print book entitled When the Stars Trembled in Río Puerco. Performances take place at 7:30 p.m. on Friday and Saturday, April 4 and 5, and at 4 p.m. on Sunday, April 6, at Teatro Paraguas Studio (3205 Calle Marie). The run continues Friday to Sunday, April 11 to 13. Tickets cost $15; $12 for seniors and students. Sunday matinees are pay-what-you-wish. Reservations can be made at 505-424-1601. — B.K.
Marching to the beat of his own drum: Tatsuya Nakatani High Mayhem hosts one of the most highly percussive events of the year at 8 p.m. on Wednesday, April 9. Headlining is solo percussionist Tatsuya Nakatani. Born and raised in Osaka, Japan, Nakatani has been working in the United States for the last two decades, recording and performing with traditional percussion instruments — drums, cymbals, bells — as well as kitchen tools and found objects. With more than 60 album credits to his name, Nakatani is constantly creating new music, much of which is rooted in improvisation. The night’s featured opener is the Jeff Sussmann/Al Faaet Duo, composed of two prominent local percussionists who combine hand percussion with the haunting sound of wind wands. There is a $10 suggested donation. High Mayhem is located at 2811 Siler Lane. Check out www.highmayhem.org. — L.B.
Paulo T. Photography
The spice of life: 27th Annual Choreographers’ Showcase
This weekend’s 27th Annual Choreographers’ Showcase, presented by the New Mexico Dance Coalition, promises as much variety as a vaudeville show. A partial roll call of styles and techniques includes hip-hop, belly dancing, ballet, Middle Eastern fusion, interpretive dance, break dancing, spoken-word dance theater, and contemporary dance. The nonprofit coalition, founded in 1986, has fostered dance within the state through scholarships, administrative services, and information sharing. The showcase takes place at the Railyard Performance Center (1611 Paseo de Peralta) at 7:30 p.m. on Friday and Saturday, April 4 and 5. Tickets are available at the door only, with a $10 to $15 sliding scale; $5 for children under 12. Visit www.nmdancecoalition.org. — M.N.
PASATIEMPOMAGAZINE.COM
27
melodies linger on
Juan Sandoval Don Simón Chimayó, about 1945
Francisco S. Leyva Delgadina Leyva, 1951
Leonardo and Rafaelita Salazar Yo No Me Quiero Casar El Rito, 1949
Juan Luján, center San Marcial Santo Niño, 1949
Music historian John Donald Robb
28
PASATIEMPO I April 4 -10, 2014
T
James M. Keller I The New Mexican were having meetings, trying to select something to musicalize. … I spent much of the summer as Dr. Robb’s guest at his beautiful farm on Shelter Island [New York] and I glimpsed … the gracious living of the cultured Eastern establishment, a world of rambling homes and large families and friends coming over for cocktails and amateur string quartets. ... This man was one of the finest and most cultured I had ever met. … If I had any doubts about the music, I quickly squelched them as disloyal and stupid. After all, the composition was accomplished and, one might say, classical.”
heir resulting work, titled Joy Comes to Deadhorse, was a sort of Romeo and Juliet in the Wild West. “Two ranches quarreling,” Jones said. “One Spanish, the other Anglo. (This was before West Side Story.)” The musical was unveiled in 1956 at the University of New Mexico, and — Jones again: “I felt the whole thing was a mess, a totally hopeless mix of styles and intentions, with melodrama mixing queasily with whimsy and romanticism. Dr. Robb felt differently. … So we split. I gave him the rights to anything I had written for it, and he gave me the right to pursue it in another version, with another composer, who turned out to be Harvey Schmidt.” In greatly altered form, that “other version” became The Fantasticks, the Off-Broadway theater piece that ran in New York for 17,162 performances, from 1960 until 2002, making it the world’s longest running musical and affording it the longest uninterrupted run of any stage work in American history. Even if Robb did not score home runs in every one of his pursuits, he at least played in a lot of games. “Indeed,” writes Jack Loeffler in his foreword to the new edition of Hispanic Folk Music, “one of Robb’s primary characteristics was his vast enthusiasm, whether it was for his law practice, sportsmanship, musical composition, family endeavors, the pursuit of adventure, or collecting folk music.” His enterprising spirit left a legacy that continues to generate intellectual dividends. In 1989, the year of his death, Robb and his wife established the UNM John Donald Robb Musical Trust, which, to quote its vision statement, “will enhance the legacy of Dean Robb by preserving the traditions of Southwest Folk Music, promoting the music of John Donald Robb, and supporting the composition of contemporary music.” This last incentive it addresses partly through a biennial composers’ competition, open to international contenders beginning with this year’s installment, which requires that the submitted works be in some way sourced from folksong material held in the John Donald Robb Archive of Southwestern Music at UNM. Every year, the trust also underwrites the UNM John Donald Robb Composers’ Symposium; this year’s edition offers six packed days of concerts and symposia from April 5 through April 10, all free and open to the public. Robb’s idol was Béla Bartók, the towering Hungarian composer who was a devoted ethnomusicologist as well as a composer who had enduring things to express through his scores. Robb placed at the head of Hispanic Folk Songs a quotation in which Bartók discussed “peascontinued on Page 30
José Gallegos Corrido de la Muerte de Antonio Maestas Tierra Azul, 1946
Tomás Archuleta Los Animalitos Azul, 1949
Jacinto Ortiz En el Mundo No Hay Tesoro Chimayó, 1945
Jorge López Alabados balladeer Chimayó, circa 1950
Juan Griego, far left La Vida del Campero Albuquerque, 1956
Francisco Chávez Canción del Fraile La Jara, 1944
Edwin Berry Membruz Se Fué a la Guerra Tomé, 1956
Julián Zamora, center front Kyrie from the Mass of the Angels Tomé, 1956
Photos this page courtesy University of New Mexico Press; opposite and following pages courtesy University of New Mexico, John Donald Robb Musical Trust and UNM Center for Southwest Research
J
ohn Donald Robb had lived 88 of his eventual 96½ years when, in 1980, he brought forth his magnum opus, Hispanic Folk Music of New Mexico and the Southwest: A Self-Portrait of a People. Published by the University of Oklahoma Press, it was applauded at the time as the most comprehensive repository of the repertoire it addressed, amassing into a single volume the texts and melodies of more than 500 songs and offering many of them in variant versions. Why it was published by the University of Oklahoma Press rather than the University of New Mexico Press is not clear, although Oklahoma boasted a strong commitment to music-related titles dating back to the 1950s. In any case, Robb’s monumental volume has now made its way onto the booklist of the University of New Mexico Press, which has just issued a facsimile edition of the original book, expanded by new prefatory material. Robb was a singular character. Born and raised in Minneapolis, he studied English at Yale and law at Harvard and then entered the legal profession. He worked for two decades in New York as an attorney specializing in international financial law, but in 1941, when he was 49, he decided to walk away from the career he had built to that point. Like so many people seeking change in their lives, he headed to New Mexico. By that time he had developed considerable expertise as a composer, having studied with such highly respected figures as Darius Milhaud, Paul Hindemith, and Nadia Boulanger, even during his lawyering years. Thus prepared, he obtained an appointment in 1941 as head of the music department at the University of New Mexico, then ascending to dean of the UNM College of Fine Arts from 1942 through 1957. He produced an impressive catalog of some 300 compositions, including four symphonies, an opera, a good many chamber works, songs, and choral pieces. Some of it strikes a retrograde pose for its time, while other works stood at the cutting edge, including various electronic pieces. He even created an electronic-music studio in New Mexico when that field was in its infancy. His closest brush with certifiable fame was just that — a close brush. An account was provided by the lyricist Tom Jones, who achieved renown through the hit musicals he wrote with composer Harvey Schmidt. Both Jones and Schmidt served in the Korean War, but Jones got out first. He reported: “While waiting for Harvey to become a civilian again, I joined forces with a composer named John Donald Robb. ... In 1955 he took a year’s sabbatical with the specific goal of writing a musical comedy. He was introduced to me through someone at ANTA [American National Theatre and Academy], and in short order we
JOHN DONALD ROBB COMPOSERS’ SYMPOSIUM Most of the numerous events of the John Donald Robb Composers’Symposium are
free and take place at Keller Hall in the University of New Mexico’s Center for the Arts, within the campus just to the north of the point where Redondo Drive meets Central Avenue (Albuquerque). On Sunday, April 6, at 5 p.m., a concert there includes John Donald Robb’s Piano Quintet and four of his songs, in addition to works by emerging composers. One of the most promising concerts of the festival, however, will be held elsewhere: on Monday, April 7, at 7 p.m., at the South Broadway Cultural Center, 1025 Broadway Blvd. S.E., Albuquerque. On the bill that evening is the premiere of Cuatro Corridas, a chamber opera (with an accompanying ensemble of just guitar, piano, and percussion) that offers a musico-dramatic take on four traditional corridas,, each by a different composer: Hebert Vásquez, Arlene Sierra, Lei Liang, and Hilda Paredes. The vocal soloist is soprano Susan Narucki, an internationally acclaimed exponent of new music. Reservations are necessary; call 505-848-1320. For the complete symposium schedule and further information, consult www.robbtrust.org.
John Donald Robb, continued from Page 28 ant songs,” including the observation: “In their small way, they are as perfect as the grandest masterpieces of musical art. They are, indeed, classical models of the way in which a musical idea can be expressed in all its freshness and shapeliness — in short in the very best possible way, in the briefest form, and with the simplest means.”
R
obb’s book was already a bit old-fashioned in 1980, at least from an academic standpoint, and it has become more so in the decades since. Ethnomusicologist Enrique Lamadrid addresses this in a new prologue: for example, “While [Robb’s] musical transcriptions are abundant, they tend to simplify melodies and other more complex perfor30
PASATIEMPO I April 4 -10, 2014
mance features such as folk polyphony, or harmony singing, and wide-spread double-stop playing on the folk violin. Robb articulates a romantic point of view of folk music that emphasizes its archaic qualities.” Still, Robb’s melodic transcriptions of the songs he collected are accurate as far as they go, and the format is uncomplicated enough to be entirely accessible to general readers who have enough musical literacy to read a tune out of a hymnal on a Sunday morning. In any case, the original field recordings from which Robb took his dictation can now be accessed online, so readers with more arcane ethnomusicological needs can glean from them details that are not reflected in Robb’s transcriptions. Anyone working through the book will absolutely want to add this aural component, and they should not be dispirited when the digital
address given on page xv of the book proves to be a dead end; the correct address is http://econtent.unm. edu/cdm/search/collection/RobbFieldRe.The quaintest part of the volume is the appendix that prints Robb’s piano-vocal arrangements of a dozen songs, essentially concert settings of a sort that were once popular but have by now grown wince-worthy. To a certain degree, it is remarkable that Robb included musical notation at all. As he points out in his preface, many studies concentrating on this repertoire had taken a text-centered approach, “and rarely is there any adequate discussion of the music itself. … Omitting the music, it might be argued, would help keep alive the process of aural transmission and the consequent changes and variations that make true folk music a living tradition. If, as some believe, the aural tradition is dying out with the old men and women who were its carriers, the intervention of scholars is a good thing, the only thing in fact that could rescue its beauties from oblivion.” Open Hispanic Folk Music at random and a lot is likely to pour out. First of all, there are so many places you can open it, because the tome runs to 891 pages, not counting the 25 pages of prefatory material. It is almost 3 inches thick and weighs more than 4½ pounds. You might follow Robb’s organizational method by working your way through the various secular song types. Sections are devoted to distinct songs forms — romance, corrido, corrido canción, indita, for example — each of them sporting its own eccentricities, which Robb explains with careful thoroughness. For instance, “A corrido often begins with the exact date and year of the event commemorated in the song” and includes “a final verse or verses in which the singer or composer will give his name, or a final verse beginning with the words Vuela, vuela, palomito (Fly, fly, little dove). This type of verse is known as a despedida, or farewell.” Or you could plunge directly into the sections on songs that explore topics: occupations; patriotism, history, and politics; courtship and marriage; and so on. We encounter songs that celebrate specific locales or communities, including canciones about Santa Fe, Albuquerque, and Los Chimayosos (the people of Chimayó), and we meet colorful characters from the state’s history, as in the “Corrido de Clyde Tingley” (former mayor of Albuquerque and governor of New Mexico). Robb dots his entries with paragraphs that explain the songs’ allusions, point out peculiarities of their music, recall incidents he experienced while collecting them, or tell something about the people who sang them to him. One senses the deep respect and affection he holds for his “informants,” as he sometimes calls them, many of them being pictured in dignified photographs he snapped when he caught them on tape. Another 126 pages are devoted to religious songs, the equivalent of strolling through many galleries of santos, bultos, and retablos. Here we encounter alabados and alabanzas, similar in their poetic expressions, though the author classifies them separately on musical grounds. Again, Robb enriches his commentary with personal anecdotes derived from his folksong collecting. “The alabados are associated with the religious sect commonly known as the Penitentes, although they prefer to be known by the title of Hermanos de Nuestro Padre Jesús. In fact when I used the word ‘Penitente’ in speaking to one of them, he reproved me gently, saying that it was a ‘hurting word.’ ”
All of the song texts are in Spanish, as one would expect — indeed, mostly in the language as specifically rendered in New Mexico and southern Colorado. Robb provides serviceable English equivalents for all the lyrics, and from time to time he indulges himself by tossing in a more fantastical English rendering of a Spanish text. Again we sense a genteel idiosyncrasy in his mode of scholarship — who would do that today? — yet if his goal is to win over enthusiasts for his subject, he could do worse. Consider the romance titled “Don Gato” (Mr. Cat), “translated and transcribed by J.D. Robb from memory.” He offers the piece in three variants, the better to underscore how “the melody can possibly be traced toward its Spanish origin.” First he gives the Spanish words:
Run With THE PACK
Estando el señor Don Gato sentadito en un tejado, Ha recibido una carta que si quiere ser casado con una gata montesa, sobrina de un gato pardo. Aleyalapun, aleyalapun, ¡Sobrina de un gato pardo! This lines up with a well-crafted English translation: Sir Don Gato the cat Was sitting on a roof. He received a letter Asking if he wishes to marry A lady cat of Montesa, The cousin of a leopard. Aleyalapun, aleyalapun, The cousin of a leopard! But he has something more fun up his sleeve, simply to amuse his readers. It’s not literal, but it makes us smile: Don Gato the Cat, one sunny day, Was seated upon the roof, they say, When they handed him a letter, When they handed him a letter. The letter was from a lady cat and Contained a proposal quite solemn. In his surprise he fell off from the roof And fractured his vertebral column. Aleyalapun, aleyalapun, A cat has nine lives and we but one …. There’s a very fine second verse, but you’ll have to buy the book to read it. In Hispanic Folk Music, Robb drew on an archive of songs he had gathered over some 35 years, right back to his arrival in New Mexico in 1941. It is a document of a time that is for most people a distant memory, if a memory at all, and one could probably not assemble so extensive a collection today. Robb was not blind to what lay ahead. One of the shortest songs in his book, telescoped to just four measures that serve each verse, is “El Borrego Pelón” (The Bald Sheep). Robb taped it as sung in 1959 by a youngster named Onofre Maés Canijilón, and thinking about the experience leads him to a short effusion that ultimately vindicates his whole enterprise: “The little girl who sang this song learned it from a record. ... This is only one of a number of songs learned not by listening to the old bards at tertulias [cultural or artistic gatherings] but by hearing them on the radio, phonograph, or television. This manner of transmission, whatever its other effects, diminishes the uniqueness of the traditional song literature of a particular village or region by letting in extraneous ideas, such as, for instance, jazz, an element foreign to the Hispanic folk tradition. That tradition so long conserved by reason of the isolation of the villages is being rapidly eroded by the development of rapid communication and replaced by something, to my mind, very much less unique and noteworthy.” ◀
PUBLIC OPENING
S U N D AY, A P R I L 6 · 1 : 0 0 – 4 : 0 0 P M Celebrate your inner animal! Make masks, enjoy music by Lenin / McCarthy, paint with artist Ron Archuleta Rodríguez, sample refreshments, and explore the rich Hispano folk tradition of animal wood carving in New Mexico. By museum admission. New Mexico residents with I.D. free on Sundays. Youth 16 and under and MNMF members always free.
