The The New New Mexican’s Mexican’s Weekly Weekly Magazine Magazine of of Arts, Arts, Entertainment Entertainment & & Culture Culture
August August 30, 30, 2013 2013
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PASATIEMPO I August 30 - September 5, 2013
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2013–2014 EVENTS
4
25 SEPTEMBER
Tim DeChristopher with Terry Tempest Williams
16 OCTOBER
Jamaica Kincaid with Robert Faggen
30 OCTOBER
Jeremy Scahill with Tom Engelhardt
20 NOVEMBER
Luis Alberto Urrea with Michael Silverblatt
12 DECEMBER
The Dark Room Collective
15 JANUARY
Bryan Stevenson with Liliana Segura
12 FEBRUARY
George Saunders with Joel Lovell
26 FEBRUARY
Greg Grandin with Avi Lewis
19 MARCH
Trevor Paglen with Rebecca Solnit
2 APRIL
Dave Zirin with David Barsamian
16 APRIL
Benjamin Alire Sáenz with Cecilia Ballí
7 MAY
Sandra Steingraber with Laura Flanders
21 MAY
Colm Tóibín with Michael Silverblatt
PASATIEMPO I August 30 - September 5, 2013
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THE SANTA FE NEW MEXICAN
August 30 - September 5, 2013
www.pasatiempomagazine.com
On the cOver 34 Zozobra unchained A beleaguered Old Man Gloom threatens to break free from his bonds and fulfill event chairman Ray Sandoval’s greatest fear: Zozobra’s triumph over the people of Santa Fe. In this issue, Sandoval (also Zozobra’s face sculptor, fuse ignitor, and pyrotechnic captain) discusses the many updates to this year’s show, which he hopes will make it bigger and better than ever before. On the cover is the official 2013 poster for the Burning of Zozobra by Sebastian “Vela” Velazquez; © The Kiwanis Club of Santa Fe.
BOOKs
mOving images
14 in Other Words Ernest L. Blumenschein 16 transparent writer Joyce Carol Oates 18 how dry we are Gary Paul Nabhan
60 62 63 64 66 68 70
mUsic & PerFOrmance 20 22 24 26 29 30 32
austin’s maine man Slaid Cleaves savor the last dance Katie Dehler listen Up Basking in the afterglow sweet romance Christian Sands Onstage The Gruve terrell’s tune-Up I’m just wild about hairy Pasa tempos CD Reviews
calendar 76 Pasa Week
and 11 mixed media 13 star codes 74 restaurant review: mangiamo Pronto
art & PhOtOgraPhy 50 Photos on the fly Nathan Benn 54 Back pages Trina Badarak 56 remaking places Thiewes & Davidoff
advertising: 505-995-3819 santafenewmexican.com ad deadline 5 p.m. monday
Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 e. marcy st. santa Fe, nm 87501. editorial: 505-986-3019. Fax: 505-820-0803. e-mail: pasa@sfnewmexican.com PasatiemPO editOr — Kristina melcher 986-3044, kmelcher@sfnewmexican.com
Regeneration — Penstamon Bloom With Fire Map 2 (detail) by susan davidoff
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art director — marcella sandoval 986-3025, msandoval@sfnewmexican.com
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assistant editor — madeleine nicklin 986-3096, mnicklin@sfnewmexican.com
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chief copy editor/Website editor — Jeff acker 986-3014, jcacker@sfnewmexican.com
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associate art director — lori Johnson 986-3046, ljohnson@sfnewmexican.com
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calendar editor — Pamela Beach 986-3019, pambeach@sfnewmexican.com
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staFF Writers michael abatemarco 986-3048, mabatemarco@sfnewmexican.com James m. Keller 986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 986-3039, billk@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com
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cOntriBUtOrs loren Bienvenu, nancy coggeshall, laurel gladden, Peg goldstein, robert Ker, Jennifer levin, robert nott, adele Oliveira, Jonathan richards, heather roan-robbins, casey sanchez, michael Wade simpson, steve terrell, Khristaan d. villela
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PrOdUctiOn dan gomez Pre-Press Manager
The Santa Fe New Mexican
© 2013 The Santa Fe New Mexican
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Robin Martin Owner
www.pasatiempomagazine.com
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Beckett on Film Ain’t Them Bodies Saints Passion Blue Jasmine Smash & Grab The English Teacher Pasa Pics
Ginny Sohn Publisher
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advertising directOr Tamara Hand 986-3007
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marKeting directOr Monica Taylor 995-3824
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art dePartment directOr Scott Fowler 995-3836
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graPhic designers Rick Artiaga, Dale Deforest, Elspeth Hilbert
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advertising sales Julee clear 995-3825 mike Flores 995-3840 cristina iverson 995-3830 rob newlin 995-3841 Wendy Ortega 995-3892 art trujillo 995-3852
Ray Rivera editor
Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet
Extra Trains for The New Mexico Wine Festival Saturday, August 31 to Monday, September 2, 2013 - Labor Day Weekend Only 0:00 ESTACIONES DE TREN TRAIN STATIONS
Belen Los Lunas Isleta Pueblo Bernalillo County Downtown ABQ Los Ranchos / JC Sandia Pueblo Downtown Bernalillo Sandoval / US 550
Kewa SF County / NM 599 South Capitol Santa Fe Depot
READ DOWN
Train arrives but does not continue
Shown are departure time unless otherwise noted
#702
#704
#704-A
#706
#708
#708-A
#710
#712
7:46a 7:58a 8:12a 8:19a 8:35a 8:47a 8:53a 9:03a 9:12a 9:33a 9:56a 10:14a 10:19a
9:58a 10:10a 10:24a 10:31a 10:47a 10:59a 11:05a 11:15a 11:24a 11:45a 12:07p 12:26p 12:31p
– – – – 12:59p 1:11p 1:17p 1:27p 1:36p 1:57p 2:20p 2:38p 2:43p
1:40p 1:52p 2:06p 2:13p 2:29p 2:41p 2:47p 2:57p 3:06p 3:27p 3:50p 4:08p 4:13p
3:53p 4:05p 4:19p 4:26p 4:42p 4:54p 5:00p 5:10p 5:19p 5:40p 6:03p 6:21p 6:26p
– – – – 5:19p 5:31p 5:37p – 6:04p 6:25p 6:48p 7:06p 7:11p
7:30p 7:42p 7:56p 8:03p 8:19p 8:31p 8:37p 8:47p 8:56p 9:17p 9:40p 9:58p 10:03p
9:26p 9:38p 9:52p 9:59p 10:12p – – – – – – – –
LEA HACIA ABAJO
ESTACIONES DE TREN TRAIN STATIONS
Santa Fe Depot South Capitol SF County / NM 599 Kewa Sandoval / US 550
Downtown Bernalillo Sandia Pueblo Los Ranchos / JC Downtown ABQ Bernalillo County Isleta Pueblo Los Lunas Belen
READ DOWN
Means train does not stop
Northbound
–
Southbound
#701
#703
– – – – – – – – 6:50a 7:00a 7:06a 7:19a 7:31a
– – – – – – – – 9:01a 9:11a 9:17a 9:30a 9:42a
LEA HACIA ABAJO
Labor Day Weekend Customer Service Hrs. Sat., Sun. & Mon. 7am-10pm
#705
Shown are departure time unless otherwise noted
#707
10:34a 12:46p 10:39a 12:51p 10:57a 1:09p 11:20a 1:32p 11:47a 2:00p 11:52a 2:05p 12:02p 2:15p 12:09p 2:22p 12:22p 2:35p 12:32p 2:45p 12:38p 2:51p 12:51p 3:04p 1:03p 3:16p
#707-A
#709
#709-A
#711
#713
3:07p 3:12p 3:30p 3:53p 4:21p 4:26p 4:36p 4:43p 4:53p
4:28p 4:33p 4:51p 5:14p 5:42p 5:47p 5:57p 6:04p 6:17p 6:27p 6:33p 6:46p 6:58p
6:41p 6:46p 7:04p 7:27p 7:55p 8:00p 8:10p 8:17p 8:30p 8:40p 8:46p 8:59p 9:11p
7:25p 7:30p 7:48p 8:11p 8:39p – 8:54p 9:01p 9:11p – – – – –
10:18p 10:23p 10:41p 11:04p 11:32p 11:37p 11:47p 11:54p 12:04a – – – –
– – – –
ENJOY... RETIRE AND THRIVE!
Taos Retirement Village is an all rental unit community, with no large buy in fees. Join our village! It is a Continuing Care Community purposely designed for you to stay young, active and happy! Take part in a friendly, vibrant community and/or revel in a quiet, private space of your own. Join our journey. It does take a village to thrive like we do in retirement!
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NO LARGE BUY-IN FEES!
RETIREMENT VILL AGE 414 Camino de la Placita . Taos NM
575.758.8248 www.taosretirementvillage.com
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7
SFCA
Beethoven, Shostakovich, and Dvoล รกk
September 16, 2013 7:30pm Lensic Performing Arts Center
Tickets Santa Fe at the Lensic: 505-988-1234 BUFFALOTHUNDERRESORT.com
8 7 7 - TH U N D E R
Player receives one entry for every 30 points earned on their Lightning Rewards card, August 1 through August 24, 2013. Drawings will be simulcast at Cities of Gold. Management reserves all rights.
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PASATIEMPO I August 30 - September 5, 2013
Tickets $25-$75 www.santafeconcerts.org
tonight 30,2013 2013. 5-7pm . 5-7pm tonight. august . april 26,
l as t Fr i day a r t wal k In Santa Fe’s Vibrant Railyard Arts District LaST FRiDay EvERy MONTh
zane bennett contemPorary art Susan Davidoff + Rachelle Thiewes, Regeneration: Common Language
S pA Eo
mARkET STATIon
RA lTA
HA
pE
P
SAnTA FE DEpoT
RAIlyARD plAzA
T TA n
FARmER’S mARkET
DE
site santa Fe
REI
m
An
tai
r a i l ya r d pa r k g
uA
DA
lu
pE
william james david kelly richard siegal charlotte jackson
READ ST.
WAREHouSE 21
P RAIlyARD pARkIng gARAgE
zane bennett
Photo: Peter Kirby
P
lewallen galleries Nathan Oliveira, Paintings & Sculpture John Fincher, Woody Gwyn & Forrest Moses, The Holy Trinity of Landscape Painting
cAmIno DE lA FAmIlIA
El muSEo culTuRAl
P
mAnHATTAn
lewallen
william siegal gallery Karen Gunderson, David Henderson & Tom Waldron Nauticus
tai gallery Sugiura Noriyoshi, Oita’s Art Movement
james kelly contemPorary Enrique Martínez Celaya
david richard gallery Matthew Penkala, Ted Larsen, Lilly Fenichel
cAmIno DE lA FAmIlIA
charlotte jackson Fine art Ed Moses, Green/Bronze
SITE invites you to experience Enrique Martinez Celaya’s total immersive environment The Pearl, which combines painting, sculpture, water, sound, video, and installation to transform the whole museum into a thoughtful yet haunting meditation on childhood, memory, and home.
The Railyard Arts District (RAD) is comprised of seven prominent Railyard area galleries and SITE Santa Fe, a leading contemporary arts venue. RAD seeks to add to the excitement of the new Railyard area through coordinated events like this monthly Art Walk and Free Fridays at SITE, made possible by the Brown Foundation, Inc., of Houston. We invite you to come and experience all we have to offer. PASATIEMPOMAGAZINE.COM
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High Holy Days 5774~2013 ErEv rosh hashanah Rabbi Martin Levy—A World Ablaze: Hearing the Voice of Hineni Wednesday, September 4 7:30 pm
Congregation
Beit Tikva
Rabbi Martin W. Levy Cantor Michael G. Linder & the High Holy Day Choir
rosh hashanah Rabbi Martin Levy—The Unetaneh Tokef: Prayers that bring us closer to the Source Friday, September 5 10:00 am Children’s Service Immediately Following Kol nidrE Rabbi Martin Levy—Soul Prints: The meaning of our faith Friday, September 13 7:30 pm Yom Kippur Rabbi Martin Levy—Feasts and Famine: The prophets point the way Saturday, September 14 10:00 am Children’s Service 2:00 pm Afternoon service 3:00 pm Followed by Yizkor, Concluding Service and Break-the-Fast
www.beittikvasantafe.org
Lensic Presents
Call the synagogue office to arrange for High Holy Day tickets: 505.820.2991 2230 Old Pecos Trail, Santa Fe. Or, download a ticket order form from our website.
World Music
First Ultherapy to arrive in New Mexico! Learn how to receive a free Ulthera brow treatment and Juvederm filler 50% off!
MariadeBarros M u s i c
o f
c a P e
V e r d e
songstress Maria de Barros’s soulful sound combines the music of Portugal and argentina with the spice of the caribbean and the rhythms of africa’s cape Verde islands, the birthplace of her parents and her creative homeland. “Singing mostly in the Cape Verdean creole language of Criolu . . . she is fully in command of her cool, lustrous vocals.” —Seattle Times “The goddaughter of reigning Cape Verde diva Cesaria Evora . . . is creating an expressive vocal style that is uniquely her own.” —Los Angeles Times
Sterling Aesthetics and Lily Love MD announce the first Ultherapy to arrive in New Mexico
September 12 7:30 pm $15–$35 discounts for Lensic members & students
Tickets: 505-988-1234 www.Ticketssantafe.org SERVICE CH ARGES APPLY AT ALL POINTS OF PURCH ASE
th e lensic is a non profit, member-supported organ ization
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PASATIEMPO I August 30 - September 5, 2013
Call us for a complimentary consultation 505-428-0402 Sterling Aesthetics And Lily Love, MD 1651 Galisteo St. Suite 6, Santa Fe
MIXED MEDIA
Transform Your Body! dkb Level I Boot Camp is a strength, cardio, and fat-loss program grounded in kettlebell technique and other cutting edge fitness modalities.
6 weeks, 3 days/week Only $300!
Starts September 10 Morning + evening sessions available!
984-9000 info@dkbfitness.com
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transform your body • transcend your goals
www.dkbfitness.com • 3201 Richards Lane, Suite B, Santa Fe, NM 87507
Patio.Dining 326 S. Guadalupe • 988-7008 • www.ziadiner.com
Susanna Carlisle and Bruce Hamilton: Markings III, video projection on steel with walnut; top, Mosaic Pool, video projection on blown-glass globe
Waves of color
Collaborative artists Susanna Carlisle and Bruce Hamilton present Energy Fields, an exhibition of sculptural video installations. The artists’ work explores the impact of human activity on the landscape. Their recent piece Venice Morning, for instance, deals with the erosion of buildings in Venice, Italy, because of the constantly moving seawater that surrounds the city. Carlisle and Hamilton create socially and environmentally conscious works that employ recycled objects, organic materials, blown glass, and digital projection. The sculptural elements sometimes provide a surface for the projections but often serve as a filter between the projected images and the surrounding environment, distorting and refracting them into moving patterns on the walls. Energy Fields runs concurrently with Penelope Krebs’ Four Square. Krebs is known for the hard-edged abstract paintings from earlier in her career. In recent years, she has turned her attention to detailed studies of birds. Four Square is a series of “four stripe” paintings, compositions Krebs first explored in the late 1980s. The exhibitions, at Yares Art Projects (123 Grant Ave., 984-0044), open Friday, Aug. 30, with a reception beginning at 5:30 p.m. — Michael Abatemarco
Kevin Avants 505 982 2892, cell 505 780 1061 1061 Pen Road, Santa Fe Expert installation of Driveways - Walkways - Patios
PORPHYRY SALES - PORPHYRY SPECIALISTS
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2013 High Holidays Sept 4 Sept 5 Sept 6 Sept 13 Sept 14
All college students may join us at all services as our guests!
SATuRdAy
FRidAy
ThuRSdAy
WEdnESdAy
TuESdAy
mondAy
Still Life
Painting and drawing Kevin Gorges 9:30 am - 12:30 pm 10 weeks $209.95 Sept. 30 - Dec. 2
Watercolor & oil Lee Rommel 9:30 am - 12:30 pm 10 weeks $209.95 Oct. 1 - Dec. 3
Portrait
drawing & Painting
Roberta Remy 9:30 am - 12:30 pm 10 weeks $209.95* Oct. 2 - Dec. 4
Watercolor & oil
AFTERnoon
Figure drawing Kevin Gorges 1:30 pm - 4:30 pm 10 weeks $209.95* Sept. 30 - Dec. 2
oil Painting
intro Figure Painting Must have figure experience
Kevin Gorges 6:00 pm - 8:30 pm 10 weeks $209.95* Oct. 1 - Dec. 3
Watercolor & oil
James Roybal 1:30 pm - 4:30 pm 10 weeks $209.95 Oct. 2 - Dec. 4
Watercolor
Watercolor
mixed media Collage
Richard Guzmán 9:30 am - 1:30 pm 8 weeks $209.95 Oct. 5 - Nov. 23
Richard Guzmán 6:00 pm - 8:30 pm 10 weeks $209.95 Sept. 30 - Dec. 2
Pastel Painting
Michael McGuire 1:30 pm - 4:30 pm 10 weeks $209.95 Oct. 3 - Dec. 12
oil Painting
drawing
Beginning & intermediate
Michael McGuire 1:30 pm - 4:30 pm 10 weeks $209.95 Oct. 1 - Dec. 3
Lee Rommel 9:30 am - 12:30 pm 10 weeks $209.95 Oct. 3 - Dec. 12
Mell Feltman 9:30 am - 12:30 pm 10 weeks $209.95 Oct. 4 - Dec. 13
EvEning
Lee Rommel 6:00 pm - 8:30 pm 10 weeks $209.95 Oct. 2 - Dec. 4
Expression Through Watercolor Christy Henspetter 6:00 pm - 9:00 pm 10 weeks $209.95 Oct. 3 - Dec. 12
*+model Fee
Darlene McElroy 1:30 pm - 4:30 pm 10 weeks $209.95 Oct. 4 - Dec. 13
Register noW! SPACE LimiTEd!
All Class Fees + Tax Enroll Early!
10% Student discount on
Art Supplies!!!