On Museum Hill in Santa Fe · (505) 476-1200 · InternationalFolkArt.org Left to right: Alonzo Jiménez, Coyote, 1987; Leroy Ortega, Coyote, 1984; Rory Alvarez, Coyote, 1986. Photo by Blair Clark.
PASATIEMPOMAGAZINE.COM
31
Michael Abatemarco I The New Mexican
Ghosts on the ground
T Janelle Lynch’s Barcelona explores loss and regeneration
32
PASATIEMPO I April 4 -10, 2014
here are no images of popular historic landmarks in Janelle Lynch’s new monograph Barcelona, no Sagrada Família, Magic Fountain, or other such attractions. Her photographs are moody images of woods, rivers, muddy banks, and stones. But the book is no less about a sense of place. Lynch spent four years in Spain beginning in 2007 and photographed the terrain around Barcelona. What emerges is a subtle parley between nature and people, ghosts whose presence is detected in bits of rag caught in the wind and stuck on riverbanks, hunks of metal and other debris half hidden under overgrown reeds, and trees that hang like weary sentinels over water. Barcelona contains images from five series of photographs Lynch shot and is divided into five sections: The Llobregat, Fig Trees, Portraits, Walls, and Ground. Each series is introduced by her writings, and each written statement is printed in English and Spanish. The Llobregat is a Catalonian river Lynch photographed in the areas of El Prat, Sant Boi, and Cornellà. In several images from the series, pylons rise above the slate-gray waters of the river amid wild grasses, scrub brush, and leafless trees. The color is muted, and the feeling evinced is melancholy. “The work in the book in general explores the question about what intangible presence remains after an absence or after a loss,” Lynch told Pasatiempo. “I had a very special relationship with my grandmother. She helped raise me. We had a very close bond. We bonded through nature, through the landscape, and I lived with her for the first 10 years of my life. She is the person who really taught me how to look at and appreciate nature. Five months after I moved to Spain, she died. The work prior to Barcelona was an investigation of different aspects of the life cycle in the landscape. I looked at what life looked like in the landscape. I looked at what death looked like in the landscape. After she died my investigation organically shifted. What of life remains, continues?” In her opening statement in Barcelona, she describes her photographs as elegies that take on a personal dimension because of her grandmother’s death and a greater dimension connected to the region’s history of civil war and repression under Francisco Franco. “The Catalans have a very strong sense of memory and I think a living kind of pain related to the atrocities of that war,” she said. “Franco was in power until the early ’70s. The older generation that is still alive in Catalonia surely remembers the oppression of that time. Their children and grandchildren have acquired that memory even though they didn’t live through it. There is this sense still, and it’s quite strong, of that history and the great injustice that was done. As a result, there’s an incredible sense of pride and also a fierce wish for autonomy from the rest of Spain. Even though it was long ago, it’s still quite present. Once you arrive there and establish relationships with Catalans, you learn it’s still present.” In her Walls series, riverbanks loom in close-up. Shredded fabric and other debris work their way out from layers of silt and cling to rocks, reeds, and tree branches, the accumulation of generations of trash, degraded by the elements. Lynch’s photographs in this series might be seen by some as documenting an environmental concern, but she has a different motivation. “A flood came through Catalonia in 1962 in the area where I was working. It was the worst flood in Spain’s modern history. It came in the night and swept debris into the river and formed an artificial dam. The dam broke and the villages, the shantytowns that lined the riverbanks, were swept away, and about 1,000 lives were lost.” In Walls, as well as in the Portraits series, the lingering remains that have accumulated in the landscape seem to merge with it, as nature reclaims them and they cling, like cobwebs, to plants, becoming nearly indistinguishable from the reedy vegetation. The Ground series is the closest Lynch comes in
Barcelona to a kind of landscape photography that revels in pure nature, her eye seeking out curious features such as an isolated stone nestled in the marshy grass, a patch of bare ground covered with scattered purple blooms, a blood-red pool colored by a type of algae, and the slight indentation where one such pool has dried up along a stretch of cracked earth. “Something happened in my practice in 2010 that shifted my vision after I read Roland Barthe’s book Mourning Diaries,” she said. “It was published posthumously. It’s about two years of journal entries that he wrote following the death of his mother. The book is two years of reflections on his mourning process. This was two years after I lost my grandmother. He wrote that he had to get used to the presence of absence in his life, and that really resonated for me, the idea of living with absence. Two years after my grandmother’s death, I was no longer ready or willing to live with absence. Beginning with the Portrait series and the two bodies of work that follow, there is this almost celebratory spirit. I wanted to celebrate these past lives. I wanted to put closure on the mourning and discover the intangible presence that remains.” ◀
Janelle Lynch: top, The Llobregat 1, 2007-2009, inkjet print Left, Ground 6, 2011, inkjet print Opposite page, top, Wall 11, 2011, inkjet print Opposite page, bottom, Portrait 4, 2009-2011, inkjet print
“Barcelona” by Janelle Lynch was published by Radius Books in 2013. PASATIEMPOMAGAZINE.COM
33
The Spanish conquest through Native eyes
Paul Weideman I The New Mexican
Floyd Solomon: left, Erasing the Culture; Renaming the Children, Tribes and Land, etching; top, A Salute to Archaeology, 1992, etching; opposite page, 1692 – The Return of Death, etching, 1995; all etchings courtesy UNM Art Museum © Estate of Floyd Solomon
34
PASATIEMPO I April 4 -10, 2014
Laguna/Zuni artist Floyd Solomon
to expand the dialogue about these issues beyond his own community.” Halus said that Solomon served two stints in Vietnam with the U.S. Navy. He earned an accounting degree from UNM, but he ultimately chose to pursue art. Both his engagement in printmaking and his motivation to market himself were somewhat at odds with his cultural milieu. “If he began to promote his own work, there was a sense of somehow being in conflict with the tradition of his culture,” Halus said. “The Pueblo people see themselves as members of a community, and everything you do is to help the community.” Solomon showed his art in Mexico and Texas as well as in Santa Fe; he was included in the group show Expressions of Spirit at the Wheelwright Museum of the American Indian in 1995. “My objective is to delve into the subconscious, or the psyche, of American Indians,” he told the Santa Fe New Mexican in a 1996 interview. The article mentions his oil paintings and copper- and zinc-plate etchings plus gouache works that “depict minimalist nudes created to counter the emotion in his other works.”
“There are a couple of sketches by Floyd that show he was looking at Italian Baroque artists,” Szabo told Pasatiempo. “There’s a beautifully rendered image of the head of St. Matthew from Caravaggio’s The Calling of St. Matthew. He wrote about being drawn to Goya, which really makes sense, because of the imagery in Goya’s Disasters of War series; and Käthe Kollwitz also did a war series. Rembrandt was a master printmaker, and he was so attracted to his light and his psychological and spiritual content. Those were three printmakers Floyd was very drawn to.” Szabo met Solomon and his wife years ago. During their first encounter, the artist showed her some of the etchings included in the current show, but there were many other plates that he had not yet printed. “At that point he was working full time at Sandia Casino, and he just didn’t have time,” Szabo said. “Then unfortunately he passed away very suddenly and unexpectedly, so those prints were never made.” Solomon, born in 1952, died from a cerebral hemorrhage in 2008. On display at the museum are etchings on loan from the Solomon estate and from Halus, as well as some Solomon sketchbooks and two photographs of the artist by Halus. “We were close friends for nearly 20 years, and I did a lot of photographs of him and his work and studio,” Halus said. “He was a unique individual; it was clear from the first day I had him in class. He was interested in provoking debate and challenging people about both art issues and Native cultural issues. He was critical of the consumerism around the production of Native art, and he wanted
As a young man, he started painting from historical photographs of Laguna, and he painted portraits of many family members. In his last year or two, he explored Cubism and other genres of abstract art. “His etchings are narrative; they deal with specific issues. When you inscribe on a plate, it’s a permanent mark, but there’s a freeness in his drawings, in the way he would deal with lines,” Halus said. “He also experimented with adding colors.” Most of the etchings are about 5 x 7 inches, a size that demands intimacy from the viewer, which the artist intended. One of the pieces at the UNM Art Museum is much larger — 22 x 30 inches — and is hand-colored. This is Deceptus Magnus — October 12, 1492. “It explores the coming of Columbus to this land, and it really is an indictment,” said Halus. Another critical piece is A Salute to Archaeology, showing a 20th-century archaeologist looking down at a skeleton in an excavated area. “It’s certainly a comment on the destruction of tribal burial areas and the disregard for human remains,” Szabo said, adding, “The most powerful image is The Return of Death, depicting a skeleton on a horse leading a line of soldiers back into the Southwest for the reconquest. The skeleton’s horse has a clear cross suggested in aquatint on its front.” Visitors to the exhibition will also see pages from Solomon’s sketchbooks. There are preliminary sketches for Deceptus Magnus; an image of Satan with the face of Columbus (which the artist copied from a
didn’t pull any punches when he created the copperplate etching titled Selecting a Church Site. It depicts a moment in the 16th-century Spanish conquest of indigenous peoples in the Southwest. A conquistador and a churchly figure wearing a robe and miter aim a cannon at a kiva. “A lot of Catholic churches were built over kivas,” explained Joyce Szabo, professor of art history at the University of New Mexico. The image is included in the exhibition 400 Years of Remembering and Forgetting: The Graphic Art of Floyd Solomon, on view in the Van Deren Coke Gallery at the UNM Art Museum through May 17. Szabo and Santa Fe photographer Siegfried Halus curated the show, which includes etchings in which Solomon explored the arrival of the Spanish and the effects of colonization on Pueblo people — a series he called Crucifixion of a Culture. The late artist studied under Halus in the early 1990s at the Institute of American Indian Arts but was largely self-taught. For the work in this exhibition, he used a medium not traditional to Native artists.
continued on Page 36
PASATIEMPOMAGAZINE.COM
35
Santa Fe
Floyd Solomon, continued from Page 35
~Screen Doors~ Custom Hand-Built Wooden Screen Doors (505)466-0870
info@santafescreendoors.com
www.santafescreendoors.com
Light
ir A as courtesy UNM Art Museum © Siegfried Halus
328 S. Guadalupe St. • Santa Fe • 505.986.1260 • lbvbags.com
10%-15%
Affordable Sun Solutions! *Best discount applies to multiple item purchase. Our superior awning products are an affordable & attractive addition to your home or office.
* Patio Wind & Sun Screens * Patio Covers/Retractable * Window Awnings/Solar Screens * Shade Sails 30% off Spettmann motorization on the Santa Fe Patio Wind and Solar Screens. Also available for upgrade on existing manually operated units. While supplies last.
1975 National Geographic story); and an image of a skeletal figure placing a blanket over a mother and children, with the margin title “Death. They brought infected blankets to the people.” Szabo is pleased that the curators were able to instill Solomon into the exhibit in more ways than one. “Between some interviews and things Floyd wrote, as well as notations in the drawing books, we had a lot to go on that allowed Floyd to be speaking, which was very important to me. Floyd was one of 14 or 15 children, and several sisters and one brother are still alive. One of the sisters at the opening came up afterward and said what was really great was that the text sounded like Floyd was speaking.” Halus raised a point about the excellent records made by Spanish explorers. “The people who were colonized didn’t write their own history; it was written by the invaders. And it is so interesting that the British didn’t keep the kind of records the Spanish did, so we don’t know that much about the really dreadful French and Indian War. The Spanish were so articulate and insisted on accurate accounts. They told it like it happened.” Halus said that Solomon participated in Native ceremonial dancing and was influenced by the oral tradition within Laguna Pueblo, but he was clear that much of his research into the issues he depicted in his etchings was done using Spanish documents. ◀
details ▼ 400 Years of Remembering and Forgetting: The Graphic Art of Floyd Solomon ▼ Through May 17 ▼ University of New Mexico Art Museum, 1 University of New Mexico Blvd., Albuquerque, 505-277-4001 ▼ No charge; $5 suggested donation
36
PASATIEMPO I April 4 -10, 2014
Celebrate A Life Well Lived
Pet Memorials Thursdays in SCOOP
To place your personalized memorial, call 505-986-3000 or email yourpet@sfnewmexican.com. 43 Ogo Wii Rd, Santa Fe, NM 87506
www.roadrunnercafenm.com
aPRiL 14 Last Day
505-820-0853
e Rugs HanD MaD
www.tribalartsdirect.com
Last Days aLL Rugs & FuRnituRe 45-75% oFF Located Across from Cowgirls • 314 S. Guadalupe Street • Santa Fe, NM 87501
PASATIEMPOMAGAZINE.COM
37
ART IN
REVIEW Feast: Radical Hospitality in Contemporary Art, SITE Santa Fe, 1606 Paseo de Peralta, 505-989-1199; through May 18
V
Bonnie Sherk: Public Lunch, 1971, photographic documentation of performance at the San Francisco Zoo Top, Laura Letinsky: Rome, 2009, chromogenic print Opposite page, Sonja Alhäuser: Flying Feast, 2012, catering performance with butter sculptures, marzipan sculptures, various foods, and miniature watercolors at the Smart Museum of Art, University of Chicago; all images courtesy SITE Santa Fe
38
PASATIEMPO I April 4 -10, 2014
isitors have enjoyed a steady stream of Conceptualist art at SITE Santa Fe over the years, sometimes at the expense, often deliberate, of aesthetic considerations. Feast: Radical Hospitality in Contemporary Art, now at its third venue since its inception at the University of Chicago’s Smart Museum of Art in 2012, is not the most memorable exhibit to pass through SITE. The exhibition’s focus is the critical role of food in fostering human interactions in social and political spheres through the simple act of sharing a meal. It attempts to position the work of contemporary artists and artist collaboratives within a historical context — and that is part of its problem. Many of the projects and performances commemorated here were public events or happenings staged long ago with little left over to sink your teeth into other than photographs, video recordings, and documentary materials. Bonnie Sherk’s Public Lunch, for instance, a performance piece the artist did while sitting in a cage by the lion exhibit at the San Francisco Zoo in 1971, was an unexpected and perhaps uncomfortable sight for zoo-goers. The newer piece of the same title, comprising Sherk’s photographs of the event, was included in last year’s State of Mind: New California Art Circa 1970, also at SITE. Earlier and more recent confrontational happenings are also documented in Feast. Many of the original projects stand on their own merit, but the current installations based on them do not. The supporting material, which threatens to drown entire installations in memorabilia, does little to enhance or deepen appreciation for the artwork. Textual components discuss the relevance of and ideas behind the art and documented performance pieces. When the text is more interesting than the art, the experience is like a meal that doesn’t live up to its description on the menu. One of the larger works on view is Suzanne Lacy’s International Dinner Party, a project Lacy began in 1979, when she engaged with women around the world over shared meals. The problem is how to make a fascinating contemporary installation around that, and Feast comes up short, relying on personal correspondences and news articles about the project. The glassencased ephemera, including envelopes and letters, is set as part of the installation but is a poor substitute for the visceral experience of her performance art. A large map of the globe dominates one wall, pinpointing all the locations of Lacy’s dinners, but it is hardly illuminating. As large as the map is, it doesn’t manage to fill the cavernous space at SITE. In fact, despite an abundance of site-specific installation work in Feast, the galleries are curiously empty. Most of the work is on or up against the walls. One or two room-sized installations fail to instill a sense of total immersion in an environment. A case in point is Marina Abramovi´c and Ulay’s Communist Body/Fascist Body. The piece was staged as a performance in 1979. Abramovi´c and Ulay invited a small group of friends to their Amsterdam apartment before midnight on the eve of their shared birthday. Guests were greeted with two contrasting tableaux, one an elegant dinner with silver, crystal, caviar, and champagne, and the other a table set with a poor-man’s version of a similar meal. The guests arrived to find the artists asleep in their bed.