Art Supplies • Art Classes 1006 Marquez Place • Santa Fe 87505 (505) 982-0017 valdesartschool@qwestoffice.net 12
PASATIEMPO I August 30 - September 5, 2013
FALL ART CLASSES 2013
8-10 WEEk moRning CLASSES
A divided heart THE ANNUAL FIESTA LECTURE “Diego de Vargas’s Two Families” Wednesday, September 4, 6 pm NMHM Auditorium
State Historian Rick Hendricks talks about the Capitan General of the 1693 Reconquest and about the two families he created —and then left behind. Free to members of the Palace Guard; $5 others at the door. ALSO AT THE MUSEUM
Cowboys Real and Imagined Through March 16, 2014
“Holding your hand through the entire process”
STAR CODES
Heather Roan Robbins
• Over 20 Years Experience
Expert Personalized | Service & Instruction
• No “Geek Speak”
Home or Office | Onsite Repairs
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PC or Mac | iPhones & iPads
Notice a sense of urgency. Whether we’re planning one last summer
picnic or wondering what to do with our one wild, precious life, let this urgency wake us up and prepare us to do our best. The sun and Mercury are now in industrious Virgo and making an impatient semisquare with Mars. The pressure we feel may be partly an illusion; let’s breathe and make a considered move forward. Virgo can help us meet these challenges on a good day, but it can also make us worry that we are not good enough, are not doing enough, or are doing it wrong. Give kids extra love. Maybe we are slacking and need to step up our game. There are world problems that need our attention now. Virgo is practical and can help once we move away from a false urgency into the real Virgoan gift of healing and problem solving. Venus and Mars are now in easygoing Libra and Leo, warming the cockles of our hearts and smoothing social interactions. Mars in Leo can make us angry if we feel ignored or our pride is hurt, and this aspect brings a melodramatic quality to our indignation and anger. A domestic Cancer moon calls us to nest and make home improvements over the weekend. Global melodrama is amped up under a Leo moon late Sunday through Tuesday. Midweek is time for personal and professional review under a Virgo moon; the fall’s real work begins in earnest on Thursday’s Virgo new moon. Friday, Aug. 30: Every possible mood can flicker through us as the introverted and moody Cancer moon conjuncts Jupiter, squares Uranus, and opposes Pluto. People send mixed signals. We can find the right words this afternoon if we empathize. Later tonight we may feel existential homesickness. Look for the heart of the matter. Saturday, Aug. 31: Our feelings are easily bruised but resilient. The mood may be paradoxically tender and self-protective. We’re molting; we’ve changed over the summer, and our outsides need to match our insides. Tonight, socializing in familiar territory helps a sore heart. Sunday, Sept. 1: There’s something we have to do, and we know it in our hearts. Think it through and make sure it’s not a personal indulgence as the sun trines Pluto. If our needs or opinions clash with those of another family member, take turns. Evening is sociable and outgoing. We gather spontaneously as the moon enters Leo. Monday, Sept. 2: Share generously, express natural talent, and sidestep grumpy egos as the moon conjuncts Mars in Leo. Midday, as Mercury semisquares Mars, be careful around sharp edges and sharp tongues. Tonight, suspend decisions and see what can be forgiven. Tuesday, Sept. 3: The summer mind lingers melancholic and sweet under this sociable Leo moon. Catch up with people; these connections help when the work push begins. Wednesday, Sept. 4: Do a personal and professional inventory as Mercury challenges Saturn. Sort what needs to be accepted from what requires prompt action. Concentrate, but avoid a tendency to narrow the thinking. Thursday, Sept. 5: A new Virgo moon begins a new work cycle. Show others how to solve their problems. Honest requests phrased in a win-win format will be honored. People may be prickly about their faults. Assume they’re doing their own homework and affirm what works. ◀ www.roanrobbins.com
Kohnami RestauRant
REASONABLE PRICE FRIENDLY SERVICE HIGH QUALITY SUSHI 313 S. GUADALUPE ST. | 984.2002 WWW.KOHNAMISANTAFE.COM
Readings at Sanbusco Sunday, September 1 at 4 PM
Rebecca SeifeRLe
Her most recent collection, Wild Tongue, won the 2008 Grub Street National Poetry Prize
Thu 9/12, 6pm Sat 9/14, 3pm Sun 9/15, 3pm Sun 9/22, 3pm
Nickel Stories Janet Eigner and Donald Levering Maxine Neely Davenport Elizabeth Raby and Susan Gardner
and at Tome on the Range, Las Vegas, NM: Sun 9/7, 2pm Barbara Jacobs Sat 9/14, 1pm Peter Lopez Sat 9/28, 2pm Leslie Poling-Kempes
op.cit. books
500 Montezuma • 428-0321 check our website for event updates – www.opcit.com
PASATIEMPOMAGAZINE.COM
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In Other wOrds book reviews Ernest L. Blumenschein: The Life of An American Artist by Robert W. Larson and Carole B. Larson, University of Oklahoma Press, 344 pages Early in 1898, Ernest Leonard Blumenschein and Bert Geer Phillips, both illustrators in New York, planned a painting trip to Mexico as a break from their work. Although they were ignorant about the outdoors, equine care, and western customs, they would cope. In Denver they purchased camping equipment, two horses, and a wagon. Their route followed the eastern flank of the Rocky Mountains. A coin toss and a late summer’s rainwashed road in Northern New Mexico dictated a fateful change in their travel plans. Blumenschein rode the 20 miles to Taos, lugging the wheel that broke when their wagon slipped into a rut and “suddenly sat down.” Approaching the town, the novice equestrian and Paris-educated artist was exhilarated at the sight of the Taos valley’s “magnificent country,” and he realized it signaled their destination. He later commented that it was “the first unforgettable inspiration of [his] life.” Blumenschein’s trajectory from that moment arced toward more study in Paris, greater recognition as an illustrator, numerous awards and prizes, and an international reputation as an artist. In May 2011, his 1922 painting White Robe and Blue Spruce sold for $1,583,500 at Sotheby’s. In Ernest L. Blumenschein: The Life of an American Artist, Robert W. Larson and Carole B. Larson examine Blumenschein’s life and character, seeking to understand what motivated the hard work that led to his success. Their engaging, well-researched portrait of this 20th-century American artist acknowledges the social, economic, artistic, and historic influences in the context of his time. Blumenschein, “Blumy” to his friends, was born on May 26, 1874, in Pittsburgh, Pennsylvania, inheriting a New England Yankee’s moral rectitude from his mother, Leonora Chapin, and ancestral Germanic self-discipline from his father, Wilhelm Leonard Blumenschein. Raised in Dayton, Ohio, where his musician father directed orchestras, choruses, and musical festivals, the young Blumenschein began studying the violin. He also began to draw and sketch — a legacy from his mother, who died when he was 4. That interest persisted through his high school years, when his cartoons and drawings appeared in a school newspaper, Tom Foolery, that he and his friends produced. Hoping to dampen his son’s artistic passion, Leonard suggested that he send a portfolio to the art editor at Harper’s Young People magazine — perhaps a negative response would extinguish the boy’s interest in art. The editor, however, urged Blumenschein to study further. Ernest attended the Cincinnati College of Music that fall but also took courses in art. During his second semester, he studied more formally at the Cincinnati Art Academy, which led to his acceptance at the Art Students League in New York in 1893. Thereafter, art came first. Blumenschein devoted long hours to practicing the skills necessary for his craft. He subsequently became an illustrator for many of the country’s leading magazines, and his paintings accompanied the work of Booth Tarkington, Jack London, Stephen Crane, and O. Henry. During his three stints at the Académie Julian in fin de siècle Paris — he wanted “to learn from the traditionalists” — artists such as Vincent van Gogh, Mary Cassatt, and Edgar Degas were painting on the Left Bank. At the Académie Julian, Blumenschein met and befriended Phillips. Both were more interested in American Indians than French subjects, and their conversational topics included discussions about the relationship between a nation and its art. Mary Greene was another American in Paris, enjoyed a sound reputation as an artist. During Blumenschein’s third stay in Paris, the two met and fell in love. In proposing to her, however, he cautioned that art would hold the preeminent place in his life. Not frightened off, Greene agreed, and they were married on June 29, 1905. Two years later, their first child, a son, died two days following his birth. With Mary’s second pregnancy, they returned to the United States. Their daughter, Helen, was born in 1909. Until the family moved to Taos in 1919, Blumenschein divided his time between illustrating and portraiture in New York and figurative and landscape painting in Taos, leaving his wife and daughter in Brooklyn. In exploring Blumenschein’s personality, the Larsons reveal his prickly nature and self-righteousness as well as his artistic development. They also chronicle his work as a patriotic German-American during the last century’s two world wars, his sensitivity to and advocacy for Native Americans, and his promotion of Taos as an art colony. He was an athlete, an avid fisherman, and a shrewd businessman. Blumenschein and Phillips were among the founders of the Taos Society of Artists in 1915 (incorporated in 1918). In the Museum of Modern Art’s 1938 Paris exhibit Three Centuries of Art in the United States, Blumenschein was “the only member of the Taos Society of Artists” who had a painting in the show. He died in Albuquerque in 1960, preceded by his wife, Mary, in 1958. — Nancy Coggeshall
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PASATIEMPO I August 30 -September 5, 2013
SubtextS Cover to cover
As the scent of roasting chile fills the late summer air, our thoughts turn to cooler weather and the nostalgia that accompanies watching children start a new school year, their backpacks filled with new books, their heads filled with new ideas. With that in mind, here’s wishing everyone a good autumn of reading and discovery. Following are the latest bestsellers from local bookstores. Collected Works Bookstore (202 Galisteo St., 988-4226)
The Ocean at the End of the Lane by Neil Gaiman Blood and Thunder: The Epic Story of Kit Carson and the Conquest of the American West by Hampton Sides The Thrill of the Chase: A Memoir by Forest Fenn The Cuckoo’s Calling by Robert Galbraith Zealot: The Life and Times of Jesus of Nazareth by Reza Aslan The Ark (133 Romero St., 988-3709)
The Shaman’s Tool Kit: Ancient Tools for Shaping the Life and World You Want to Live In by Sandra Ingerman The Book of Awakening: Having the Life You Want by Being Present to the Life You Have by Mark Nepo The Honeymoon Effect by Bruce Lipton Daring Greatly: How the Courage to Be Vulnerable Transforms the Way We Live, Love, Parent, and Lead by Brené Brown Solomon Speaks on Reconnecting Your Life by Eric Pearl and Frederick Ponzlov Big Adventure Comics (801-B Cerrillos Road, 992-8783)
Saga, Vol. 2 by Brian K. Vaughn and Fiona Staples Avatar: The Last Airbender, The Search Part 2 by Gene Luen Yang and Gurihiru Fatale Book 3: West of Hell by Ed Brubaker and Sean Phillips Mouse Guard: The Black Axe by David Petersen March Book One by John Lewis, Andrew Aydin, and Nate Powell Bee Hive Kids Books (328 Montezuma Avenue, 780-8051)
Arcadia by Lauren Groff Flight Behavior by Barbara Kingsolver The Fault in Our Stars by John Green The Secret Zoo by Bryan Chick The Story of Ferdinand by Munro Leaf
Garcia Street Books (376 Garcia St., 986-0151)
The Spy Who Loved: The Secrets and Lives of Christine Granville by Clare Mulley Ava Gardner: The Secret Conversations by Peter Evans & Ava Gardner The Son by Philipp Meyer The Sound of Things Falling by Juan Gabriel Vásquez TransAtlantic by Colum McCann — Jennifer Levin
King of Cuba by Cristina García, Scribner, 240 pages Cuban American novelist Cristina García knows firsthand that there are really two Cubas: the communist-controlled Caribbean island republic and the nation of exiles living in Florida, New York, and elsewhere who still consider themselves Cuban — as does García. In García’s most recent novel, King of Cuba, this duality is represented by twin protagonists: an elderly Cuban exile named Goyo Herrera and a thinly disguised cutout of Cuban dictator Fidel Castro who is variously referred to as the tyrant, El Comandante, El Líder, the despot, and the Maximum Leader. The two old men’s lives have been inexorably intertwined, from their early days in the Cuban countryside to their university days, when “people had often mistaken the two of them.” Both men have used — and abused — money and power; both have taken innumerable lovers; and both have become sick, feeble, and disillusioned with life. Yet each still relishes a good cigar and a shapely woman. “In short,” García writes, “they were both bastards.” Like so many other exiles, Herrera has spent much of his life looking back nostalgically at pre-Revolution days and looking forward to the dictator’s death, an end to communism, and a chance to return to his childhood home. Although he is 86 years old and has multiple infirmities, Herrera desperately wants “that son of a bitch in Havana to die first.” His plan to assassinate the tyrant during a visit to the United Nations would redeem his disappointing life, he believes, and make him a national hero. The other plot driver in this gritty comedy is the tyrant’s desire to salvage as much of the revolution’s historical reputation and his own personal legacy as possible. Despite Herrera’s contention that the despot has inflicted “a plague of grief on millions of his countrymen,” El Comandante believes he’s “left his mark on history with ink, and action, and blood.” The dueling voices of Herrera and the tyrant are surrounded by a cast of delightfully flawed family members, including a 300-pound, jellydoughnut-craving cokehead and a chorus of current and exiled Cubans. Testimonials by these fictitious characters — a poet, a historian, a truck driver, a glass blower, a tire salesman, and others — are inserted as footnotes, mostly lamenting the deplorable conditions on the island. In a clever sleight of hand, the author, whose debut novel, Dreaming in Cuban, was nominated for the National Book Award, even quotes herself: “As I write, the Revolution is in its last gasp. What will come after, nobody knows. — Cristina García, novelist” That sense of humor surfaces throughout, along with García’s deft pacing, effective scene setting, and laugh-out-loud characterizations. In fact, the assassination plot and Florida locale make this yarn read like Taxi Driver meets The Mambo Kings Play Songs of Love. Like Oscar Hijuelos’ ribald 1989 novel, García’s pages are peppered with the risqué. She is equally at home discussing the various body parts of the “perfect woman” (“tiny waists, ample hips”) and the failing physicality of the elderly male (“his bruised and bleeding gums … his shoulders upholstered with mold, his lungs wheezing like a leaky bassoon”). Cuba itself is also painted as decrepit; like Herrera’s crumbling brownstone in New York, the island kingdom “might look sturdy from the outside … but below the surface, all was decay.” Whether or not you sympathize with El Comandante and his revolution, King of Cuba will make you chuckle and perhaps yearn, like both protagonists, for García’s bygone “imaginary place, unrelated to any truth.” — Wayne Lee
In Pursuit of Cultural Freedom
A lecture series on political, economic, environmental, and human rights issues featuring social justice activists, writers, journalists, and scholars discussing critical topics of our day.
TIM De CHRIsTOPHeR
with Terry Tempest Williams WeDnesDay 25 sePTeMBeR aT 7PM LenSIC PerFormIng ArTS CenTer Tim DeChristopher is a climate justice activist and co-founder of the nonprofit Peaceful Uprising. In 2008, DeChristopher committed an act of nonviolent civil disobedience when he disrupted a government oil and gas lease auction in an attempt to protect fragile lands in southern Utah from long-term damage. After being imprisoned for 21 months, he was released in April 2013 and is now on a three-year probation. The recently released documentary film, Bidder 70, tells DeChristopher’s courageous story. This fall he will begin studies at Harvard Divinity School. … those who write the rules are those who profit from the status quo. If we want to change that status quo, we might have to work outside of those rules because the legal pathways available to us have been structured precisely to make sure we don’t make any substantial change. —Tim DeChristopher
Ticket proceeds will be donated to New Mexico Environmental Law Center.
PASATIEMPOMAGAZINE.COM
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Bill Kohlhaase I The New Mexican
THE
TRANSPARENT WRITER SEEING THROUGH JOYCE CAROL OATES
... there being a diabolical side to man, more prevalent, in some quarters, than the angelic. — from Joyce Carol Oates’ The Accursed oyce Carol Oates seems to have a fixation with evil. Her disturbing 2013 novel The Accursed, set in early-20th-century Princeton, New Jersey, Oates’ current home, is about the strange, suggestively horrific goings-on after a black man is lynched and Grover Cleveland, having left the White House after his second term as president, happens to see his dead daughter perched like a bird at the edge of a steep roof, tearing petals from a calla lily. It is a tale of abduction and slavery, mesmerism, murder, and the supernatural. People hear the voices of spirits — or are they mad? A woman dies giving birth to a child — or is it a monster? All of it is attributed to a curse that seems to spread because of insidious hypocrisy and religious shame. It ends with a confession. “I am interested in creating a sort of ‘dark comedy’ — a ‘comedy of irony,’ ” Oates told Pasatiempo in an email interview, “which can be subtle rather than blatant. Much of The Accursed is ‘dark comedy’ of a kind — the novel is essentially a novel of manners imposed upon a postmodernist gothic template — if that makes any sense.” Consider her newest book, Evil Eye: Four Novellas of Love Gone Wrong — notice how the word itself appears in the title — a collection of stories about misguided desire, obsessive behavior, and evil intent. These are not only tales of love gone wrong but of how love is wrong in the hands of certain individuals. The victims? They show us how our desire for love makes us vulnerable in ways beyond common heartbreak. Love is wrong for them, too. Themes of cruel and extreme behavior masquerading as love, of certain men’s need to control and certain women’s failure to avoid subjugation, of evil as something tangible and possessing momentum — these themes have all been crucial to some degree in a writing career that spans nearly 50 years and as many novels as well as collections of short stories, poems, plays, and even children’s books. You can find these themes in the recent past, in Oates’ 2012 title piece from the short-story collection Black Dahlia & White Rose, in which an aspiring actress Norma Jean Baker (yes, Marilyn Monroe) shares an apartment with Elizabeth Short, soon to be the victim in the gruesome “Black Dahlia” killing of 1947. (Oates deals at length with Monroe’s vulnerability and psychology in her 2000 novel Blonde). Or go all the way back to 1966 and Oates’ early, attention-grabbing short story “Where Are You Going, Where Have You Been?” about the inevitable seduction of a young girl by a character modeled after a serial killer. A story from Evil Eye, “So Near Anytime 16
PASATIEMPO I August 30 -September 5, 2013
Always,” echoes that suggestively chilling tale. Evil may not be everywhere in Oates’ work, but its potential is omnipresent. Oates appears to protest the idea that she has a fixation on evil. “I think of myself as essentially a realist writer — ‘psychologically realist’ — who is holding a mirror up to life. Much of serious, tragic literature deals with what you are calling ‘evil’ — from another perspective, it is simply individuals in conflict with one another, a perennial subject of history. What accounts for the ongoing, ceaseless wars of our time? To call an enemy ‘evil’ is to discount the complexity of moral life.” Yet seeking to control another’s life, even before the victim realizes it’s happening, seems evil in its intent and not necessarily the result of conflict. Yet it is conflict in a larger sense as it’s often portrayed in Oates’ work — men seeking mental or physical control (or both) over women. The title story of Evil Eye tells of a young woman recently married to an older narcissistic man and how her perspective of that marriage goes back and forth as she spends more time with him. When his first wife comes for a short visit, her eyes are opened. “Fight for your life,” the former wife urges. This need for control isn’t exclusive to women. Oates’ 1995 novel Zombie gets inside the head of a psychopath who doesn’t acknowledge the horror he inflicts on the young men over which he gains power. This lust for control, more than lust itself, is so prevalent in Oates’ work that it seems the author considers this desire universal. “Not everyone seeks to control others against their will,” Oates replied. “There are pathological individuals — perhaps, nations — who are so insecure, so