Communist Body/Fascist Body is about the two artists, their different backgrounds growing up in different countries under different political and cultural ideologies. Abramovi´c is Serbian, and Ulay is German. In the present installation, a recreation of the original, the element of surprise, present in the first piece, is lacking. So is any sense of intimacy, and not just because there are no warm bodies in the bed (included as part of the installation). Now visitors are merely observers rather than participants. SITE-generated exhibitions are generally more thought-provoking and illuminating than Feast, but its concept-driven shows often suffer from a cold, clinical feeling that also pervades the current offering. An exception was last year’s The Pearl, Enrique Martínez Celaya’s SITEwide installation that was designed to instill a cathartic experience in the viewer. To pull it off required a little bit of magic and invention in the visuals. There is little in the way of aesthetics to draw you into Feast, but that cannot entirely be laid at the feet of SITE, as this is a traveling show organized by another venue. Still, more could be done with the space to bring greater cohesion to the disparate installations. Visitors move from one work to the other, forced into reading. Art venues often struggle with the question of how much information is too much and to what extent an artwork should stand on its own merits. Here the explanations are necessities, but the visual components are inelegantly executed. For instance, the installation for Potluck: Chicago, a community project by London-based collective Motiroti with artists Ali Zaidi and Tim Jones, staged in locations around the Windy City with the purpose of fostering dynamic social interaction, is composed of sticky notes, paper plates, and a dirty apron, haphazardly arranged like a memo board in an office lunchroom. Potluck: Chicago’s website states that art-making is among its activities, but instead of including work from Potluck: Chicago’s community art projects, we get sticky notes. Tucked away in a room of its own is Axle Contemporary’s project The Royal Bread Show. The installation documents a project in which Axle invited members of the public to create small ceramic figurines to be baked into bread by local bakeries, an idea inspired by such festivals and holidays as Mardi Gras and Epiphany. The public-made figurines will be displayed in Axle’s mobile art gallery, outside SITE Santa Fe on May 2. The sense of communal spirit and frivolity in The Royal Bread Show is an exception to the contrivance of the rest of Feast. There is a disconnect between the social aspect of the projects and our experience of them as artistic displays. Feast is not unlike other recent exhibits at SITE that position Conceptualism and activism of the 1960s and ’70s as a benchmark. The exhibit feels like an adjunct rather than a separate show and leaves you hungry for the social interactions implied by the term “radical hospitality.” — Michael Abatemarco
Fri through Mon at 2:20 and 6:15 • Tues at 2:20 • Wed and Thurs at 2:20 and 6:15
Friday through Thurs at 8:10
A Film by Jerzy Kawalerowicz
Mother Joan of the Angels
“Cheers to a movie as gloriously entertaining and bluntly honest as the lady herself. Everybody rise.” Peter Travers, Rolling Stone
Sat at 11:45am • Tues at 6:00 Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®
D I G I T A L
S U R R O U N D •E X
Fri through Thurs at 4:10 SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com
Bargain Matinees Monday through Friday (First Show ONLY) All Seats $8.00 PASATIEMPOMAGAZINE.COM
39
MOVING IMAGES film reviews
Stories in clay Laurel Gladden I For The New Mexican The Missing Picture, documentary, not rated, in French with subtitles, Center for Contemporary Arts, 3.5 chiles Monsters don’t always look like monsters. If you believed Khmer Rouge propaganda films from the 1970s, Pol Pot, the group’s infamous leader, wasn’t a villain. The reels always depict him as smiling, cheerful, applauding, and waving. We all know the truth, though: in 1975, the Khmer Rouge took over Cambodia and set about fulfilling their dream of creating a “pure” classless Communist society of peasant revolutionaries. Rithy Panh, director of this haunting documentary, was 13 and living in Phnom Penh when the takeover occurred. He and his family, along with millions of others, were driven from the city and into “re-education” camps in the countryside. Names were changed to numbers, and everyone was forced to dye their clothing black. The only item anyone was allowed to possess was a spoon. Educated individuals were considered untrustworthy — simply wearing glasses might get you shot. Anyone perceived to be an enemy of the state would be tortured and executed, and children were encouraged to inform on their parents. Panh and his fellow “revolutionaries” were given a daily handful of rice to subsist on, but they would often risk punishment in order to hunt for rats and plant roots. Millions starved and died. Panh was the only member of his family to survive. To make sure we all know what really happened, and presumably as a way of coping with his trauma, Panh, now 50, created this devastating, spellbinding film. The picture the title refers to isn’t a single photograph but rather a clear, true view of Cambodia at that time. Alongside eerie archival footage, he presents rugged hand-crafted and -painted clay figures arranged in dioramas depicting the events he witnessed and lived through. He recounts his experiences in poetic voice-over read by Randal Douc. Even using clay figurines, the dioramas begin to seem more real than anything in the “official” propaganda reels. The decision to portray the events using figures that look almost toylike was almost certainly intentional. Panh’s distancing himself from such horrific events might make talking about them easier. But that doesn’t mean he’s not brutally honest. He discusses the day when he dared to trap a fish for his starving mother; by the time he had brought it to her, though, she had died. Panh’s father chose to die of starvation rather than accept government rations. “He didn’t abandon us,” the narrator insists. “He was teaching us free will.” If this hypnotic film has a flaw, it’s that the novelty of the presentation wears off after a while, and Pahn’s incessantly harrowing accounts become exhausting. Even so, The Missing Picture feels like the sort of film that should be required viewing. It’s unlike anything you’ve seen before, and let’s hope no one has a reason to make anything like it again. ◀ 40
PASATIEMPO I April 4 -10, 2014
MOVING IMAGES film reviews
“Grand isn’t Good enouGh a word for this ‘Budapest hotel.’
Great is more like it.” time richard Corliss
eXClusiVe enGaGement now playinG
Santa Fe Ua De Vargas mall 6 (800) fanDanGO #608
Sleigh ride Bill Kohlhaase I The New Mexican Aatsinki: The Story of Arctic Cowboys, documentary, not rated, in Finnish with subtitles, The Screen, 2.5 chiles The notion that the earth still holds remote pockets where people exist in the natural world the way generations of their ancestors did is only marginally true. The Finnish Laplanders featured in Jessica Oreck’s unusual documentary Aatsinki: The Story of Arctic Cowboys survive, as people have for centuries, on the herds of reindeer that populate the woods and tundra above the Arctic Circle. Yet the tools of their existence, up to and including a helicopter, would not be part of any tradition that their forebears would recognize. Aatsinki documents a year in the lives of these “arctic cowboys,” the seasons serving as chapters in the film’s quiet narrative. Some of the scenes recall American cowboy movies, like Howard Hawks’ Red River and the 1951 Joel McCrea feature Cattle Drive, with tight shots of pounding hooves and shoulder-to-shoulder livestock on the move. But these doggies are smaller than cows and have antlers rather than horns. Scenes of calf wrestling and branding (with a knife rather than a smoldering iron) link to those Westerns, too, even though the hats the cowboys wear are different. Presented with no narration and only bits of conversation between the Aatsinki family members, the film relies on representative activities and repeated details to maintain its flow. A fire-blackened teapot and endless whittling of kindling sticks stand as images of daily existence. Filmed in the natural glow of twilight and camp fires, the film presents the family as stoics who find joy, like other people around the world, in their children, their dogs, and the routines of their lives. The gaps can be great. Fall roundup, during which the film begins, is no sooner complete than we’re suddenly presented with reindeer-pulled sleighs hauling tourists into the great whiteness. There’s no previous clue that the Aatsinki family, in a modern-day survival adaptation, are the hosts at some kind of snow-heaped dude ranch. In one of the film’s many primitivecontemporary contrasts, we see the tourists out another day in a caravan of snowmobiles. To drive and contain the animals, the Aatsinkis form lines, children included, while hoisting a long banner, a practice we can imagine their predecessors doing. They also use ATVs. Oreck doesn’t idealize this world. She gives us long gruesome glimpses into the field dressing of slaughtered animals and the harshness of the winter weather, symbolized by a wolverine-plundered carcass. The film overlooks questions generated by what’s unsaid. Where do they go for gasoline and other supplies? How are the children schooled? Where does the meat they produce go? How did those tourists get there? What’s not overlooked is the landscape’s beauty — the snow-caked firs, the autumn colors, the aurora borealis — as well as the empty-eyed stateliness of the reindeer themselves. ◀
l a r s
v o n
t r i e r
AJOYOUS WORK OF FLAT-OUT GENIUS..”
“
–John H. Richardson, ESqUIRE
“FORMIDABLE. A PROVOCATION WORTH TALKING ABOUT.” – David Denby, THE NEW YORKER “A THRILLING, UPROARIOUS VISUAL AND INTELLECTUAL JOURNEY. ” –Andrew O’Hehir, SALON “IT’S EASY, AND SO VERY TEMPTING, TO DISMISS LARS VON TRIER AS A JOKE-IF ONLY HIS MOVIES WEREN’T SO BLOODY BRILLIANT.” –Ty Burr, BOSTON GLOBE
for ge t ab out love
VO L . I eXcLusiVe engagement
starts toDay
Santa Fe The Center For Contemporary Arts (505) 982-1338
FRI-WED: 3:30, 6:30 & 9:00 PM THU: 3:00 & 8:30 PM
m ag p i c t u r e s . c o m / n y m p h o m a n i ac
PASATIEMPOMAGAZINE.COM
41
MOVING IMAGES pasa pics
— compiled by Robert Ker
THE MISSING PICTURE Director Rithy Panh was 13 and living in Phnom Penh when the Khmer Rouge took over Cambodia. He and his family, along with millions of others, were driven from the city and into “re-education” camps. To present a clear, true picture of what really happened, Panh created this devastating, spellbinding film. Between bits of eerie archival footage, he arranges rugged handcrafted figures in dioramas depicting the events he lived through and recounts his experiences in poetic voice-over, read by Randal Douc. The Missing Picture should probably be required viewing. It’s unlike anything you’ve seen before, and let’s hope no one has a reason to make anything like it again. Not rated. 92 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. (Laurel Gladden) See review, Page 40.
Scarlett Johansson and Chris Evans in Captain America: The Winter Soldier, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week AATSINKI: THE STORY OF ARCTIC COWBOYS Jessica Oreck’s un-narrated film documents the lives of a family of reindeer herders in Finland’s arctic tundra while making much of the contrasts between traditional and contemporary practices. Reindeer-pulled sleighs are employed for tourist amusement, but the real work of herding is done using ATVs, snowmobiles, and a helicopter. The landscape is beautiful, but watching the gruesome work of field dressing slaughtered animals can be stomach-churning. The film’s not so much about survival as it is about modern adaptation to a traditional lifestyle. Not rated. 84 minutes. In Finnish with subtitles. The Screen, Santa Fe. (Bill Kohlhaase) See review, Page 41. CAPTAIN AMERICA: THE WINTER SOLDIER The wheels of the Marvel machine keep on turning, bringing us to the latest movie about Captain America (Chris Evans). The story takes place shortly after events of The Avengers and rolls out a rogue with a shady past (the Winter Soldier, played by Sebastian
42
PASATIEMPO I April 4 -10, 2014
Stan) and an all-new ally (the Falcon, played by Anthony Mackie) for another superpowered espionage flick. Rated PG-13. 135 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) MARTIN SCORSESE PRESENTS: MASTERPIECES OF POLISH CINEMA This collection of Polish classics, most of them seldom seen in this country, covers three decades, from the mid-’50s to the mid’80s. The 21 films include work by Andrzej Wajda, Andrzej Munk, and Krzysztof Kie´slowski. Jerzy Kawalerowicz’s Mother Joan of the Angels (1961, 110 minutes) is shown on Saturday, April 5, and Tuesday, April 8, at The Screen, Santa Fe. Wojciech Has’ The Saragossa Manuscript (1965, 183 minutes) screens on Sunday, April 6, and Thursday, April 10, at the Jean Cocteau Cinema, Santa Fe. Not rated. In Polish with subtitles. ( Jonathan Richards) THE MET LIVE IN HD: LA BOHÈME Anita Hartig stars in this staging of Franco Zeffirelli’s classic production of Puccini’s opera, which is broadcast live from the Met. The cast also includes Vittorio Grigolo. 11 a.m. Saturday, April 5, with a 6 p.m. encore. Lensic Performing Arts Center, Santa Fe. (Not reviewed)
NYMPHOMANIAC: VOL. I A man (Stellan Skarsgård) finds a woman (Charlotte Gainsbourg) who has been severely beaten in an alley. She tells him her life story, and it’s so full of lust and sex that director Lars von Trier (Melancholia) must split the movie in two parts. Shia LaBeouf, Willem Dafoe, Uma Thurman, Christian Slater, and Jamie Bell co-star — with body doubles for their naughty bits, of which quite a lot is shown. Not rated. 118 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) STRANGER BY THE LAKE Alain Guiraudie’s new film is a disturbing, erotic psychological thriller set at a lakeside beach and wrapped in some of the most graphic homosexual sex you will see this side of the internet. The characters, all male, reveal everything physically and very little personally. Franck (Pierre Deladonchamps) is a beach regular, open to impulsive coupling in the surrounding shrubbery but also drawn to conversation with Henri (Patrick d’Assumçao), a fat straight guy who comes to the beach but sits clothed and apart. However, Franck’s carnal passion is for the handsome sociopath Michel (Christophe Paou). The film is a study of isolation, lust, death, and death wish shot entirely at one location with a cool, detached style and riveting suspense. Not rated. 97 minutes. In French with subtitles. The Screen, Santa Fe. ( Jonathan Richards) VERONICA MARS Veronica Mars was made for and paid for by — via Kickstarter — the fans of the cancelled television series from the mid-aughts. It’s pretty much everything a fan could hope for, and it’s good enough on its own to attract new fans to the cult following. Ten years after they graduated from Neptune High, everyone returns for a reunion, some crime, and noir lighting. It’s a murder mystery, so no spoilers here.