morally uncertain of their own behavior, that they try to overcome others. Both ‘Black Dahlia & White Rose’ and Zombie are about sexual fantasists projecting their madness onto innocent victims. In the former, the young Marilyn Monroe is a character — Norma Jean Baker — whose iconic image was to be an infantilized sort of female sexuality, almost an invitation to victimhood.” The sheer volume and duration of Oates’ production is overwhelming, especially when you consider that she teaches both at Princeton and at the University of California, Berkeley (she’s scheduled to retire from Princeton in July 2015). The fact that she’s so prolific has put some readers off. She’s been a finalist for the Pulitzer prize in literature three times but has never won. The amazing thing is not so much her productivity, but her work ethic. “I think that my particular family background suffused me with a sense of wanting, needing, being rewarded by working virtually all the time. My father was a factory worker who had part-time jobs to support our family, and my mother was an excellent homemaker, seamstress, and gardener. To laze about without a project was just not anything we did in my family, ever. Of course, I love to write — I love reading, and the act of writing, which is always an act of discovery as in a conversation in which you have no idea what the other party will say, or how you will reply, until the conversation begins. Working with language is a delight for the writer, as working with clay, paints, charcoal is delightful to the artist.” Despite her output and consistent themes, her work is never repetitive, even as it deals with the same characters (Blonde, “Black Dahlia & White Rose”) or similar plots (“Where Are You Going, Where Have You Been?,” “So Near Anytime Always”). Much of this has to do with the different voices she assumes, ranging from the formal narration of M.W. van Dyck II in The Accursed and the all-caps sermonizing of Winslow Slade at the end of the book to the Clockwork Orange-like patter of Zombie. She seldom speaks the same way twice. “Cultivating ‘voices’ for fiction, as for the stage, is always a challenge, and fascinating. Many writers write predominantly in a singular style, but I am interested in experimentation.” Not surprisingly, Oates has taken to Twitter, and she is able to bring more to her character allotment than most tweeters. She tweets on a variety of social and political subjects that can suggest the themes of her fiction. She created a stir earlier this year when she suggested in a tweet on Egypt that religious backgrounds should be taken into consideration in places where the rape and abuse of women is common. But she can also be poetic. “Massive, misshapen cloud beginning to block sun in which lost passwords dwell,” she tweeted. Asked about her habit — doesn’t she have enough to write? — and whether she finds the practice a sort of replacement for the notebooks and journals that writers kept in a pre-digital era, she responded modestly. “Twitter is very engaging, and the individuals whom I follow — which include Steve Martin, Nicholas Kristof, Rachel Maddow, Frank Rich, and some others — are always interesting. It is just another way of communicating, which will probably not seem so novel as time passes.” Twitter has given readers a glimpse into the real Joyce Carol Oates, a writer who has assumed so many forms and voices over the years that fan worship directed at anything other than her work is left grasping. Known to be aloof and reserved at public appearances, she also has a reputation for being lively and engaging while teaching. She once told The New Yorker that she was transparent, like a glass of water, and not sure she had a personality at all. “When I’m alone working, I don’t feel that I have a distinctive ‘personality’ — or that I would want one. Perhaps it’s just a writer’s/artist’s odd predilection. I try not to write with an agenda. I try to avoid any hint of propaganda or moralizing. There is usually a moral perspective in my writing, but I prefer to dramatize and to allow readers to come to their own conclusions.” ◀
details ▼ Joyce Carol Oates reads from The Accursed ▼ 6 p.m. Monday, Sept. 2 ▼ Collected Works Bookstore, 202 Galisteo St., 988-4226
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Staci Matlock I The New Mexican
Adapting to climate change with Gary Paul Nabhan
E
thnobotanist, seed saver, and author Gary Paul Nabhan says he’s not a “doomsday” kind of guy. But even his optimism took a dive for a little while as he watched climate change affect the environment. He saw the impact of drought on his own land and that of other farmers. “It was tough visiting my brother-in-law on his pecan orchard near Las Cruces and learning that Elephant Butte reservoir is so low that farmers are being allowed to irrigate once instead of six to eight times each year,” Nabhan said. “The Río Grande was dry as it passed by his home.” Not one to stay down for long, Nabhan tapped into his considerable knowledge of traditional farming and a lifetime of experience to write his latest book, Growing Food in a Hotter, Drier Land: Lessons From Desert Farmers on Adapting to Climate Uncertainty (Chelsea Green Publishing). “I listen to farmers in deserts around the world who know what they are doing,” he said. “Fear can paralyze us from doing what we should have been doing with respect to growing our food, even if climate change was not occurring at an accelerated rate. It’s not so much ‘how to survive it’ as how to adapt to the challenges and opportunities of living in a hot dry land, taking pleasure and interest in the foods growing around us.” His book is a realistic yet hopeful action manual in the face of climate change. It is an ode to farmers still practicing or reviving traditional practices and a how-to book for people who want to keep growing their own food as the temperatures rise and moisture vanishes. The foreword is by Bill McKibben, founder of www.350.org, who has long sounded the alarm about climate change. Nabhan is known for his earlier works about deserts, farmers, seeds, and pollinators. Altogether, he’s written more than two dozen books since the early 1980s, including Desert Terroir: Exploring the Unique Flavors and Sundry Places of the Borderlands (2011), Where Our Food Comes From: Retracing Nikolay Vavilov’s Quest to End Famine (2008), Singing the Turtles to Sea: The Comcáac (Seri) Art and Science of Reptiles (2003), The Forgotten Pollinators (with Stephen L. Buchmann) (1996), and The Desert Smells Like Rain: A Naturalist in O’odham Country (1982). Nabhan begins his latest book with a story about a visit with visionary farmer and businessman Aziz Bousfiha near Fez in Morocco. Bousfiha has been reclaiming a once-thriving oasis that had been neglected and was returning to desert. He told Nabhan and other visitors that he envisioned a chain of such reclaimed oases around the world to shore up food production in the face of climate uncertainty. “For me, the idea is to go somewhere into the desert,” he tells Nabhan in the book. “We’ll arrest all activities and uses of chemicals that deplete diversity. If pesticides have been shown to kill any species, we’ll eliminate their use. Next, we will return to the adapted seeds of the region, for they play multiple roles, whereas a modern hybrid seed plays only one or a few roles.” Bousfiha goes on to describe this as an endeavor of people working together as members of “the same community.” Asked if these efforts might be an answer to climate change, Bousfiha relays an Arab proverb that suggests that if it looks like the world is about to end “and you realize this moment while you are planting trees, well, don’t stop planting!” Nabhan writes that, after the visit with Bousfiha, “I have never been able to think about our fate in the face of climate change in the same way. I realized that this is a time ripe for creative action, not just for scientific analysis.”
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PASATIEMPO I August 30 -September 5, 2013
Growing Food in a Hotter, Drier Land lays out a variety of practical ways to prepare for a changing climate by paying attention to soil, water harvesting, types of crops planted, and ways to protect pollinators. Nabhan outlines steps both backyard gardeners and commercial farmers can take. Like Bousfiha, he sees heirloom seeds — developed from naturally pollinated plant strains that have become endangered by the rise of commercially produced and hybridized seed stock — as a key to surviving and thriving through climate change, and not just because it makes environmental and economic sense. “You know, a thousand heirloom varieties can be put out in our gardens and fields as a buffer against climate uncertainty for far less economic, ecological, and cultural cost than breeding, marketing, patenting, and licensing a single GMO,” Nabhan said. “It’s just common sense that in the face of uncertainty, we shouldn’t put all our eggs — or seeds — in one basket.” One practical problem for gardeners is that the USDA Plant Hardiness Zone map is no longer as accurate a planting guide as it used to be — because of climate change. This change is reflected in a variety of severeweather anomalies. “The new map is out on USDA web sites, but growing conditions are so rapidly changing that there is no formula for dealing with climate uncertainty,” Nabhan said. “We don’t simply need heat-tolerant plants; in fact, at my own orchard, the last two winter’s catastrophic freezes were more disruptive than heat and drought.” Nabhan has long sought out the wisdom and experience of farmers around the world. Through geographically specific practices handed down and refined through many generations, these farmers have learned to adapt and survive. They gave him nuggets of information that made their way into the book. “For three decades, I have been blessed by the opportunity to meet and listen to Arab, Jewish, Berber, Uyghur, Native American, and Mexican farmers talk about what works for them,” he said. “We cannot and should not imitate their own place-based techniques, but we should be inspired by them and seek to understand the underlying principles which guide them.” Food consumers, gardeners, and farmers will need patience, creativity, and attention to land and watersheds to guide them through the changes that are coming. Nabhan said the most critical lesson he hopes people will glean from his new book is understanding what is happening on their land. “Watch what is happening on your home ground to the edible plants and animals,” he said. “Do not expect a top-down solution; grow one locally that fits your own place, culture, and dietary needs.” While acknowledging the realities of the challenges climate change will bring, Nabhan remains optimistic about the future. “Each day I am home, I plant, I compost, I harvest rain, and I watch,” he said. “I try not to harm, disrupt, or simplify the natural world but let it flow into my fields, orchard, and garden. That and the many fine farmers, ranchers, foragers, and orchard keepers I’ve met give me hope.” ◀
details ▼ Talks and book signings by Gary Paul Nabhan ▼ 6 p.m. Friday, Aug. 30, Collected Works Bookstore, 202 Galisteo St., 988-4226 ▼ 9 a.m.-noon Saturday, Aug. 31, Santa Fe Farmers Market, 1607 Paseo de Peralta, 983-4098 ▼ No charge; see www.garynabhan.com
Illustrations Paul Mirocha Photo Gary Paul Nabhan
Above, a fredge, or living fencerow, shades an adjacent field, cooling the crop canopy while providing other benefits as well. Below, each sub-basin of a waffle garden should be designed to hold as much water as possible for deep soil penetration but allow for overflow escape to the next sub-basin during heavy storms without eroding away the edges.