Highlights include an amazing Gaby Hoffmann as the victim’s biggest fan; Martin Starr as Gia Goodman’s (Krysten Ritter) neighbor; and Piz (Chris Lowell) as clearly undeserving of Veronica’s affections. It’s great to see the old gang back together, especially Veronica (Kristin Bell) and her dad, Keith (Enrico Colantoni). Rated PG-13. 107 minutes. Jean Cocteau Cinema, Santa Fe. ( Jennifer Levin) WILD HORSE FILM SHOWCASE This minifestival does what its title says and showcases films about wild horses. El Caballo screens for free at Collected Works Bookstore (202 Galisteo St., 505-988-42260) at 5 p.m. Friday, April 4. A program of films screens at the Palace of the Governors (105 W. Palace Ave., 505-476-5200) beginning at 10:30 a.m. Saturday, April 5.; tickets, $5 for each film, are available from Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org). Visit www.cimarronskydog. org for details. (Not reviewed)
now in theaters AMERICAN HUSTLE Irving Rosenfeld (Christian Bale) and Sydney Prosser (Amy Adams) bond over the music of Duke Ellington at a party. This is appropriate, because David O. Russell has orchestrated his wild and wonderful riff on the 1978 Abscam sting operation like an Ellington suite. The film weaves themes and rhythms, tight ensemble work and electrifying solos, and builds to a foot-stomping climax. Rated R. 138 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) CESAR CHAVEZ It’s hard to believe nobody has made a feature film about 1950s and ’60s MexicanAmerican activist and labor organizer Cesar Chavez before, given his status as an icon of nonviolent resistance. Michael Peña plays Chavez in this film, and John Malkovich plays the farm owner who opposes him. Rated PG-13. 101 minutes. Some screenings are dubbed in Spanish. Regal Stadium 14, Santa Fe. (Not reviewed) DIVERGENT Need something to keep you occupied until the next Hunger Games film arrives? Try this, based on the first book in Veronica Roth’s popular YA series. It’s set in postapocalyptic Chicago, where society is organized into five factions. As teenagers, everyone takes a test to determine the group for which they’re best suited, but some, such as Tris (Shailene Woodley), can’t be easily sorted. She keeps her “divergence” hidden as she begins her
training, senses romantic sparks with an instructor (Theo James), and learns that one faction is plotting to overthrow the government. The performances are solid; the leads have great chemistry; and the pacing mostly keeps you engaged. But the way the story unfolds is predictable — unfortunate for a film about thinking for yourself. Rated PG-13. 143 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Laurel Gladden) ELAINE STRITCH: SHOOT ME If you’re not familiar with Elaine Stritch, you’ve been missing something. She went to acting school with Marlon Brando, understudied Ethel Merman in Call Me Madam while appearing in the Broadway revival of Pal Joey, got the first of her five Tony nominations in 1955 in Bus Stop, made “The Ladies Who Lunch” a classic in the original Broadway cast of Company, and finally won her Tony in 2002 with Elaine Stritch at Liberty, a one-woman show that looked back at her life up to the three-quarter-century mark. Here, director Chiemi Karasawa follows her at 87 as she prepares for a final cabaret show of Sondheim songs. Not rated. 80 minutes. The Screen, Santa Fe. ( Jonathan Richards) 50 TO 1 Skeet Ulrich plays a cowboy in a film based on the true story of Mine That Bird, the racehorse that was partly trained in New Mexico and won the Kentucky Derby in 2009. Rated PG-13. 110 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) GLORIA In Santiago, Chile, an outgoing sexy divorcée (Paulina García) with a youthful spirit makes a fresh start at dating in this lighthearted but keenly observed film about the challenges of finding love later in life. After meeting a former naval officer (Sergio Hernández) who owns a paintball park, Gloria is swept into a whirlwind romance. She’s a woman seeking freedom from the past, and he’s a man who can’t let go of his. García gives a strong but measured performance. Rated R. 110 minutes. In Spanish with subtitles. Regal DeVargas, Santa Fe. (Michael Abatemarco) GOD’S NOT DEAD Kevin Sorbo plays a college professor who loses his faith and teaches his students that God is dead until a plucky freshman (Shane Harper) challenges him. Willie Robertson, one of the Duck Dynasty dudes, appears as himself. Rated PG. 113 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE GRAND BUDAPEST HOTEL It is truly a joy to witness the work of Wes Anderson, who devotes such
Nymphomaniac: Vol. I
attention to his creative vision that he crafts his own singular world — one that has grown over the course of eight features. This time, Anderson tells a tale of an Eastern European hotel manager (Ralph Fiennes) who is willed a priceless painting by a former lover (Tilda Swinton). This angers a relative (Adrien Brody), who feels he should be the true heir. For some of his new tricks, Anderson adds nifty suspense, worthy of Hitchcock’s Spellbound or Carol Reed’s Last Train to Munich, to his impeccably designed “dollhouse” aesthetic. Willem Dafoe, Jeff Goldblum, Edward Norton, Jude Law, and Harvey Keitel costar in this caper, which plays out like a youth novel or board game. Rated R. 100 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE LEGO MOVIE Emmet Brickowski (voiced by Chris Pratt) is an ordinary LEGO worker in a city where everyone follows instructions to build the perfect world. Then Brickowski learns from some rebels that he can build whatever he wants, and they set out to defeat the evil President. What sounds like a long commercial is one of the best family films in recent years, with subversive humor, nifty twists, wild visuals, catchy music, guest spots by the likes of continued on Page 44
PASATIEMPOMAGAZINE.COM
43
MOVING IMAGES pasa pics
continued from Page 43
Batman, and an anarchic plot that snaps together as perfectly as a certain plastic toy. Rated PG. 101 minutes. Screens in 2-D only at Regal DeVargas, Santa Fe. (Robert Ker) THE MONUMENTS MEN During World War II, the U.S. put together a team of art scholars and academics under the aegis of the military to try to locate art treasures looted by the Nazis. As the war wound down, it became apparent that the Germans were prepared to destroy these works if they couldn’t keep them. This is gripping, funny, and moving material, and George Clooney, wearing the hats of writer, director, producer, and star, has crafted a hugely enjoyable old-fashioned war movie in the tradition of The Dirty Dozen. Rated PG-13. 118 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) MR. PEABODY & SHERMAN Those old enough to have watched The Rocky and Bullwinkle Show may remember “Peabody’s Improbable History,” a smart segment about the time travels of a brilliant beagle and his human. This adaptation, which complicates those goofy adventures considerably, will remind you that this concept worked better in 5-minute doses. Some terrific animation, good gags, and cute characterizations don’t quite offset the general lack of excitement and jokes based on stale internet memes. Rated PG. 91 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) MUPPETS MOST WANTED The latest Muppet caper involves an evil doppelgänger Kermit who tries to pull off the crime of the century while the real Kermit languishes in a Siberian gulag. The jokes land more often than in typical Hollywood comedies, and the music is uniformly wonderful and plentiful. However, parents will like it more than kids, and even parents will find it too long. As the great Statler once said, “They could improve this whole show if they just changed the ending … by putting it closer to the beginning!” Ooooh-ho-hoho-ho-ho! Rated PG. 112 minutes. Regal Stadium 14, Santa Fe. (Robert Ker)
spicy
medium
bland
heartburn
mild
Read Pasa Pics online at www.pasatiempomagazine.com
NEED FOR SPEED The Fast and the Furious franchise is widely loved and only shifting into higher gears of popularity, so the imitators are starting to get the green light. Need for Speed hews so close to the Furious make and model that it features a multicultural band of outlaws who crack wise and drive colorful cars in an attempt to pull off a wild heist. Starring Aaron Paul of Breaking Bad. Rated PG-13. 124 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) NOAH Darren Aronofsky follows his award-winning Black Swan by turning to the Old Testament and reimagining the story of Noah’s ark. The result is an ambitious, odd movie. The front half combines elements of classic Bible epics, Lord of the Rings blockbusters, and Terrence Malick’s art films; in the more-pensive back half, Noah (Russell Crowe) ponders the full ramifications of God’s message to him. Concepts of faith, servitude, environmental preservation, and the responsibilities of dominion give viewers a lot to meditate on, even if these ideas are burdened by more-generic subplots of romance and revenge. As expected, Noah is often dreary, grim, and monochromatic, but Crowe wears the gravity well, and many thematic and visual aspects of the film linger long after the water recedes. Rated PG-13. 138 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) NON-STOP An ordinary trans-Atlantic flight is terrorized by someone who threatens to kill all the passengers on board. Fortunately, one of those passengers is a federal air marshal. Unfortunately, the terrorist has a vendetta against this marshal. Fortunately, the marshal is played by Liam Neeson. Go get ’em, Liam! Rated PG-13. 106 minutes. Regal DeVargas, Santa Fe. (Not reviewed) PARTICLE FEVER Director Mark Levinson filmed events at the Large Hadron Collider as they unfolded during the most expensive scientific experiment to date, during which scientists from more than 100 nations sought to prove or disprove the existence of the Higgs boson, a theorized elementary particle that would help explain how matter is given mass. The discovery of the boson is a dramatic and entertaining story that opens wide the door on a mystery of the universe that has been perplexing scientists since the 1960s, and it leaves you fascinated. Not rated. 99 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) SABOTAGE Arnold Schwarzenegger has struggled to get his acting career going again since leaving politics.
44
PASATIEMPO I April 4 -10, 2014
For this venture he lets his gray hair show like never before and teams with a filmmaker (David Ayer of End of Watch) who has proven he can do gritty, streetlevel action. Arnie plays a DEA agent who angers a powerful drug cartel, which will do whatever it takes to get him but good. Rated R. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) 300: RISE OF AN EMPIRE In the years since the 2006 blockbuster 300, there’s been no shortage of movies attempting to copy that film’s distinct visual style and Roman-era subject matter. Finally, here’s an official follow-up — but without Zack Snyder as director (he co-writes and produces) or star Gerard Butler, is this still Sparta? The plot centers on greasedup, shirtless men waving swords and shouting. Rated R. 103 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe.(Not reviewed) TIM’S VERMEER There are two essential questions posed by this richly entertaining movie created by Penn and Teller around a quixotic experiment by their friend Tim Jenison, a tech multimillionaire. One: Did Johannes Vermeer use optical devices to create his extraordinary paintings? Two: If he did, does that make them less extraordinary? Jenison embarks upon what can only be described as an obsessive quest as he sets out to prove that he, a non-artist, can produce a Vermeer using optics available in 17th-century Holland. Rated PG-13. 80 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) WALKING THE CAMINO: SIX WAYS TO SANTIAGO This documentary looks at a few of the many people who walk across northern Spain on the pilgrimage path known as the Camino de Santiago. Not rated. 84 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed)
other screenings DreamCatcher Son of God. Jean Cocteau Cinema 11 p.m. Friday and Saturday, April 4 and 5: Haunt. Regal DeVargas 8 and 10:20 p.m. Thursday, April 10: Rio 2. Regal Stadium 14 8 and 10:35 p.m. Thursday, April 10: Draft Day. 10:30 p.m. Thursday, April 10: Oculus. ◀
Proud Sponsors of the CCA Cinematheque
THE CINEMATHEQUE WHAT’S SHOWING Call theaters or check websites to confirm screening times. CCA CINEMATHEQUE AND SCREENING ROOM
Mr. Peabody & Sherman (PG) Fri. to Wed.
11:15 a.m., 1:50 p.m., 4:25 p.m., 7 p.m., 9:40 p.m.
1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org
Muppets Most Wanted (PG) Fri. to Wed.
The Missing Picture (NR) Fri. to Wed. 1:30 p.m.
Need for Speed (PG-13) Fri. to Wed. 12:50 p.m.,
Thurs. 6:15 p.m.
Nymphomaniac:Vol. I (NR) Fri. to Wed. 3:30 p.m.,
6:30 p.m., 9 p.m. Thurs. 3 p.m., 8:30 p.m.
Particle Fever (NR) Fri. to Sun. 11:15 a.m., 4 p.m.,
8 p.m. Mon. to Wed. 4 p.m., 8 p.m. Thurs. 4 p.m., 7:30 p.m.
Tim’s Vermeer (PG-13) Fri. to Sun. 12:15 p.m.,
6 p.m. Mon. to Wed. 6 p.m. Thurs. 5:30 p.m.
Walking the Camino: Six Ways to Santiago (NR)
Fri. to Thurs. 2 p.m.
JEAN COCTEAU CINEMA
418 Montezuma Avenue, 505-466-5528 The Haunt (R) Fri. and Sat. 11 p.m. The Saragossa Manuscript (NR) Sun. 1 p.m.
Thurs. 1 p.m.
Veronica Mars (PG-13) Fri. and Sat. 1:30 p.m.,
3:45 p.m., 6 p.m., 8:15 p.m. Sun. 4:30 p.m., 6:45 p.m. Tue. 6 p.m., 8:15 p.m. Wed. 1:30 p.m., 3:45 p.m., 6 p.m., 8:15 p.m. Thurs. 4:30 p.m., 6:45 p.m. REGAL DEVARGAS
562 N. Guadalupe St., 505-988-2775, www.fandango.com
11:10 a.m., 1:55 p.m., 4:35 p.m., 7:25 p.m., 10:05 p.m. 4:10 p.m., 7:15 p.m., 10:20 p.m.
Noah (PG-13) Fri. to Sun. 1 p.m., 1:30 p.m.,
April 4 - 10 1050 Old Pecos Trail • 505.982.1338 • ccasantafe.org Santa Fe’s only not-for-profit, community-supported independent theatre, showing the best in cinema.
THE SEATS ARE IN!!!
Thanks to all our supporters and seat-buyers for turning The STUDIO into Santa Fe’s coziest theater!
ACADEMY AWARD NOMINEE ®
BEST FOREIGN LANGUAGE FILM
“BRILLIANT!”
MANOHLA DARGIS,
4:05 p.m., 4:30 p.m., 7:15 p.m., 7:30 p.m., 10:20 p.m., 10:30 p.m. Mon. to Wed. 1 p.m., 1:30 p.m., 4:05 p.m., 4:30 p.m., 7:15 p.m., 7:30 p.m., 10:20 p.m., 10:30 p.m.
Rio 2 (G) Thurs. 8 p.m., 10:20 p.m.
THE SCREEN
Elaine Stritch: Shoot Me (NR) Fri. to Thurs.
4:10 p.m.
“FORMIDABLE. A PROVOCATION WORTH TALKING ABOUT. An obsessive, violent, and at
“A JOYOUS WORK OF FLAT-OUT GENIUS. It’s a blast, full of life and energy
4:55 p.m., 7:40 p.m., 10:20 p.m.
Mon. 2:20 p.m., 6:15 p.m. Tue. 2:20 p.m. Wed. and Thurs. 2:20 p.m., 6:15 p.m.
t r i e r
–David Denby, THE NEW YORKER
Sabotage (R) Fri. to Wed. 11:45 a.m., 2:20 p.m.,
Aatsinki:The Story of Arctic Cowboys (NR) Fri. to
v o n
times remarkably eccentric sex epic that is often brilliant and never simple-minded or dull.”
Oculus (R) Thurs. 10:30 p.m.
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com
l a r s
and ideas and humor and sexy naked bodies.” –John H. Richardson, ESQUIRE
A FILM BY RITHY PANH Post-film discussion with ceramics expert Garth Clark after 6:15p Thurs 4/10 show!
“MIND BLOWING” – The New York Times
Mother Joan of the Angels (NR) Sat. 11:45 a.m.
Tue. 6 p.m.
Stranger by the Lake (NR) Fri. to Thurs. 8:10 p.m.
American Hustle (R) Fri. and Sat. 1 p.m., 4 p.m.,
7 p.m., 10 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. Gloria (R) Fri. and Sat. 1:40 p.m., 4:20 p.m.,
MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)
7:40 p.m., 10:10 p.m. Sun. to Thurs. 1:40 p.m., 4:20 p.m., 7:40 p.m.
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com
The Grand Budapest Hotel (R) Fri. and Sat.
50 to 1 (PG-13) Fri. 4:55 p.m., 7:20 p.m., 9:50 p.m.
1:30 p.m., 4:30 p.m., 7:30 p.m., 10:05 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. The Lego Movie (PG) Fri. and Sat. 1:50 p.m.,
4:40 p.m., 7:20 p.m., 9:45 p.m. Sun. to Thurs. 1:50 p.m., 4:40 p.m., 7:20 p.m.
The Monuments Men (PG-13) Fri. and Sat.
1:10 p.m., 4:10 p.m., 7:10 p.m., 9:50 p.m. Sun. to Thurs. 1:10 p.m., 4:10 p.m., 7:10 p.m.
Non-Stop (PG-13) Fri. and Sat. 1:20, 3:50, 6:50,
9:50 p.m. Sun. to Thurs 1:20, 3:50, 6:50 p.m., REGAL STADIUM 14
3474 Zafarano Drive, 505-424-6296, www.fandango.com 300: Rise of an Empire (R) Fri. to Wed. 11:40 a.m.,
2:10 p.m., 4:45 p.m., 7:50 p.m., 10:20 p.m.
Sat. 2:25 p.m., 4:55 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:20 p.m. Mon. to Thurs. 4:55 p.m., 7:20 p.m.
Fri. 4:30 p.m., 7 p.m., 8 p.m., 9:55 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 8 p.m., 9:55 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m.
Divergent (PG-13) Fri. 4:50 p.m., 7:50 p.m. Sat. and
Sun. 1:50 p.m., 4:50 p.m., 7:50 p.m. Mon. to Thurs. 4:15 p.m., 7:15 p.m.
God’s Not Dead (PG) Fri. 4:45 p.m., 7:15 p.m.,
9:45 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:15 p.m., 9:45 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:15 p.m. Mon. to Thurs. 4:45 p.m., 7:15 p.m.
Mr. Peabody & Sherman (PG) Fri. 4:35 p.m.,
4:20 p.m., 7:10 p.m., 10:05 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.
Captain America:The Winter Soldier (PG-13)
Need for Speed (PG-13) Fri. 4:25 p.m., 7:10 p.m.,
Captain America:The Winter Soldier 3D (PG-13)
Fri. to Wed. 12:45 p.m., 3 p.m., 4 p.m., 7:05 p.m., 10 p.m., 10:10 p.m.
Cesar Chavez (PG-13) Fri. to Wed. 12 p.m.,
2:30 p.m., 7:30 p.m., 10 p.m. Fri. to Wed. 5 p.m.
Divergent (PG-13) Fri. to Wed. 12:25 p.m.,
3:50 p.m., 7:10 p.m., 10:20 p.m.
Draft Day (PG-13) Thurs. 8 p.m., 10:35 p.m. God’s Not Dead (PG) Fri. to Wed. 11:45 a.m., 2:30 p.m., 5:10 p.m., 7:50 p.m., 10:30 p.m.
Although this film is NOT RATED, no persons under the age of 17 will be permitted to view this film. Thank you.
Captain America:The Winter Soldier (PG-13)
50 to 1 (PG-13) Fri. to Wed. 11 a.m., 1:40 p.m.,
Fri. to Wed. 11:30 a.m., 1:10 p.m., 4:15 p.m., 6:50 p.m., 7:20 p.m., 10:25 p.m.
VO L . I
forge t ab out love
PARTICLEFEVER WITH ONE SWITCH, EVERYTHING CHANGES particlefever.com AN INVENTOR TRIES TO SOLVE ONE OF THE GREATEST MYSTERIES OF ART
“A STIMULATING DETECTIVE STORY THAT HOLDS YOU IN THRALL!” -Peter Travers, ROLLING STONE
“GRADE A! EXQUISITELY FUN!” -Owen Gleiberman, ENTERTAINMENT WEEKLY
Tim’s Vermeer
9:55 p.m. Sat. 1:45 p.m., 4:25 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:45 p.m., 4:25 p.m., 7:10 p.m. Mon. to Thurs. 4:25 p.m., 7:10 p.m.
Noah (PG-13) Fri. 4:40 p.m., 7:40 p.m. Sat. and
A Penn & Teller Film
Sun. 1:45 p.m., 4:40 p.m., 7:40 p.m. Mon. to Thurs. 4:15 p.m., 7:20 p.m.
Sabotage (R) Fri. 4:55 p.m., 7:25 p.m., 9:50 p.m.
Sat. 2:10 p.m., 4:55 p.m., 7:25 p.m., 9:50 p.m. Sun. 2:10 p.m., 4:55 p.m., 7:25 p.m. Mon. to Thurs. 4:55 p.m., 7:25 p.m.
Son of God (PG-13) Fri. 4:40 p.m., 7:35 p.m. Sat. and Sun. 1:50 p.m., 4:40 p.m., 7:35 p.m. Mon. to Thurs. 4:40 p.m., 7:35 p.m.
WWW.SONYCLASSICS.COM
Fri-Sun April 4-6 11:15a 12:15p 1:30p 2:00p 3:30p 4:00p 6:00p 6:30p 8:00p 9:00p -
- Particle Fever* - Tim’s Vermeer The Missing Picture* Walking the Camino Nymphomaniac* Particle Fever Tim’s Vermeer* Nymphomaniac Particle Fever* Nymphomaniac
Mon-Weds April 7-9 1:30p 2:00p 3:30p 4:00p 6:00p 6:30p 8:00p 9:00p
-
The Missing Picture* Walking the Camino Nymphomaniac* Particle Fever Tim’s Vermeer* Nymphomaniac Particle Fever* Nymphomaniac
As of Friday, April 4, all regular CCA Film tickets in both THE CINEMATHEQUE and THE STUDIO will be $9.50 Gen. Adm., $8.50 for Seniors/Students, $8 for CCA Members and $7 for Senior CCA Members and Children 12 and under. Thurs April 10 2:00p 3:00p 4:00p 5:30p 6:15p
- Walking the Camino - Nymphomaniac* - Particle Fever - Tim’s Vermeer* - Missing Picture with post-film discussion led by Garth Clark 7:30p - Particle Fever* 8:30p - Nymphomaniac
COMING SOON to CCA: • The Unknown Known • Ernest & Celestine • Mistaken for Strangers • Nymphomaniac Pt. 2 • & more...
Concessions Provided by WHOLE FOODS MARKET PASATIEMPOMAGAZINE.COM
45
RESTAURANT REVIEW Bill Kohlhaase I The New Mexican
Turn up the heat Thai Café & Noodle Treats 3486 Zafarano Drive, 505-424-1818 Lunch & dinner 11:30 a.m.-9 p.m. Mondays, Tuesdays & Thursdays; 11:30 a.m.-9:30 p.m. Fridays & Saturdays; 12:30-8 p.m. Sundays; closed Wednesdays Takeout available Vegetarian & gluten-free options Wheelchair accessible Noise level: soft music, soft conversation Beer & wine Credit cards, no checks
•
The Short Order A sister restaurant to Thai Café on San Francisco Street, Thai Café & Noodle Treats gets some of the Thai food equation right. Soups, made with coconut milk or spicy broths, are worthy here, but the meats don’t add to the enjoyment. Salads are also good, but ask for extra dressing and a heat level something above medium for a fuller experience. Vegetables are generally well prepared, and tofu is a tasty addition to them, but avoid the shrimp and seafood mix. Curries are also a smart choice with the right ingredients; likewise the stirfries with roasted chile. The Thai iced coffee kept us up way past bedtime, which was just what we wanted. Recommended: tom yum goong and tom ka gai soups, green papaya salad, beef salad, pad Thai noodles with tofu, pad kee mao spicy noodles, and Thai iced tea and coffee.
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.
46
PASATIEMPO I April 4 -10, 2014
Thai cooking, like all great cuisines, is both the sum and its parts. It entices with individual flavors of fresh basil and mint, salty fish pastes, and lime juice. These are added to vegetables, both common and exotic, along with grilled and sautéed beef, chicken, seafood, pork, or tofu. They’re accompanied by wonderfully flavored, often chile-spiked sauces and are paired with noodles or rice. This makes for delectable, unexpected combinations in which the savory whole never loses sight of its individual ingredients. Thai Café & Noodle Treats, sister to Thai Café on San Francisco Street, gets some of this equation right. Its vegetables are of good quality, and they’re prepared with attention. Fresh herbs provide just the right accents. Noodle sauces and soup bases can be rich and intriguing. But something, often the meats added to these dishes and the additional dipping sauces, subtracts from the whole. Located near the Regal Stadium 14 cinema, Thai Café looks like it was originally designed for something other than a restaurant. The main dining room is lined on two sides with windows that give a view of the parking lot, and the inside walls are done in soft pastel shades. A CD player on a counter near the kitchen entrance puts out traditional Thai music of remarkable clarity, probably because of the room’s high ceiling. Lavender-colored cloth napkins are a nice touch. Ignore the Singha sticker on one of the doors — the café doesn’t serve beer and wine yet. The “Noodle Treats” tag to the restaurant’s name pertains to only part of the menu. There are curries that come with rice — the massaman yellow curry with potatoes and peanuts was a complex dish, strong on tamarind — and there’s a selection of intriguing soups and salads of the sort that exemplify Thai cooking. The menu makes considerations for the gluten-averse, and you can exchange chia seeds for rice in salads if you like. Meatless chicken and shrimp substitutes are available for the vegetarians among us. But noodle dishes prevail. The menu even lists a handful of Italian pastas — Bolognese, arrabbiata, pesto, and puttanesca — plus bean-thread noodles and Japanese yakisoba. We tried the fettuccine Alfredo and were pleasantly surprised by its creamy sauce, offering something more akin to bacon than the advertised pancetta and, though unannounced, chicken. The imbalance between fine and not-so-fine ingredients starts with the appetizers. For the fresh rolls, stretchy rice paper was stuffed tight with raw red cabbage, carrots, and the occasional tiny shrimp. The accompanying sweetand-sour sauce was all sweet and no sour and didn’t do much for the shredded vegetables inside. Grilled chicken satay, a single long strip of meat per skewer, was tough and uninviting. The green papaya salad (som tum) was nicely presented inside a bowl of bibb lettuce but was dressed so lightly that the rawness of the shredded papaya, the red cabbage, and especially the carrots detracted from the dish. More snap in the dressing and more of it would have made this dish first-rate. Satisfying pad Thai noodles came
with golden, wonderfully textured tofu, but the pad mee stir-fried rice noodles arrived with a questionable seafood mix that consisted mostly of tough, bland squid. Soups are among the better choices here. The coconutmilk broth of the tom ka gai soup was slightly rich and hinted nicely at lemongrass and the tangy galangal root. But the chicken in that broth was decidedly tough and flavorless. We enjoyed the complex, sinus-clearing broth of the tom yum goong soup, but its shrimp had less character than your sister’s second husband. The yum nua beef salad was fine but needed more of its spicy lime dressing. Order it a bit warmer than medium. (The menu includes a handy listing of each level’s Scoville heat-unit measure: medium equals 75,000 units; “Thai hot,” if you dare, is 200,000 to 300,000.) Then squirt on extra lime. The ground chicken salad (larb gai) was a generous pile of gently spiced chicken and onion that also could have used a bit more dressing to counteract the meat’s dryness. Ordered medium, it was barely spicy. That’s the problem with many of the spicy dishes. Perhaps the chef wants to avoid scorching American palates and so tones the dishes down too much. We requested medium for our pad ped ga prow — with roasted Thai chile, onion, basil, and bamboo shoots — and it was fine but not spicy. Rice noodles ordered just a bit hotter than medium were on fire — so spicy that the memory of that dish carried on far into the next day. There seems no middle ground. Our recommendation? Go for the burn and extinguish the flames with a fine Thai iced coffee. ◀
Dinner for two at Thai Café & Noodle Treats: Satay chicken .........................................................$ 5.95 Yum nua beef salad ................................................$ 12.95 Pad Thai noodles with tofu ....................................$ 11.95 Pad kee mao spicy noodles with chicken ..............$ 11.95 Thai iced coffee ......................................................$ 2.95 TOTAL ...................................................................$ 45.75 (before tax and tip) Lunch for two, another visit: Fresh rolls (two) ....................................................$ 5.95 Larb gai ground chicken salad ...............................$ 11.95 Small tom yum goong soup ...................................$ 3.95 Small tom ka gai soup ............................................$ 3.50 Massaman yellow curry with shrimp .....................$ 13.95 Pad ped ga prow stir fry with pork ........................$ 11.95 Thai iced tea ..........................................................$ 2.95 TOTAL ...................................................................$ 54.20 (before tax and tip)
S
A
N
T
A
F
E
C
‘ O
M
M
U
N
I
T
Y
C
O
L
L
E
G
E
When my son went to high school, I decided it was time for me to earn a college degree. At SFCC I found friendly, supportive advice and a helping hand to get me started. When I graduated, I found that thanks to SFCC, many doors opened. Erica Abeyta Graphic Artist SFCC Class of 2013 A.A.S. in Media Arts Erica is just one success story out of thousands. Since 1983, Santa Fe Community College has provided quality, affordable education to Santa Feans. Empowering students and strengthening our community for more than 30 years.
LEARN MORE. sfcc.edu | 505-428-1000
Empower Students, Strengthen Community.
Spring Free Seminars and Workshops Sponsored By:
Upcoming Seminars:
(at the Santa Fe Incubator, 3900 Paseo del Sol)
Growing a Sustainable Non-Profit
Successful Crowdfunding
Financing Programs for Business Success
Effectively Marketing Your Business
Business Plans and Money Management
Equity Financing-A Mini NM Angels Boot Camp
Thursday, April 17 • 9am – 12 Noon Tuesday, April 22 • 6 – 8pm
Thursday, April 24 • 6 – 8pm
Tuesday, April 29 • 6 – 8pm Thursday, May 1 • 6 – 8pm Thursday, May 8 • 6 – 8pm
Two Interactive Computer Workshops:
(at the Santa Fe Technology Department off Cerrillos Road)
Optimize Your Website
Saturday, April 19 • 9am – 12 Noon
Effective Use of Social Media Saturday, May 3 • 9am – 12 Noon
For more information and directions: SANTAFE.SCORE.ORG
All events are sponsored by the Economic Development Dept., City of Santa Fe. Score is a non-profit resource partner of the U.S. Small Business Administration.
To register, call:
424-1140 Option 1 or scoreseminars@hotmail.com PASATIEMPOMAGAZINE.COM
47
so hot it’s cool.
kids summer
2 014
places and programs for everyone
T H E SA NTA FE N E W M E X IC A N • ww w. s a nt a fen ewm exi c an . c o m
Publishes Saturday, April 5, 2014
48
PASATIEMPO I April 4 - 10, 2014
pasa week
compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
TO LIST EVENTS IN PASA WEEK: Send an email or press release two weeks before our Friday publication date. SUBMISSION GUIDELINES Provide the following details for each event/occurrence: • • • • •
Time, day, and date Place/venue and address Website and phone number Brief description of events Tickets? Yes or no. How much?
All submissions are welcome, however, events are included in Pasa Week as space allows.
Friday, April 4 GALLERY/MUSEUM OPENINGS
Argos Studio/Gallery 1211 Luisa St., 505-988-1814. Works by faculty and students of Ryder Studio, reception 5-7:30 p.m., through May 2. Charlotte Jackson Fine Art 554 S. Guadalupe St., 505-989-8688. Heaven and Earth: Interference Paintings, work by David Simpson, reception 5-7 p.m., through May 5. David Richard Gallery 544 S. Guadalupe St., 505-983-9555. Sensation, group show, reception 5-7 p.m., through May 24. Eggman & Walrus 130 W. Palace Ave., second floor, 505-660-0048. Wax-Ability: Pushing the Boundaries of Encaustic Art, group show, reception 5:30-9 p.m., through April 27. Institute of American Indian Arts Sculpture Garden 83 Avan Nu Po Rd., 505-424-2300. Interdisciplinary site-specific installations by students, reception 4-7 p.m., through April 18. Manitou Galleries 123 W. Palace Ave., 505-986-0440. Colors of the High Desert, new works by Harry Greene and Fran Larsen, reception 5-7:30 p.m., through April 18. Richard Long Fine Art 715 Canyon Rd., Cowboys and Indians, paintings and sculpture by Reese Long, reception 5-7 p.m., through April 27.
CLASSICAL MUSIC
TGIF recital New Mexico School for the Arts students, 5:30 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations welcome, 505-982-8544, Ext. 16.
Pasa’s Little Black Book......... 50 Elsewhere............................ 52 People Who Need People..... 52 Pasa Kids............................ 52
Paintings by Paul Pascarella, at David Richard Gallery, 544 S. Guadalupe St.
IN CONCERT
Fourteenth Annual Nuestra Música El Rito musician Cipriano Frederico Vigil and others perform, 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $10, discounts available, 505-988-1234, ticketssantafe.org. (See story, Page 20)
THEATER/DANCE
27th Annual Choreographers’ Showcase Organized by New Mexico Dance Coalition; including Echo Gustafson, Monica Mondragon, Pomegranate Studios, and 3HC Holy Faith, 7:30 p.m., Railyard Performance Center, 1611-B Paseo de Peralta, $10-$15 sliding scale, tickets available at the door, Saturday encore. The Lyons Santa Fe Playhouse presents Nicky Silver’s drama, 7:30 p.m., 142 E. De Vargas St., $20, discounts available, 505-988-4262, santafeplayhouse.org, Thursdays-Sundays through April 13.
In the Wings....................... 53 At the Galleries.................... 54 Museums & Art Spaces........ 54 Exhibitionism...................... 55
When the Stars Trembled in Río Puerco Teatro Paraguas and Recuerdos Vivos New Mexico present a play by Shebana Coelho based on oral histories of the Río Puerco Valley collected by folk historian Nasario García, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $15, discounts available, 505-424-1601, Fridays-Sundays through April 13.