From top: The use of olla irrigation using clay water pitchers is regaining momentum in Arizona and New Mexico, as in other parts of the world. Boomerang-shaped micro catchments work well for multiplying the rainwater and runoff that’s available to fruit trees. Wick irrigation from small reservoirs of freshwater kept in covered buckets or containers is one of the most water-efficient means of micro-irrigation. Illustrations by Paul Mirocha. Images courtesy Chelsea Green Publishing; captions from Growing Food in a Hotter, Drier Land PASATIEMPOMAGAZINE.COM
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Bill Kohlhaase I The New Mexican
Austin’s MAine MAn Slaid Cleaves’ cross-country path to stardom
s
inger songwriter Slaid Cleaves is off the grid and on the wrong side of the river. He’s talking to Pasatiempo while sitting on the porch of a dilapidated cabin in the woods of Maine, the state where he grew up. It may only be six or seven miles to town as the crow flies, but it’s a lot farther when the trip involves the only bridge over that river for 25 miles. He’s there, he said, to escape pretty much everything. He doesn’t even try to write music while there. He laughed when saying he’s especially there to escape family. “We would drive from Texas to Maine, playing shows along the way, and we just got tired of sleeping on pull-out couches when we got here. So we bought this little cabin, a shack really, no electricity or running water, though there’s a well and a spring up the river. We added some solar panels so we have a little electricity.” Cleaves’ current home is Austin. He spent his first few years unsure if his move there would pay off. But his clever, direct, and honest lyrics, coupled with a pleasant voice and undeniable good looks, made him a regular at the city’s Horseshoe Lounge and eventually earned him a deal with Rounder Records. Sure, he writes love songs like all those other country-western influenced lyricists who crowd the Americana category, but they’re often tongue-in-cheek. In “Texas Love Song,” he rhymes the terms Lexus, multiplexes, Tex-Mex is, and solar plexus to declare he loves his darling “more than Texas.” He calls these numbers “Texas pride songs.” Cleaves is something of a working-class hero. He often looks at blue-collar lives and locations (in songs such as “Rust Belt Fields”). The title track of his latest recording, Still Fighting the War, is about a serviceman who’s returned home from deployment to find that things aren’t quite what he thought they’d be. Cleave’s social consciousness yields his most genuine songs. They’re not
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PASATIEMPO I August 30 -September 5, 2013
so much stories as interwoven commentary delivered in the second person that connect in ways that make for a larger context. When he sings “You’ve got some issues” in “Still Fighting the War,” you know you’ll hear exactly what those issues are. Born in Washington, D.C., Cleaves moved with his family to South Berwick, Maine, when he was 5. He has described the place as a scrappy farm and factory town. He claimed to have been “an extremely geeky straight-A student who loved astronomy and photography. I wasn’t very good at sports, which puts you pretty far down the totem pole in a small town. I was always the last to get picked when choosing up sides.” His parents were avid music fans, and young Cleaves was “inundated” with music when he was little. “They had a great collection of 1950s rock ’n’ roll, and I heard all this wonderful stuff like Chuck Berry and Buddy Holly and rockabilly and Johnny Cash. My mother was a little more erudite and listened to jazz and folk, the Weavers, that kind of stuff.” He met Rod Picott, now a Memphis-based singer-songwriter, sometime around second grade, and the two became lifelong friends, talking music, forming bands together in high school, and co-writing songs, something they do to this day. “Rod and I supported each other as budding musicians. We discovered [Bruce] Springsteen together.” The name of their high school band, The Magic Rats, came from a line in Springsteen’s tune “Jungleland” from Born to Run (“The magic rat drove his sleek machine/over the Jersey state line”). They also got their first tastes of working life together, serving as janitors at a nearby General Electric plant. Their song “Welding Burns,” heard on Still Fighting the War, reflects the kind of choices they faced: sticking around and seeking work in the local factories or striking out on their own. (“Mama said, They’re hiring, no need to graduate/Maybe your dad could make a call down
to the 788.”) Those jobs have all gone away. “The town has changed a lot in the last 30 years,” Cleave said. “It’s a suburban bedroom community now.” Cleaves didn’t start working alone until he followed a girlfriend to Cork, Ireland, during his junior year at Tufts University. “We broke up on the flight over,” he said. “I had no family, no friends, no car. All I had was a broken heart and some cassette tapes of those wonderful records that I’d grown up with.” He started busking on the streets to get by. “That resulted in me thinking about what it might be like to be a musician. It was a very frightening step to sing and play for people on the streets by myself. In those earlier bands I was just playing keyboards and doing a little singing. Things were suddenly very different.” Back in the states, he played the local circuit around Portland, Maine, with his band The Moxie Men. But despite local acclaim for the group, Cleaves wanted more. He and his wife, Karen, cut out for Austin in 1991. Things seemed promising at first. He appeared at the Kerrville Folk Festival, a Texas showcase for songwriters that had served as a career jump-start for performers including Robert Earl Keen, Mary Chapin Carpenter, and Lyle Lovett. Ken Irwin, one of the co-founders of Rounder Records, came to Austin’s annual South by Southwest festival that year and stayed with a mutual acquaintance. When Irwin asked who the new kid in town was, the acquaintance suggested he go see Cleaves. That was the beginning of Cleaves’ long relationship with the label and its subsidiary Philo Records. But it didn’t happen all at once. “It took a while for us to get to know each other. I started sending him demo tapes, kept in touch.” Cleaves’ first recording for Philo was No Angel Knows in 1997. Even then, times weren’t easy. “It was a struggle,” he said of those first years in Austin. “In Maine, we had places to play that paid you to do it. In Austin, there were so many bands all wanting to play places that paid in barbecue. It was a losing proposition for the first eight years. I got very frustrated and said I wanted to move back to Maine. Karen said she wasn’t going back, so I stuck it out.” He made ends meet by doing odd jobs, which included stints as a guinea pig for pharmaceutical trials. It wasn’t until Broke Down was released in 2000 that he was able to support himself with his music. Wishbones came in 2004, Unsung in 2006, and Everything You Love Will Be Taken Away in 2009. He made frequent appearances at the Horseshoe Lounge, resulting in the 2011 release Sorrow & Smoke: Live at the Horseshoe Lounge. Cleaves’ songs aren’t so much personal as they are tales of other people’s hardscrabble lives. He finds inspiration in the blue-collar lifestyle, cars, and sour love stories. “In my formative years, between the ages of 16 and 20, I was playing guitar and writing songs, I was listening to Woody Guthrie, Springsteen, and The Clash. Those artists instilled the idea that music be powerful and songs not be trivial but have something important to say.” He admits that he spends a lot of time writing material. “It’s sort of like when someone says something to you, and you think of the response a half hour later. Songwriting is getting that precise response, the articulation of what you want to say. I write and rewrite. I kind of think of songs like crossword puzzles. When I get stumped, I put them away, even for as long as a year, until I solve that one problem eventually.” Why are his songs mostly about others? “I’m not an extrovert. I’m pretty guarded with my own opinions. All the inspiration I find seems to come from other people.” “Still Fighting the War” is the perfect example. Cleaves needed something to pull the song together, and when he mentioned the dilemma to a friend and told him the story behind it, the friend said, “Sounds like he’s still fighting the war.” The piece originally held verses about different people dealing with job loss and the recession and other problems of modern day life. “But that one line kind of pulled it all together, and I made the whole thing about the serviceman returning home,” he explained. All the words to solve the puzzle were finally there. ◀
details ▼ Slaid Cleaves ▼ 7:30 p.m. Friday, Aug. 30 ▼ The Music Room at Garrett’s Desert Inn, 311 Old Santa Fe Trail, 982-1851 ▼ $20 in advance, $25 at the door; for advance tickets, call 1-800-838-3006 or visit www.brownpapertickets.com/event/353664
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ASPEN SANTA FE BALLET’S
KATIE DEHLER
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PASATIEMPO I August 30 -September 5, 2013
Michael Wade Simpson I For The New Mexican
T H E
L A S T
ome people really do have dream-come-true lives. Katie Dehler’s goes like this. A small-town young woman from Minnesota goes to college at the University of Utah. There she meets Sam Chittenden in a dance class. They become boyfriend and girlfriend and eventually move in together. When Chittenden graduates in 1998, he joins a small dance company in Colorado — what is now Aspen Santa Fe Ballet. When Dehler graduates, a year later, she follows Chittenden to Aspen and becomes an office intern at the company. The directors give her permission to take daily dance classes with the company. In the summer of 2000, visiting choreographer Nicolo Fonte sees her in class and wants her in his new ballet. She joins the company that year. “I had no intention of joining a company,” Dehler said in a phone interview from Colorado. “It never crossed my mind. I thought I wasn’t good enough. I didn’t think I could become a professional dancer.” Over the next 13 years, she tours the world, grows into a confident and remarkable dancer, and gets to spend every day in rehearsal and every night on stage with Chittenden. Eventually they buy a house together. They retire from the company. The only sad part of Dehler’s story is that she can’t keep dancing forever. It’s time to decide what to do next. “I haven’t thought that far ahead. I didn’t want to worry and miss out any last bits of this life. I’ll figure it out.” Dehler’s last performance with the company in Santa Fe is on Saturday, Aug. 31, at the Lensic Performing Arts Center. The program will feature pieces selected to showcase Dehler’s striking embodiment of the often wild and jittery contemporary movement that has become a specialty of ASFB. Whether it’s dances by Fonte, Jiˇrí Kylián, Jorma Elo, or Alejandro Cerrudo, Dehler is the female dancer often found at the center of things. She has a way of inhabiting the highly stylized choreography — of making the most disjointed phrases fluid. “I think Nicolo saw a newness in me he could mold. He could mold me a certain way. He saw that I would work hard. I had excitement for his movement. Working with him and learning his style shaped my career and my movement style. It inspired me and still does. I think what he does is amazing and beautiful. Of course, I had to work hard to get my body to do that. “I fell in love with the contemporary style of movement. I’ve always worked to figure out where movement is coming from. I trained as a classical ballerina and hadn’t been exposed to that kind of movement. I had to work it out. I enjoy figuring it out. Often, it’s not the movement but what’s in between. All the in-betweens are sometimes forgotten.” Knowing that this was her last year with ASFB, Dehler began to keep a journal. “I don’t see things in a big-picture way. I’m just starting to be able to put words to it. I love being on stage. With ASFB it is always at least three shows a week. So many places. So many kinds of conditions. I used to be more nervous, but now it is just a pleasure to go out there and let whatever happens happen. I don’t stress about stuff. “In Italy, the stages were the worst. Rickety — a platform raised up 5 feet from the ground. The conditions were not perfect, but these were some of my best times dancing. We did a series of shows, all outside, in the open air, on makeshift stages.