BOOKS/TALKS
María Ignacia Jaramillo: A Tale of Two Coats The New Mexico History Museum First Friday Gallery Talk series continues with Collections and Education Manager René Harris’ discussion of the historical figure, 5:30 and 6:30 p.m., New Mexico History Museum, 113 Lincoln Ave., no charge, 505-476-5200, nmhistorymuseum.org. New Mexico Museum of Art gallery talk Photographer Joan Myers discusses her work in the exhibit Beneath Our Feet, 5:30 p.m., 107 W. Palace Ave., no charge, 505-476-5072, nmartmuseum.org.
Wild Horse Film Showcase Reception for the 2014 winners of the SkyDog Award for Equine Photography contest and screening of the documentary El Caballo: The Wild Horses of North America, 5-7 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.
EVENTS
Randall Davey house tours Docent-led tours, 2 p.m. weekly on Friday, Randall Davey Audubon Center, 1800 Upper Canyon Rd., $5, RSVP to 505-983-4609.
NIGHTLIFE
(See Page 50 for addresses) Cowgirl BBQ Americana band Bone Orchard, 8:30 p.m., no cover. The Den Ladies night with DJ Luna, 9 p.m., call for cover. ▶▶▶▶▶▶▶▶
calendar guidelines
Please submit information and listings for Pasa Week no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 505-820-0803. 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 505-986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter. PASATIEMPOMAGAZINE.COM
49
Duel Brewing Pray for Brain, Mustafa Stefan Dill on guitar and oud, Jefferson Voorhees on drums, and Chris Nelson on bass, indofunk/ sufisurf fusion, 7-10 p.m., no cover. El Farol J.J. and the Hooligans, rock and blues, 9 p.m., call for cover. Junction Folk rockers The Bus Tapes, 10 p.m.-1 a.m., no cover. La Fiesta Lounge at La Fonda Country band Sierra, 8-11 p.m., no cover. Lodge Lounge at The Lodge at Santa Fe Pachanga! Club Fridays with DJ Gabriel “Aztec Sol” Ortega spinning salsa, cumbia, bachata, and merenge, dance lesson, 8:30-9:30 p.m., call for cover. Palace Restaurant & Saloon Nashville singer Tawnya Reynolds, 10 p.m., call for cover. Pranzo Italian Grill David Geist, piano and vocals, 6-9 p.m., call for cover. Second Street Brewery Alternative-country band Boris & The Saltlicks, 6-9 p.m., no cover. Second Street Brewery at the Railyard Kodama Trio, jazz, 7-10 p.m., no cover. Shadeh DJ 12 Tribe, 9 p.m.-4 a.m., call for cover. Tiny’s Jazz guitarist Marc Yaxley, 5:30 p.m.; classic-rock band The Jakes, 8:30 p.m.; no cover.
317 Aztec 20-0150 317 Aztec St., 505-8 the Inn Agoyo Lounge at a ed am on the Al 505-984-2121 303 E. Alameda St., nt & Bar ra au st Anasazi Re Anasazi, the of Inn d oo sew Ro 505-988-3030 e., Av ton ing 113 Wash Betterday Coffee 5-555-1234 , 50 905 W. Alameda St. nch Resort & Spa Ra e dg Lo Bishop’s ., 505-983-6377 Rd e 1297 Bishops Lodg Café Café 5-466-1391 500 Sandoval St., 50 Casa Chimayó 5-428-0391 409 W. Water St., 50 ón ¡Chispa! at El Mes 505-983-6756 e., 213 Washington Av Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. te Café The Den at Coyo 5-983-1615 50 , St. r ate W . W 132 Duel Brewing 5-474-5301 1228 Parkway Dr., 50 lton El Cañon at the Hi 88-2811 5-9 50 , St. al 100 Sandov
50
PASATIEMPO I April 4-10, 2014
5 Saturday GALLERY/MUSEUM OPENINGS
Santa Fe Botanical Garden 715 Camino Lejo, Museum Hill, 505-471-9103. Birds in the Garden, site-specific installation by ceramicist Christy Hengst, reception 3-5 p.m., through April 23. A Sea Gallery 407 S. Guadalupe St., 505-988-9140. Heart, Trees… and Rain, paintings by Monika Steinhoff, reception 3-6 p.m. Tina Davila Pottery 933 Nicole Place, 505-986-9856. Open studio and sale 10 a.m.-4 p.m.
CLASSICAL MUSIC
The Met at the Lensic The season continues with Puccini’s La Bohème, the Lensic, 11 a.m. and 6 p.m., $22-$28, ticketssantafe.org, 505-988-1234.
IN CONCERT
Awna Teixeira and Dan Bern Singer/songwriters, 7 p.m., Gig Performance Space, 1808-H Second St., $25 in advance at brownpapertickets.com. Metalachi Hard-rock mariachi band, 8 p.m., Santa Fe Sol Stage & Grill, 37 Fire Place, $10 in advance, holdmyticket.com, 21+. (See story, Page 24)
THEATER/DANCE
27th Annual Choreographers’ Showcase Organized by New Mexico Dance Coalition; including Echo Gustafson, Monica Mondragon, Pomegranate Studios, and 3HC Holy Faith,
PASA’S LITTLE BLACK BOOK Spa Eldorado Hotel & St., 505-988-4455 o isc nc Fra n Sa 309 W. El Farol 5-983-9912 808 Canyon Rd., 50 ill El Paseo Bar & Gr 92-2848 5-9 50 , St. teo 208 Galis Evangelo’s o St., 505-982-9014 200 W. San Francisc erging Arts High Mayhem Em 38-2047 5-4 50 2811 Siler Lane, Hotel Santa Fe ta, 505-982-1200 1501 Paseo de Peral asters Iconik Coffee Ro -0996 28 5-4 50 , St. na 1600 Le n tio Junc , 505-988-7222 530 S. Guadalupe St. La Boca 5-982-3433 72 W. Marcy St., 50 ina La Casa Sena Cant 5-988-9232 50 e., Av e 125 E. Palac at La Fonda La Fiesta Lounge , 505-982-5511 St. o isc 100 E. San Franc a Fe Resort nt Sa de La Posada e Ave., lac and Spa 330 E. Pa 00 -00 505-986 g Arts Center Lensic Performin St., 505-988-1234 o isc nc Fra 211 W. San
7:30 p.m., Railyard Performance Center, 1611-B Paseo de Peralta, $10-$15 sliding scale, tickets available at the door. The Lyons Santa Fe Playhouse presents Nicky Silver’s drama, 7:30 p.m., 142 E. De Vargas St., $20, discounts available, 505-988-4262, santafeplayhouse.org, Thursdays-Sundays through April 13. When the Stars Trembled in Río Puerco Teatro Paraguas and Recuerdos Vivos New Mexico present a play by Shebana Coelho based on oral histories of the Río Puerco Valley collected by folk historian Nasario García, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $15, discounts available, 505-424-1601.
BOOKS/TALKS
National Poetry Month Angela Janda reads from herEnew D collection L l1 p.m., E Small Rooms With Gods, Santa Fe C N CA Arts Commission Community Gallery, 201 W. Marcy St., no charge, 505-955-6707. Opera Breakfast Lecture The series continues with Tom Franks’ discussion of Puccini’s La Bohème, 9:30 a.m., Collected Works Bookstore, 202 Galisteo St., $5 donation at the door, 505-988-4226. Robert Mills The Santa Fe author reads from First and Last Love; Thoughts and Memories About Music, 4 p.m., Op. Cit. Books, 500 Montezuma Ave., Sanbusco Center, 505-428-0321. Santa Fe Council on International Relations lecture Women Political Leaders in Asia: Are They Gender Game Changers?, with Vassar sociology professor Seungsook Moon, 3 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, $20, 505-982-4931, sfcir.org.
Lodge Lounge at The Lodge at Santa Fe 750 N. St. Francis Dr., 505-992-5800 Low ’n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe 125 Washington Ave., 505-988-4900 The Matador 116 W. San Francisco St. Mine Shaft Tavern 2846 N.M. 14, Madrid, 505-473-0743 Molly’s Kitchen & Lounge 1611 Calle Lorca, 505-983-7577 Museum Hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Trail, 505-982-1851 Palace Restaurant & Saloon 142 W. Palace Ave., 505-428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 505-986-0022 Pranzo Italian Grill 540 Montezuma Ave., 505-984-2645 Santa Fe Community Convention Center 201 W. Marcy St., 505-955-6705
OUTDOORS
Enchanted Hikes The City of Santa Fe Recreation Division offers easy to moderate treks along the following trails: Dale Ball, Dorothy Stewart, Tesuque Creek, and Galisteo Basin Preserve; Session I, Thursdays through April 24, 4-6 p.m.; Session II, Saturdays through April 26, 10 a.m.-noon, preregister at Genoveva Chavez Community Center, 3221 Rodeo Rd., $6.50 per hike or $20 for full session, contact Michelle Rogers for registration information, 505-955-4047.
EVENTS
Wild Horse Film Showcase Four documentary films, beginning at 10:30 a.m., New Mexico History Museum Auditorium, 113 Lincoln Ave., $5 each, $15 for all four, 505-988-1234, ticketssantafe.org, visit cimarronskydog.org for details.
NIGHTLIFE
(See addresses below) Anasazi Restaurant & Bar Guitarist Jesus Bas, 7-10 p.m., no cover. ¡Chispa! at El Mesón Flamenco Conpaz Troupe, 7-10 p.m., call for cover. Cowgirl BBQ Gregg Daigle Band, 2-5 p.m.; Slow Motion Cowboys, 8:30 p.m.; no cover. Duel Brewing Contemporary Balkan folk ensemble Rumelia, 7-10 p.m., no cover. El Farol C.S. Rockshow, featuring Don Curry, Pete Springer, and Ron Crowder, 9 p.m., call for cover. La Fiesta Lounge at La Fonda Country band Sierra, 8-11 p.m., no cover.
Santa Fe Sol Stage & Grill 37 Fire Place, solofsantafe.com Second Street Brewer y 1814 Second St., 505-982-3030 Second Street Brewer y at the Railyard 1607 Paseo de Peralta, 505-989-3278 Shadeh Buffalo Thunder Resort & Casino, Pojoaque Pueblo, U.S. 84/285, 505-455-5555 Sweetwater Harvest Kitchen 1512-B Pacheco St., 505-795-7383 Taberna La Boca 125 Lincoln Ave., 505-988-7102 Tiny’s 1005 St. Francis Drive, Suite 117, 505-983-9817 The Underground at Evangelo’s 200 W. San Francisco St. Upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000 Vanessie 434 W. San Francisco St., 505-982-9966 Warehouse 21 1614 Paseo de Peralta, 505-989-4423 Zia Dinner 326 S. Guadalupe St., 505-988-7008
9 Wednesday
La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, featuring vocalist Whitney Carroll Malone, 6-9 p.m., call for cover. Palace Restaurant & Saloon Neil Young tribute band Drastic Andrew & The Cinnamon Girls, 10 p.m., call for cover. Pranzo Italian Grill David Geist, piano and vocals, 6-9 p.m., call for cover. Second Street Brewery Pollo Frito, New Orleans jazz and funk, 6-9 p.m., no cover. Second Street Brewery at the Railyard Broomdust Caravan, cosmic Americana, 7-10 p.m., no cover. Shadeh DJ Flo Fader, 9 p.m.-4 a.m., call for cover. Sweetwater Harvest Kitchen John Serkin, Hawaiian slack-key guitar, 6 p.m., no cover. Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m., no cover.
GALLERY/MUSEUM OPENINGS
Santa Fe Community College 6401 Richards Ave., 505-428-1501. Bees and Flowers, micrographic photography by high school students in The Masters Program, reception 4-6 p.m., through April 11.
IN CONCERT
Tatsuya Nakatani and Jeff Sussmann & Al Faaet Solo and duet percussion sets, 8 p.m., doors open at 7:30 p.m., High Mayhem Studio, 2811 Siler Rd., $10 suggested donation at the door.
BOOKS/TALKS
6 Sunday
Carl Moore: Trinidad, Chiaroscuro Contemporary, 702½ Canyon Rd.
GALLERY/MUSEUM OPENINGS
EVENTS
Museum of International Folk Art 706 Camino Lejo, Museum Hill, 505-476-1200. Wooden Menagerie: Made in New Mexico, early 20th-century carvings, reception 1-4 p.m., through Feb. 15, 2015.
IN CONCERT
Celebration of the Enduring American Popular Song Vocalists Patty Stephens and David Jenness with the John Rangel Trio, 4 p.m., Vanessie, 427 W. Water St., $25 in advance online at santafebotanicalgarden.org and at the door, proceeds benefit Santa Fe Botanical Garden, 505-471-9103. Melanie Monsour Piano recital with Paul Brown on bass, noon2 p.m., Museum Hill Café, 710 Camino Lejo, no charge, melaniemonsour.com.
THEATER/DANCE
Luma Experimental-light theater performance, 2 and 7 p.m., the Lensic, $15-$35, discounts available, 505-988-1234, ticketssantafe.org. The Lyons Santa Fe Playhouse presents Nicky Silver’s drama, 4 p.m., 142 E. De Vargas St., $20, discounts available, 505-988-4262, santafeplayhouse.org, Thursdays-Sundays through April 13. When the Stars Trembled in Río Puerco Teatro Paraguas and Recuerdos Vivos New Mexico present a play by Shebana Coelho based on oral histories of the Río Puerco Valley collected by folk historian Nasario García; Share Your Recuerdos, open-mic event precedes the performance, 4 p.m., Teatro Paraguas Studio, 3205 Calle Marie, pay-what-you-wish, 505-424-1601.
BOOKS/TALKS
Ann Filemyr The poet reads from and signs copies of Love Enough, 4 p.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101, Sanbusco Center, 505-428-0321. Journey Santa Fe Presents A discussion with James Keele on What About Electric Vehicles? and with Dan Baker on Better Living With Electric Vehicles, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.
Santa Fe Men’s Camerata benefit The choral ensemble performs pop selections and folk music, noon-3 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $30 includes lunch and silent auction, $10 for auction only, tickets available in advance and at the door, call Karen Marrolli, 225-571-6352.
NIGHTLIFE
(See Page 50 for addresses) Cowgirl BBQ John Prine tribute with Boris & The Saltlicks, noon-3 p.m.; Charlie Mile Trio, jam band, 8 p.m., no cover. El Farol Chanteuse Nacha Mendez, 7:30 p.m., call for cover. La Posada de Santa Fe Resort and Spa Guitarist Wily Jim, Western swingabilly, 7-10 p.m., no cover.
7 Monday IN CONCERT
The Mavericks Veteran country/rock/Tex-Mex-fusion band, 7:30 p.m., the Lensic, $36-$54, 505-988-1234, ticketssantafe.org.
BOOKS/TALKS
April Author Series Science-fiction author Connie Willis reads from and answers questions about Blackout/ All Clear, 7 p.m., Jean Cocteau Cinema, 418 Montezuma Ave., 505-466-5528. Breakfast With O’Keeffe The gallery talk series continues with Abiquiú: A Brief History, presented by historian Virgil Trujillo, 8:30 a.m., Georgia O’Keeffe Museum, 217 Johnson St., by museum admission, 505-946-1039. Southwest Seminars lecture The series continues with Ceramic Ecology From Clay to Sherd: Making & Breaking Pots in the Name of Southwest Archaeology, with archaeologist Eric Blinman, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 505-466-2775, southwestseminars.org.
EVENTS
Swing dance Weekly all-ages informal swing dance, lessons 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance only $3, lesson and dance $8, 505-473-0955.
NIGHTLIFE
(See Page 50 for addresses) Duel Brewing James T. Baker, Delta blues, with Raven Redfox, 6-9 p.m., no cover. El Farol Tiho Dimitrov, R & B, 8:30 p.m., no cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country, 7:30 p.m., no cover.
8 Tuesday BOOKS/TALKS
David Allen Sibley The author and illustrator discusses his second edition of The Sibley Guide to Birds, 5 p.m., Garcia Street Books, 376 Garcia St., 505-986-0151. School for Advanced Research lecture Chasing History: Quixotic Quests for Artifacts, Art, and Heritage, by historian Thomas E. Chavez, 3 p.m., 660 Garcia St., no charge, 505-954-7200.
Taos Society of Artists: Joseph Henry Sharp The docent-led Artist of the Week series continues with a discussion of the late painter, 12:15 p.m., New Mexico Museum of Art, 107 W. Palace Ave., by museum admission, 505-476-5075. Walter W. Nelson The photographer launches his monograph The Black Place: Two Seasons with a presentation and signing with contributors author Douglas Preston and Katherine Ware, New Mexico Museum of Art photography curator, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.
NIGHTLIFE
(See Page 50 for addresses) ¡Chispa! at El Mesón Singer/guitarist Jesús Bas, 7-9 p.m., no cover. Cowgirl BBQ Loves It!, folk/country/swing band, 8 p.m., no cover. Duel Brewing Anthony Leon and Joe West, indie rock, 7-10 p.m., no cover. El Farol Guitarist/singer John Kurzweg, 8:30 p.m., no cover. ▶▶▶▶▶▶▶▶
Talking Heads
NIGHTLIFE
(See Page 50 for addresses) ¡Chispa! at El Mesón Argentine Tango Milonga, 7:30 p.m., no cover. Cowgirl BBQ Sweetwater String Band, bluegrass, 8 p.m., no cover. El Farol Canyon Road Blues Jam, 8:30 p.m., call for cover. Second Street Brewery at the Railyard Open-mic song night with Ben Wright, 8 p.m., no cover. Tiny’s Song Circle, monthly open-mic song swap hosted by Percolator John, 7-9 p.m., no cover. Zia Diner Weekly Santa Fe bluegrass jam, 6-8 p.m., no cover.
The Black Place: Two Seasons Photographer Walter W. Nelson launches his monograph on the remote Northwest New Mexico badlands on the Navajo Reservation with a reading and signing at 6 p.m. Wednesday, April 9, at Collected Works Bookstore, 202 Galisteo St. Contributors author Douglas Preston and Katherine Ware, New Mexico Museum of Art photography curator, join in the presentation.
PASATIEMPOMAGAZINE.COM
51
Reverend Horton Heat Texas psychobilly trio, Two Ton Strap opens, 7 p.m. Sunday, April 6, Taos Mesa Brewing, 20 ABC Mesa Rd., El Prado, $15, 575-758-1900, taosmesabrewing.com.
▶ People who need people Community
Nominations for Santa Fe Community Foundation’s 28th Annual Piñon Awards Honoring Santa Fe and Northern New Mexico nonprofit organizations; four categories: Courageous Innovation, Quiet Inspiration, Visionary, and Tried-and-True; visit santafecf.org for guidelines and nomination forms, April 15 deadline.
Volunteers
Chatter Cabaret presents pianist Keith Snell on Sunday, April 6, at The Kosmos, 1715 Fifth St. N.W., Albuquerque.
Iconik Coffee Roasters Ravensong; a monthly singer/songwriter showcase hosted by Dave Tutin, 7 p.m., no cover. Junction Karaoke Night hosted by Michelle, 10 p.m.-1 a.m., no cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. Zia Diner Guitarist Gary Gorence, rock and blues, 6:30-8:30 p.m., no cover.
10 Thursday IN CONCERT
Jacob Fred Jazz Odyssey and the Mike Dillon Band Instrumental trio and quartet, 7 p.m., Warehouse 21, 1614 Paseo de Peralta, call 505-989-4423 for ticket information.
THEATER/DANCE
The Lyons Santa Fe Playhouse presents Nicky Silver’s drama, 7:30 p.m., 142 E. De Vargas St., $20, discounts available, 505-988-4262, santafeplayhouse.org, Thursdays-Sundays through April 13.
EVENTS
Santa Fe Community College Planetarium program How to Select and Use a Telescope, Q & A and demonstration, 8 p.m., Santa Fe Community College, 6401 Richards Ave., $5 at the door, discounts available, 505-428-1744.
NIGHTLIFE
(See Page 50 for addresses) ¡Chispa! at El Mesón Jazz pianist John Rangel, 7-9 p.m., no cover. Cowgirl BBQ Bartender 4 Mayor, classic country and redneck rock, 8 p.m., no cover. Duel Brewing Connie Long and Fast Patsy, country with a twist of rockabilly and blues, 7-10 p.m., no cover.
52
PASATIEMPO I April 4-10, 2014
El Farol Guitarras con Sabor, Gypsy Kings style, 8 p.m., no cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Pat Malone Trio, Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 6-9 p.m., call for cover. Low ’n’ Slow Lowrider Bar at Hotel Chimayó Tenor guitarist and flutist Gerry Carthy, 9 p.m., no cover. Palace Restaurant & Saloon Thursday limelight karaoke, 10 p.m., no cover. Tiny’s R & B band The Jakes, 8 p.m., no cover. Zia Diner Swing Soleil, Gypsy jazz & swing, 6:30-8:30 p.m., no cover.
▶ Elsewhere ALBUQUERQUE
Joshua Redman Quartet Jazz saxophonist, 7 p.m. Friday, April 4, Outpost Performance Space, 210 Yale Blvd. S.E., $30, student discounts available, 505-268-0044, outpostspace.org. New Mexico Philharmonic 2013-2014 classics series: Brahms’ Symphony No. 2, 6 p.m. Saturday, April 5, KiMo Theatre, 423 Central Ave. N.W., $20 and $30, student discounts available; 2 p.m. Sunday, April 6, music of Vivaldi and Schubert, featuring oboist Kevin Vigneau, National Hispanic Cultural Center, 1701 Fourth St. S.W., $24-$68, nhccnm.org. Pavlo Greek guitarist, 8 p.m. Saturday, April 5, Outpost Performance Space, 210 Yale Blvd. S.E., $17 in advance, $22 day of show, ampconcerts.org or holdmyticket.com, 505-886-1251.
Chatter Sunday Keith Snell performs left-hand piano concertos of Donizetti, Scriabin, and Schulhoff, 10:30 a.m. Sunday, April 6, reading by poet Bruce Noll follows, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterabq.org. 2014 John Donald Robb Composers’ Symposium UNM presents nightly concerts, daytime workshops, panel discussions, and master classes April 5-10; John Donald Robb’s Piano Quintet kicks off the concerts at 5 p.m. Sunday, April 6, UNM Center for the Arts; another noteworthy concert is the multimedia chamber opera Cuatro Corridos performed at South Broadway Cultural Center, 7 p.m. Monday, April 7 (call 505-848-1320 for reservations); visit robbtrust.org for details. (See Listen Up, Page 28) Chatter Cabaret Part 1, variations on composers Mozart, Gounod, and Gershwin, part 2, Knee Plays from Glass’ opera Einstein on the Beach, 5 p.m. Sunday, April 6, Hotel Andaluz, 125 Second St. N.W., $25, brownpapertickets.com. South Broadway Cultural Center 1025 Broadway Blvd. S.E., 505-848-1320. Sanctuary — A Personal Journey, group exhibit including works by Patrick Nagatani and Holly Roberts, reception 6-8 p.m. Thursday, April 10, through May.
MADRID
Johnsons of Madrid 2843 NM 14, 505-471-1054. Group shows: 4 Artists, 4 Walls; works by Collector’s Guide artists; 100 Northern New Mexico Gallery Artists; reception 3-5 p.m. Saturday, April 5.
TAOS
Harwood Museum of Art: Day of Wonder and Art Interactive gallery activities, live music, performances, and treasure hunts, 11 a.m.2 p.m. Saturday, April 5, 238 Ledoux St., no charge, 575-758-9826, harwoodmuseum.org.
American Cancer Society Training offered in support of the Cancer Resource Center at Christus St. Vincent Cancer Center; various shifts available during business hours Mondays-Fridays; call Geraldine Esquivel for details, 505-463-0308. 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 505-428-1353. Food for Santa Fe The nonprofit needs help packing and distributing groceries between the hours of 6 and 8 a.m. Wednesdays and Thursdays, 505-471-1187 or 505-603-6600. The Hospice Center Assist in the office entering data for the volunteer program for a limited number of hours either weekly or biweekly; basic computer skills required; call Mary Ann at 505-988-2211. Plant a Row for the Hungry A Food Depot program encouraging home gardeners to plant extra produce for donation to the organization; 505-471-1633. St. Elizabeth Shelter Help with meal preparation at residential facilities and emergency shelters; other duties also available; contact Rosario, 505-982-6611, Ext. 108, volunteer@steshelter.org.
▶ Pasa Kids Santa Fe Children’s Museum Weekly events including open art studio, drama club, jewelry-making club, and preschool programs, 1050 Old Pecos Trail, by museum admission, 505-989-8359, santafechildrensmuseum.org. Opera Makes Sense: Journey to Italy With Don Pasquale Children ages 3-5 and their caregivers can learn about opera through dance, song, music, costumes, and art projects. Stieren Hall, Santa Fe Opera, 301 Opera Dr., no charge, RSVP to aquintana@santafeopera.org. New Mexico Museum of Art Family Activity Day Learn how and why the museum works with discussions and tours by museum staff, and participate in a hands-on class to make your own miniature gallery, 1 p.m. Sunday, April 6, 107 W. Palace Ave., no charge, 505-476-5072. Children’s Story Hour Readings from picture books for children up to age 5; 10:45-11:30 a.m. weekly on Wednesdays and Thursdays, Collected Works Bookstore, 202 Galisteo St. no charge, 505-988-4226. ◀
In the wings MUSIC
Serenata of Santa Fe Spring for Mozart, music of Pärt, Schnittke, and Mozart, 7 p.m. Friday, April 11, Scottish Rite Center, 463 Paseo de Peralta, $25, 505-988-1234, ticketssantafe.org. Lori Carsillo Jazz vocalist, with Bert Dalton on piano, Jon Gagan on bass, and John Trentacosta on drums, 7 p.m. Friday, April 11, Museum Hill Café, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.org. Santa Fe Community Orchestra Choral arrangement of Mendelssohn’s Elijah, with baritone Carlos Archuleta, soprano Christina Martos, and mezzo-soprano Jacqueline Zander-Wall, 7:30 p.m. Saturday, April 12, Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place, donations accepted, 505-466-4879, sfco.org. Santa Fe Symphony Steven Smith returns to lead the orchestra in Mahler’s Symphony No. 7, 4 p.m. Sunday, April 13, the Lensic, $22-$76, half-price tickets available for youths ages 6-14, 505-988-1234, ticketssantafe.org. Taína Asili y la Banda Rebelde Afro-Latin fusion band, 8 p.m. Sunday, April 13, Santa Fe Sol Stage & Grill, 37 Fire Place, $10, solofsantafe.com, 21+. Neko Case Singer/songwriter, with The Dodos, 7:30 p.m. Monday, April 14, the Lensic, $34-$44, 505-988-1234, ticketssantafe.org. Rickie Lee Jones Singer/songwriter, 7:30 p.m. Thursday, April 17, the Lensic, $40-$60, 505-988-1234, ticketssantafe.org.
Rock band Living Colour on stage at 8 p.m. Saturday, April 19, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., no charge, required tickets can be picked up at the Lensic Performing Arts Center box office.
Santa Fe Pro Musica Baroque Ensemble Featuring soprano Kathryn Mueller, 7:30 p.m. Thursday and Friday, 6 p.m. Saturday, April 17-19, Loretto Chapel, 207 Old Santa Fe Trail, $20-$65, 505-988-1234, ticketssantafe.org, 505-988-4640. Bobby Shew Quartet Plays Chet Baker Local trumpeter, with John Proulx on piano, Michael Glynn on bass, and Cal Haines on drums, 7 p.m. Friday, April 18, Harwood Museum of Art, 238 Ledoux St., $25, 575-758-9826, harwoodmuseum.org. David Berkeley Singer/songwriter, 8 p.m. Saturday, April 19, High Mayhem Emerging Arts, 2811 Siler Lane, $12, students $8, brownpapertickets.com.
Yours Truly Ray Brown Jazz concert with Seattle bassist Michael Glynn, joined by pianist Bert Dalton and percussionist Cal Haines, 7-9 p.m. Saturday, 3-5 p.m. Sunday, April 19-20, $35, call 505-989-1088 for tickets and venue directions. Citizen Cope Solo acoustic performance by the singer/songwriter, 7:30 p.m. Monday, April 21, the Lensic, $30-$50, 505-988-1234, ticketssantafe.org, a portion of the proceeds goes toward purchasing musical instruments for middle schoolers on the Northern Cheyenne Indian Reservation. Leni Stern African Trio Jazz ensemble; featuring Senegalese musicians Mamadou Ba and Alioune Faye, 8 p.m. Sunday, May 11, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. Seventh Annual Crawdaddy Blues Fest Includes Mississippi Rail Company, Junior Brown, Desert Southwest Blues Band, and Felix y Los Gatos, Saturday and Sunday, May 17-18, Madrid, $15 daily, kids under 12 no charge, crawdaddybluesfest.com. Santa Fe Opera 2014 Festival Season The season opens with a new production of Bizet’s Carmen and includes the American premiere of Dr. Sun Yat-sen by Huang Ruo, as well as Beethoven’s Fidelio and Stravinsky’s Le Rossignol, June 27-Aug. 23, schedule of community events available online, Santa Fe Opera, 301 Opera Dr., 505-986-5900, santafeopera.org. Ninth Annual New Mexico Jazz Festival Held July 11-27 in Albuquerque and Santa Fe; performers include Terri Lyne Carrington’s Mosaic Project, Jack DeJohnette Trio, Claudia Villela Quartet, and Henry Butler with Steven Bernstein & The Hot 9, tickets TBA, visit newmexicojazzfestival.org for schedule.
UPCOMING EVENTS Joe West’s Theater of Death One-act plays, includes musical guests Busy McCarroll, Anthony Leon, and Lori Ottino, 8 p.m. Fridays and Saturdays, April 25-26, May 2-3, and Thursday, May 1, Engine House Theater, 2846 NM 14, Madrid, $15 in advance at Candyman Strings & Things, 851 St. Michael’s Dr., 505-983-5906, and Mine Shaft Tavern, 2846 NM 14, Madrid, 505-473-0743. BalletNext Classic and contemporary choreography by Mauro Bigonzetti and Brian Reeder, 7:30 p.m. Friday and Saturday, April 25-26, the Lensic, $20-$75 in advance at the Santa Fe Concert Association box office, 505-984-8759, or 505-988-1234, ticketssantafe.org. Pajama Men The Albuquerque-based comedy duo in Just the Two of Each of Us, 7:30 p.m. Sunday April 27, the Lensic, $15-$35, 505-988-1234, ticketssantafe.org. Tribes Fusion Theatre Company presents Nina Raine’s drama, 8 p.m. Friday, 2 and 8 p.m. Saturday, May 2-3, the Lensic, $20-$40, 505-988-1234, ticketssantafe.org. The Lilac Minyan A play by Debora Seidman, presented by Metta Theatre, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, May 2-4, Teatro Paraguas Studio, 3205 Calle Marie, $18, discounts available, 505-424-1601, teatroparaguas.org. Flexion Wise Fool New Mexico’s touring stilt and aerial performance, 7:30 p.m. Friday and Saturday, May 16-17, Santa Fe Railyard Park, 740 Cerrillos Rd., donations accepted, wisefoolnewmexico.org.
HAPPENINGS
The Armory Show Multimedia group exhibit and public-program series in celebration of CCA’s 35th anniversary; opening reception 6-8 p.m. Friday, April 11; gala 6 p.m. Saturday, April 12; Capital High School Film Festival, 11 a.m. Saturday, May 10, Center for Contemporary Arts, 1050 Old Pecos Trail, exhibit reception $5, gala $100, film festival no charge, 505-982-1338, ccasantafe.org.