D A N C E
You could see the full moon while you were dancing. Sometimes we were dancing between ancient columns. It was so beautiful. In one town, they were gutting and selling fish in the backstage area of our temporary stage — in a town square. It was hot, and shortly before the performance was supposed to begin, I looked out from our second-story dressing area, and the place was empty. Then, right before it was supposed to start, the chairs began filling up, and then the whole square. Everybody in the whole town came.” Dehler has been a part of the creation of more than 20 commissioned ballets at ASFB. “I am so thankful to have been in a company that validates new ideas — that wants to create living dance, to find the next great choreographers, to give people chances. Tom and J.P. [Tom Mossbrucker and Jean-Philippe Malaty, the company’s directors] took me under their wing. They gave me the chance to dance. They changed my life.” Dehler calls Elo’s Over Glow, which she will dance at the Lensic, “an old friend. A lot of us have favorites. Over time, you find so many things within a piece. New thoughts. Interactions change and grow the more you do it.” Another old friend is 1st Flash, also an Elo piece, with music by Sibelius. “We had a performance at Wolf Trap at an outdoor theater. I’m not sure what happened that night, but it was the most special night. It was a big stage, we were outside, we were all together. The music is beautiful, as is the movement. There were six of us on stage, and we can all still remember how exciting that was.” Chittenden was there, sharing the experience with Dehler. “To have a dream, to make a career, and to be able to share it with someone you love. I feel so grateful to have danced with him. You have to be selfish to dance. It’s all-consuming, and you spend a lot of time thinking about it. To know that we both know what it’s like to perform, to have love and passion for something that is so personal. I’m so thankful.” A little-known secret that Dehler doesn’t mind spilling is that the women of the company always share a dressing room, no matter how small it is. “It’s a comfort thing. We’re all there. We have ridiculous jokes that we repeat way too many times.” Dehler described an ASFB ritual in which the dancers make a circle and hold hands onstage before each piece. “It’s a tradition. It brings you all together. It changes the focus. Whatever happened in the last ballet is over, and we are in the present. We give each other a pep talk. We all chime in. People say ‘merde’ or ‘when in doubt, popo out.’ It’s random, but super fun. We always do it.” ◀
details ▼ Aspen Santa Fe Ballet mixed repertoire ▼ 8 p.m. Saturday, Aug. 31 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $36-$72; 988-1234, www.ticketssantafe.org
Photo Rosalie O’Connor
PASATIEMPOMAGAZINE.COM
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LISTEN UP
James M. Keller
in 2009; but it did introduce us to soprano Brenda Rae, whom we look forward to hearing next season in Mozart and Stravinsky, as well as to up-and-coming tenor Michael Fabiano. One wished well for the premiere of Theodore Morrison’s Oscar, but already going into it an impartial observer had ample basis for doubt. One of the reasons we all cherish Santa Fe Opera is that it is a company of national prestige, and one consequently expects that it would tender commissions only to seasoned composers who have earned such a rare honor. When it comes to commissioning major new operas, exterior pressures or prospects may play into the decision-making — the enthusiasms of a singer or of a funder, for example. But commissions are not given to a star singer or a deep-pocketed donor. They are given to a composer and a librettist, and it would seem a mistake for a company to assume unnecessary risk by choosing unproven parties for such a high-profile enterprise.
Ad hoc ensembles
William Preucil
Basking in the afterglow
The ears certainly got a workout over the past couple of months. From the first night of Santa Fe Opera on June 28 to its last, on Aug. 24, that organization offered 37 performances of the five operas on its main-stage schedule, as well as three gorounds of an opera aimed at family audiences, two of Apprentice Scenes, and a couple of concerts. Between those bookending dates, the Santa Fe Chamber Music Festival purveyed 37 dates in town, the Santa Fe Desert Chorale gave 17 go-rounds of five separate programs, and the Santa Fe Concert Association hosted three vocal recitals and two dance evenings. Not counting open rehearsals, youth concerts, special galas, out-of-town run-outs, ancillary lectures, or the offerings of less “summer-oriented” establishments (like church concerts), that adds up to 103 performances just in the domain of classical music. Of course, during the same period other performing arts enterprises were chugging along, too, so a culturally inclined person could keep very occupied indeed. In such a wealth of offerings there are bound to be high points and not-so-high points. This summer provided examples of both. On the whole, I didn’t think that this qualified as one of our more memorable summer seasons. At Santa Fe Opera, the only production that seemed a success across the board was the revival of Le nozze di Figaro, which displayed taste and refinement in Bruce Donnell’s reinvention of a production unveiled here five years ago. Mozart gets some credit in the bargain, for sure, but the opera came close to a bull’s-eye in its casting, assembling an ensemble that rose to the task both as individuals and as a group; and of the summer’s conductors, it was John Nelson, leading Figaro, who made the strongest mark. Rossini’s La donna del lago was especially notable for the outstanding singing that tumbled out of mezzo-sopranos Joyce DiDonato and Marianna Pizzolato, but it’s a pretty lame opera from a dramatic point of view, and the production was so negligible that it scarcely merited comment. Offenbach’s La Grande-Duchesse de Gérolstein also had a star at the head of the cast, although the voice of mezzo-soprano Susan Graham seemed seriously underemployed in this comedy. I’ve never liked the piece, but it was staged to a fare-thee-well, almost enough to obscure the meanness of spirit that inhabits its heart. La traviata seemed a strange candidate for revival, since its production, by Laurent Pelly, was received so ambivalently when it was new 24
PASATIEMPO I August 30 -September 5, 2013
Whereas SFO lavishes a great deal of care into working up productions that will receive numerous performances, the Santa Fe Chamber Music Festival presents programs that are once-and-done or, on a few occasions, twice-and-done. That presents no problems when music is played by a soloist or a self-standing group; at least in theory, they will have spent considerable time delving into their scores quite apart from the festival. But that covers only a minority percentage of the pieces presented, since the festival brings in rather few established ensembles. Far more frequently, it assigns repertoire to more casually assembled groups of players who may be tackling a piece together for the first time. Experienced and efficient musicians can pull off an admirable performance in such circumstances, but quite often the interpretations instead reveal a degree of insecurity and haphazardness. Given the festival’s propensity for stitching together somewhat random programs comprising pieces by different composers for different ensembles, listeners may easily encounter a beautifully crafted performance back-to-back with one that is dutiful but underrehearsed. As the season raced along, one might have felt that the festival’s principal goal was to check off items from a long list of repertoire. Could we imagine instead a model that stresses quality over quantity, perhaps one that allows ensembles to give two or three cracks at a piece rather than just one, with double or triple the rehearsal time attached to the work’s preparation?
The envelope, please
We have some awards to hand out for meritorious achievements during the summer season: Most Conspicuous Absence. The award goes to Santa Fe Opera for taking the lago out of La donna del lago. Since Rossini based his opera on Sir Walter Scott’s The Lady of the Lake and constructed it so the title character would make her entrance steering a boat across the water, the lake would seem indispensable. But the opera dispensed with it. The runner-up is the Santa Fe Desert Chorale, which two years ago announced the inauguration of the Bach Motet Project, “an undertaking to present all of Bach’s motets over several seasons.” The group performed one in 2011, and then last year reduced the scheduled motet to a couple of sections; and by this season the Bach Motet Project seems to have disappeared completely, to the regret of choral aficionados. Most Engrossing Chamber Music Performance. It’s a three-way tie involving irreplaceable masterpieces in which the performers managed to seize the magic on short notice. The most jaw-dropping was Lucy Shelton’s rendition of Schoenberg’s Pierrot lunaire, a tour de force of Sprechgesang that drew on the singer’s lifelong commitment to musical modernity. Two 19th-century classics also got hit out of the ballpark. Pianist Jeremy Denk seemed the driving force behind an interpretation of Brahms’ B-Major Piano Trio that stressed passionate abandon, with violinist Soovin Kim and cellist Peter Stumpf (half of the Johannes String Quartet) bringing their own expressive authority to the task. Also memorable was Schumann’s Piano Quartet, played by violinist William Preucil (who boasted the most ravishing violin tone of this summer’s festival), violist Steven Tenenbom, cellist Eric Kim,
and pianist Anne-Marie McDermott; it was a showcase for ardor, tenderness, musical balance, and forthright clarity. Most Endearing Revival. Shakespeare in Santa Fe, tentatively resurrected following a decade-long slumber, was noteworthy for a program titled All for Your Delight: A Charming Medley of Scenes and Songs From Shakespeare’s Most Popular Classics. Charming much of it was, thanks to a cleverly constructed script by Nagle Jackson and a cast in which actor Mario Cabrera brought particular pleasure. It was performed to large, enthusiastic audiences on three nights, outdoors on the campus of St. John’s College, and on the evening I attended the moon proved graciously cooperative during the scene from The Merchant of Venice that begins “How sweet the moonlight sleeps upon this bank!” Most Candid Admission From a Soloist. This goes to Garrick Ohlsson, hands down. Near the end of his solo recital, given in his capacity as the Chamber Music Festival’s artist in residence, the pianist turned to the audience and stated that he had planned to conclude with Prokofiev’s Four Études, op. 2, which he described as 10 minutes long and very difficult. His schedule had not worked out quite as he had planned: “They are not yet ready, so I’ll play Liszt’s Mephisto Waltz No. 1 instead.” (He played it impressively.) Frankly, we hear quite a lot of performances that seem not quite ready. I applaud Ohlsson for choosing not to add to their number, and I do hope we’ll have occasion to hear him play the Prokofiev études when he feels the time is ripe. ◀