River Voices Auctions and dinner in support of the Santa Fe Girls’ School Project Preserve ecological-education program; live music with percussion and vocal ensemble Mala Maña; meal prepared by chef Bret Sparman of Luminaria, 5:30 p.m. Saturday, April 12, Inn and Spa at Loretto, 211 Old Santa Fe Trail, $75, 505-820-3188. Lannan Foundation Literary Series Author Benjamin Alire Sáenz in conversation with UT professor Cecilia Ballí, 7 p.m. Wednesday, April 16, the Lensic, $6, discounts available, 505-988-1234, ticketssantafe.org. Opera Unveiled Santa Fe Opera Guild presents author and lecturer Desirée Mays in a preview of the 2014 Santa Fe Opera season, 5:30 p.m. Wednesday, April 23, Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., $10, 505-629-1410, guildsofsfo.org. Fantase Dome Fest Outdoor multimedia interactive light installation presented by Creative Santa Fe, 6-11 p.m. Friday, May 9, De Vargas Park, W. Alameda and S. Guadalupe streets, no charge, 505-989-9934, creativesantafe.org. Tenth Annual Native Treasures More than 200 Native artists selling handcrafted works; benefit preview party with a reception for the 2014 Living Treasures artists Joe Cajero and Althea Cajero, hors d’oeuvres, champagne, and live jazz ensemble, 7:30 p.m. Friday, May 23; early bird show 9 a.m. Saturday, May 24, art show and sale 10 a.m.-4 p.m. Saturday and Sunday, Santa Fe Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St., early bird admission $20 at the door, Saturday show $10 at the door, no charge on Sunday, preview party $100 in advance online at nativetreasures.org (includes early bird ticket for Saturday admission). New Mexico History Museum Fifth Anniversary Bash Highlighting toys from the permanent collection with Toys and Games: A New Mexico Childhood, games held in the Palace of the Governors Courtyard, 2-4 p.m. Sunday, May 25, New Mexico History Museum, 113 Lincoln Ave., by museum admission, 505-476-5200.
THEATER/DANCE
Louder Than Words Belisama Dance and Moving People Dance Theatre present a student repertory concert, 7 p.m. Friday and Saturday, April 11-12, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $20, ages 6-12 $10, 505-988-1234, ticketssantafe.org. Consider This Theater Grottesco presents a light-hearted showcase of theatrical styles through history, 7:30 p.m. Friday and Saturday, April 18-19, Santa Fe Playhouse, 142 E. De Vargas St., $10, students $5, 505-474-8400, theatergrottesco.org. Left to Our Own Devices: Staying Connected in the Digital Age Just Say It Theater presents a collaborative performance by students of Santa Fe University of Art & Design and New Mexico School for the Arts, 7 p.m. Thursday-Saturday, 2 p.m. Sunday, April 24-27, Warehouse 21, 1614 Paseo de Peralta, $10, 505-820-7112. Taína Asili y la Banda Rebelde on stage April 13, at Santa Fe Sol Stage & Grill
PASATIEMPOMAGAZINE.COM
53
AT THE GALLERIES Chiaroscuro Contemporary Art 702½ Canyon Rd., 505-992-0711. Spring Thaw, group show. Jean Cocteau Cinema Gallery 418 Montezuma Ave., 505-466-5528. Mortal Mirrors, drawings by Todd Ryan White, through April 11. LewAllen Galleries 1613 Paseo de Peralta, 505-988-3250. Glass-artist Lucy Lyon’s Sandy Hook Elementary School memorial, through April 20. Monroe Gallery of Photography 112 Don Gaspar Ave., 505-992-0800. When Cool Was King, photojournalistic works, through April 20. Santa Fe Clay 545 Camino de la Familia, 505-984-1122. Works by ceramic artists Lee Akins, Marc Digeros, and Lilly Zuckerman, through April 19. Visual Arts Gallery — Santa Fe Community College 6401 Richards Ave., 505-428-1501. Gray, Matters: An Exhibition of Contemporary Native American Art + Design, group show, through April 22. Zane Bennett Contemporary Art 435 S. Guadalupe St., 505-982-8111. Bits and Pieces, works by Karina Hean, Catherine Gangloff, and Michel Déjean, through April 19.
MUSEUMS & ART SPACES SANTA FE
Georgia O’Keeffe Museum 217 Johnson St., 505-946-1000. Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views; through Sept. 14. Paintings, drawings, sculptures, sketches, and photographs by O’Keeffe in the permanent collection. Open daily; visit okeeffemuseum.org. Museum of Contemporary Native Arts 108 Cathedral Place, 505-983-1777. Articulations in Print, group show, through July • Bon à Tirer, prints from the permanent collection, through July • Native American Short Films, continuous loop of five films from Sundance Institute’s Native American and Indigenous Program. Closed Tuesdays; visit iaia.edu/ museum. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 505-476-1269. Native American Portraits: Points of Inquiry, vintage and contemporary photographs, through January 2015 • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, more than 1,300 artifacts from the museum collection. Closed Mondays through Memorial Day; visit indianartsandculture.org. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 505-476-1200. Wooden Menagerie: Made in New Mexico, early 20th-century carvings, reception 1-4 p.m. Sunday, April 6, through Feb. 15, 2015 • Tako Kichi: Kite Crazy in Japan, exhibition of Japanese kites, through April 27 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art • Brasil and Arte Popular, pieces from the museum’s collection, through Aug. 10. Closed Mondays; visit internationalfolkart.org.
54
PASATIEMPO I April 4-10, 2014
Santa Fe Children’s Museum 1050 Old Pecos Trail, 505-989-8359. Houses current interactive exhibits. Visit santafechildrensmuseum.org; closed Mondays and Tuesdays through May. SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. Feast: Radical Hospitality in Contemporary Art, through May 18. (See review, Page 38). Closed Mondays-Wednesdays; visit sitesantafe.org. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13. Open daily; visit wheelwright.org.
ALBUQUERQUE
Jean Cocteau Cinema Gallery, 418 Montezuma Ave., shows drawings by Todd Ryan White.
Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 505-982-2226. Filigree & Finery: The Art of Adornment in New Mexico, through May • Window on Lima: Beltrán-Kropp Peruvian Art Collection, through May 27 • San Ysidro/ St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation. Visit spanishcolonialblog.org; closed Mondays. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 505-476-5200. Transformed by New Mexico, work by photographer Donald Woodman, through Oct. 12 • Water Over Mountain, Channing Huser’s photographic installation • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe. Closed Mondays; visit nmhistorymuseum.org. New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. Focus on Photography, rotating exhibits: Beneath Our Feet, photographs by Joan Myers • Grounded, landscapes from the museum collection • Photo Lab, interactive exhibit explaining the processes used to make color and platinumpalladium prints from the collection, through March 2015 • 50 Works for 50 States: New Mexico, through April 13. Closed Mondays; visit nmartmuseum.org. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Place, 505-988-8900. Gathering of Dolls: A History of Native Dolls, through April 27. Closed Mondays; visit pvmiwa.org. Poeh Cultural Center and Museum 78 Cities of Gold Rd., 505-455-3334. Nah Poeh Meng, 1600-square-foot installation highlighting the works of Pueblo artists and Pueblo history. Closed Saturdays and Sundays; visit poehcenter.org.
Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-243-7255. Everybody’s Neighbor: Vivian Vance, family memorabilia and the museum’s photo archives of the former Albuquerque resident, through January 2015 • Behind Closed Doors: Art in the Spanish American Home, 1492-1898, works from the Brooklyn Museum, through May 18 • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, more than 150 examples of craftsmanship and design distinctive to the charro • African American Art From the Permanent Collection, installation of drawings, prints, photographs, and paintings by New Mexico African American artists, through May 4. Closed Mondays; visit cabq.gov/culturalservices/albuquerquemuseum/general-museum-information. Holocaust and Intolerance Museum of New Mexico 616 Central Ave. S.W., 505-247-0606. Exhibits on overcoming intolerance and prejudice. Closed Sundays and Mondays; visit nmholocaustmuseum.org. Indian Pueblo Cultural Center 2401 12th St. N.W., 866-855-7902. Our Land, Our Culture, Our Story, a brief historical overview of the Pueblo world, and exhibits of contemporary artwork and craftsmanship of each of the 19 pueblos. Open daily; visit indianpueblo.org. Maxwell Museum of Anthropology UNM campus, 1 University Blvd. N.E., 505-277-4405. The museum’s collection includes over 10 million individual archaeological, ethnological, archival, photo, and skeletal items. Closed Sundays and Mondays; visit unm.edu/ maxwell. National Hispanic Cultural Center 1701 Fourth St. S.W., 505-604-6896. En la Cocina With San Pascual, works by New Mexico artists. Hispanic visual arts, drama, traditional and contemporary music, dance, literary arts, film, and culinary arts. Closed Mondays; visit nationalhispaniccenter.org. UNM Art Museum 1 University of New Mexico Blvd., 505-277-4001. Melanie Yazzie: Geographies of Memory, works by the printmaker and sculptor • 400 Years of Remembering and Forgetting: The Graphic Art of Floyd Solomon, etchings by the late artist (See story, Page 34) • The Blinding Light of History: Genia Chef, Ilya Kabakov, and Oleg Vassiliev, Russian paintings and drawings • Breakthroughs: The Twentieth Annual Juried Graduate Exhibition, all through May 17. Visit unmartmuseum.org; closed Sundays and Mondays.
ESPAÑOLA
Bond House Museum and Misión Museum y Convento 706 Bond St., 505-747-8535. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Call for hours; visit plazadeespanola.com.
LOS ALAMOS
Bradbury Science Museum 1350 Central Ave., 505-667-4444. Information on the history of Los Alamos and the Manhattan Project, as well as over 40 interactive exhibits. Open daily; visit lanl.gov/museum. Los Alamos Historical Museum 1050 Bathtub Row, 505-662-4493. Edith and Tilano: Bridges Between Two Worlds, photographs and artifacts of the early homesteaders, through May. Core exhibits on area geology, early homesteaders, and the Manhattan Project. Housed in the Guest Cottage of the Los Alamos Ranch School. Open daily; visit losalamoshistory.org. Pajarito Environmental Education Center 3540 Orange St., 505-662-0460. Exhibits of flora and fauna of the Pajarito Plateau; herbarium, live amphibians, and butterfly and xeric gardens. Closed Sundays; visit pajaritoeec.org.
TAOS
E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish colonial antiques. Open daily; visit taoshistoricmuseums.org. Harwood Museum of Art 238 Ledoux St., 575-758-9826. Ken Price: Slow and Steady Wins the Race, Works on Paper 1962-2010, drawings by the late artist • Charles Mattox: Poetry in Motion, works on paper from the 1970s • Art for a Silent Planet: Blaustein, Elder and Long, works by local artists Jonathan Blaustein, Nina Elder, and Debbie Long, exhibits up through May 4 • Highlights From the Harwood Museum of Art’s Collection of Contemporary Art • Death Shrine I, work by Ken Price • works of the Taos Society of Artists and Taos Pueblo Artists. Open daily through October; visit harwoodmuseum.org. Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson displaying artifacts, antique firearms, pioneer belongings, and Carson memorabilia. Open daily; visit kitcarsonhomeandmuseum.com. La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. One of the few Northern New Mexicostyle, late-Spanish-colonial-period “great houses” remaining in the American Southwest. Built in 1804 by Severino Martin. Visit taoshistoricmuseums.org; open daily. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Historical collections of Native American jewelry, ceramics, and paintings; Hispanic textiles, metalwork, and sculpture; and a wide range of contemporary jewelry. Open daily through October; visit millicentrogers.org Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. Housed in the studio and home that artist Nicolai Fechin built for his family between 1927 and 1933. Closed Mondays; visit taosartmuseum.org.
EXHIBITIONISM
A peek at what’s showing around town
Scott Voorhies: Bee’s Wing Magnified 60 Times, 2014, digital print. An exhibition of electron microscope images made by students of the MASTERS Program, a charter high school in Santa Fe, and students in the Santa Fe Community College photography department, is on view in the lobby of the Fine Arts Building at SFCC (6401 Richards Ave.; 505-428-1000) through April 11. The exhibition’s theme is magnified bees and flowers. A scanning electron microscope is on hand for visitor use during the run of the show. The public reception is Wednesday, April 9, at 4 p.m.
Leon Berkowitz: Unities 61, 1973, oil on canvas. Sensation, an exhibition of paintings and sculptures from the 1970s to the present, opens at David Richard Gallery (544 S. Guadalupe St.) with a 5 p.m. reception on Friday, April 4. The show explores the influence of color on human emotions, sensations, and perceptions and includes works by Beverly Fishman, Tom Martinelli, Julian Stanczak, and others. Call 505-983-9555.
Celeste Ryder: Eunice, 2012, oil on canvas. Celeste and Anthony Ryder opened a studio in Santa Fe to teach advanced drawing and painting based on the methods and ideas of Ted Seth Jacobs, a former teacher at New York’s Art Students League and founder of L’École Albert Defois in France. An exhibition of works by students and faculty from Ryder Studio opens at Argos Studio/Gallery and Santa Fe Etching Club (1211 Luisa St.) with a 5 p.m. reception on Friday, April 4. Call 505-988-1814.
Sherry Ikeda: Dot Painting, 2014, encaustic. Eggman and Walrus Art Gallery (130 W. Palace Ave., second floor) presents Wax-Ability: Pushing the Boundaries of Encaustic Art. The show comprises works in encaustic, a wax medium applied hot and mixed with pigment, by Jayne Levant, Angel Wynn, Douglas Mehrens, Sherry Ikeda, and John Schaeffer. The show opens Friday, April 4, with a 5:30 p.m. reception. Each artist gives a demonstration/presentation of his or her techniques beginning on Saturday, April 5, at 1 p.m. and continuing every Saturday through the month. Call the gallery at 505-660-0048 or visit www. eggmanwalrus.com for a schedule of demonstrations.
Felipe Benito Archuleta: Sow With Piglets, circa 1970, wood, paint, and fiber. The Museum of International Folk Art (706 Camino Lejo) presents Wooden Menagerie: Made in New Mexico, an exhibition of mixed-media woodcarvings of animals. The show includes historic works by Felipe Benito Archuleta (1910-1991), Patrociño Barela (1900-1964), and other 20th-century artists, as well as works by contemporary artists Luis Tapia, Gloria López, and others. A public reception is on Sunday, April 6, from 1 to 4 p.m.; entrance is by museum admission. Call 505-476-1200.
PASATIEMPOMAGAZINE.COM
55
Best Selection… Best Ser vice… Best Prices Clump aspen Trees
Fruit Trees
Pansy
Time to Plant Now!
#5 containers $45.99 Regularly $49.99
#5 containers $29.99
Jumbo 6 packs $2.99
Fresh Herbs
Hardy vegetables
Geraniums
Basil Sage Dill Lavender Parsley Cilantro Catnip
Thyme Chives Oregano Marjoram Lemon Balm Chervil
Time to Plant Now!
Broccoli Cabbage Brussels Sprouts Cauliflower
In ! o l B om
2.5” containers $2.99 or 10 for $19.99
4 packs $1.49
4” containers $4.99 or 2 for $8.00
seedling Mix
Yum Yum Mix
alaska Fish emulsion
Organic
Organic Alaska Fish Emulsion is the perfect natural fertilizer to give all of your seedlings and plants a healthy boost.
40 lbs. $39.99 Regularly $45.99
d
ALWAYS FRIENDLY PROFESSIONAL NURSERY SERVICE
Jaguar Drive
NEWMAN’S Newmans
sR oa
Family Owned & Operated Since 1974
Ocate Road
Walmart
llo
your pinon trees. The first line of defense is to make sure your trees are watered and fertilized with Gro-Power, even if they are well established. A healthy tree is less likely to be attacked than a drought stressed tree. Tree and shrub systemic can also be applied to help the tree fight off insect attack, not just bark beetle but scale and pinon aphids too. Keep gophers away from your trees. These destructive pests can damage your tree attracting bark beetle attack also.
rri
Pete Moss’ Garden Tip: Bark beetles are back. Protect
1 gallon $19.99
Ce
16 qt. Bag $8.99
oPeN: 9aM-6PM seveN daYs a week
Good thru 4/10/14 • while supplies last • stop by today and see our Great selection.
56
PASATIEMPO I April 4 - 10, 2014
5 I-2
7501 Cerrillos rd.
471-8642