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Bill Kohlhaase I The New Mexican
SWEET ROMANCE hen drummer Ulysses Owens Jr.’s quartet appeared in Santa Fe in May 2012, the pre-gig buzz was all about the group’s bassist, Christian McBride. The chance to see McBride, one of the jazz world’s leading figures, playing as a sideman in an intimate, club-sized room was a rare opportunity outside of New York City. But the buzz after the performance was all about the group’s pianist, Christian Sands. Sands stole the show, working a mix of styles ranging from the most sophisticated hard-bop to ragtime into his play. A crowd surrounded him after the performance, as if wanting to rub elbows with someone they could later tell their jazz-loving grandchildren they’d heard well before he became a star. Even then, it might have been too late. Sands had famously played a duet with the great Oscar Peterson at the 2006 Salute to Jazz as part of that year’s Grammy festivities. He was 16. It was thought that Peterson, who had suffered a stroke, had retired from playing. But the evening’s festivities and the lure of a young, skilled musician sitting across from him was too much a temptation. “I’d sent in an audition tape to appear in the [Grammy] band,” Sands said in a phone call from his Connecticut home, “and they were honoring Oscar and Barry Harris and Hank Jones. Hank and Barry played with the big band after receiving their awards, but Oscar wasn’t scheduled to play. [Pianist] Yuma Sung and I were supposed to play a couple of Oscar’s tunes. But as I started to play all this applause and ruckus breaks out, and I’m young, sitting there thinking, They must like me. And I look up, and there’s Oscar standing up out of his wheelchair and sitting down at the piano and joining in. We must have played that blues for 15 minutes
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PASATIEMPO I August 30 -September 5, 2013
Judy Barbosa
Christian Sands wants you to fall in love with jazz
or so.” The event, documented on YouTube, shows Sands graciously paying the jazz master deference. But he also plays up a storm in something of Peterson’s style when given his turn. Sands’ ear and ability with a whole range of styles is what makes the still-young pianist so unusual. As a member of McBride’s trio and Inside Straight ensemble, he has an international platform for displaying his talents. Listening to his solo on “Hallelujah Time” on the McBride trio’s new Out Here recording, one can’t help but be taken by Sands’ enthusiasm or the way he swirls Latin, gospel, funk, and ragtime into a single improvisation. Unlike so many emerging musicians who employ a discretely contemporary style at the keys to the exclusion of everything else, Sands seems to embrace the entire history of jazz piano and beyond. Music lovers will get a chance to hear Sands on his own terms when he gives a solo concert at the Den (rechristened “The Blackhawk” for the event) on Friday, Aug. 30. He credits his mentor, the pianist and jazz scholar Billy Taylor, with instilling in him an interest in stride piano and encouraging him to apply it to his evolving style. Taylor, who did a long-running music segment on TV’s CBS Sunday Morning and died in 2010, cited Sands in his autobiography published earlier this year as a reason to have hope for the future of jazz. “If anyone has any doubts about the reservoir of talent among our youth, look at Christian Sands. ... He not only has the work ethic and the technique, but he understands and communicates the language of jazz both in his playing and in his very articulate speaking.” Sands met the pianist when he attended Taylor’s Jazz in July camp at the University of Massachusetts-Amherst. “I was 14 when my piano teacher at the time told me about the program and told my parents you really should put him in there with Dr. Taylor.
I didn’t even know who he was. But when I got to the camp, he just kind of took to me, took me under his wing. It was unbelievable just watching him work, how he taught. His tutelage was more of an organic approach, ‘watch me do this, now you do it.’ It was amazing, and I really loved the man.” Sands claims he started to learn to play the piano about the time he learned to walk. “We had a friend of the family, and the story goes — I don’t remember, of course; I was too young — that I was the only child she’d let play her piano. She’d put me in her lap and let me tinker around with the keys.” He started lessons at “3 or 4” and was playing student transcriptions of Chopin, Mozart, and Beethoven by the time he was 5. At home, he was exposed to all types of music. “We always had a lot of R & B playing around the house, the Temptations, lots of Motown stuff, and a lot of classical music. My mom was into jazz, so I got to hear a lot of that. My best friend was a girl from a family that listened to a lot of Latin jazz. Of course, growing up with kids from the inner city, we were listening to hip hop, Tupac, Biggie [Smalls]. There was even just a hint of country western from my mom, lots of Ray Charles, some Charley Pride.” When he was 10, Sands was invited to Dave Brubeck’s house after Brubeck’s doctor heard the young pianist play. “We played together and talked, and he asked me questions and I asked him questions. We spent the whole day together. He was very encouraging.” As a kid who was playing “cocktail gigs” while still in grade school and who wrote his first composition at 5, Sands was a prime candidate for being labeled a prodigy. “But I didn’t like the word. I’m just doing what I always do. I’m very blessed to have this gift, but I think everybody has some special gift. I just happened to find mine at a very early age. To me, it’s like breathing, natural. As long as I remember, I’ve always been around it. Even now, I have an upright piano right next to my kitchen. I can play and go right in to get something to eat and come right back to the piano.” He hasn’t taken his skill and gifts for granted, having spent the time earning a degree in jazz performance from the Manhattan School of Music. “To be effective, I need to know everything.” Sands has an interesting take on stride piano, one he said he learned from Taylor, that involves more than just the simple back-and-forth bass and harmony played by the left hand. “Stride is more than just a style. It has to do with using the whole piano; it’s a continuance of the instrument using both hands in this broad area, the whole left side of the piano. It’s like an extension of classical piano playing, because classical music uses the entire instrument. A lot of today’s [jazz] players just kind of keep the left hand doing one thing in a certain range. For me it’s important to use the whole piano, all 88 keys.” Sands spends some of his time working with Jazz at Lincoln Center’s Jazz for Young People program. He said that when he’s talking to kids about music, he’s working on his career goal: making the audience fall in love with the music. “Go back to Miles, back to Ellington, back all the way to the beginning of the music; everyone loved it. They didn’t just like it; they were in love with it. There was this strong, emotional relationship between the audience and the art form. Today, we have a tendency to be very scientific about the music. Everything has to be advanced, very intelligent. Somewhere along the line, this divide formed between the average audience member and the artist. Players today are like, I don’t care if you like this or not; I’m doing it for me. That makes sense; I understand that. But the whole point of jazz is the connection between the music and the listener. Think of that feeling you had when you first heard Miles playing ‘My Funny Valentine.’ It was inspiring; it was very poetic. Jazz can solve the world’s problems, because it involves everything that’s needed to solve them. It’s expression, it’s feeling, it’s religion, it’s happening on the spot, in the moment. That’s what I strive for. I want you to fall in love with it again. I want you to leave feeling a certain way, so that you go home and you can sleep peacefully knowing that’s the way it is.” ◀
details
2013
Fiesta de Santa Fe
MAGAZINE
▼ Pianist Christian Sands ▼ 6 & 8 p.m. Friday, Aug. 30 (free concert for children 3:30 p.m.) ▼ The Den, 132 W. Water St. ▼ $55-$250; 670-6482
saturday, august 31, 2013 PASATIEMPOMAGAZINE.COM
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PASATIEMPO I August 30 - September 5, 2013
ON STAGE ¡Más mariachi! Because it wouldn’t be a fiesta without mariachi music, the Santa Fe Fiesta Council is hosting a Mariachi Extravaganza at 7:30 p.m. on Sunday, Sept. 1, at Santa Fe Opera (seven miles north of Santa Fe off U.S. 84/285). The evening’s main act is the 12-person El Paso group Mariachi Los Arrieros. Established in 1996, Los Arrieros have played all over North America, appeared on HBO, and been documented by the Smithsonian Institution. Also on the bill are New Mexico musicians Antonio Reyna, named Mariachi of the Year by the New Mexico Hispano Music Association in 2011; Anita Lopez (an NMHMA honoree); and Mariachi Paisano del Valle. Tickets ($30 to $65) are available at www.santafeopera.org and by calling 986-5900. If that event isn’t enough to satisfy your mariachi craving, head over to the Lensic Performing Arts Center (211 W. San Francisco St.) on Wednesday, Sept. 4, for two less extravagant but equally entertaining Conciertos de Mariachi at 10 a.m. and 2 p.m. Tickets ($5 for the 10 a.m. show and $7 at 2 p.m.) are available by calling 988-1234 and from www.ticketssantafe.org. — L.B.
THIS WEEK
Puttin’ The Gruve in groovy
Music is full of famous partnerships: Sonny & Cher, Ike & Tina Turner, Simon & Garfunkel, and locally, Ron Crowder & Steve O’Neill of The Gruve. Though The Gruve hasn’t quite reached an international following with its music, being primarily a cover band, its audiences are likely to hear hits from several of the above-mentioned duos at any given performance. Crowder and O’Neill rely on pared-down instrumentation, playing drums and keyboard respectively. They employ vocal harmonies to round out the big sound of classic R & B, soul, and rock hits, eagerly accepting the challenge of filling dance floors while not being a full band. Judge for yourself whether or not The Gruve succeeds when the band appears at The Palace Restaurant and Saloon (142 W. Palace Ave., 428-0690) on Friday, Aug. 30, at 10 p.m. Admission is $5. — L.B.
Apocalyptic players: Revelations More than 30 years after the premiere of James Galloway’s Revelations, the play has been resurrected by the Sandia Performing Arts Company. The full-length comedy is set in a desolate area of New Mexico sometime around the beginning of the 20th century. It follows five diverse characters (and a magic owl) on spiritual quests for happiness, love, and death. Galloway was a Santa Fe native and a University of New Mexico professor who wrote many plays exploring the culture of his home state and its characters. Many of his works use natural landscapes as backdrops. The production is directed by Lacey Bingham and stars Jeff Hudson, Margie Maes, Joel Miller, Ruben Muller, and Linda Sklov. Showtimes are 7:30 p.m. on Saturday, Aug. 31, and 2 p.m. on Sunday, Sept. 1, at Teatro Paraguas Studio (3205 Calle Marie). Email teatroparaguas@ gmail.com or call 424-1601 to reserve tickets ($10 to $15). — L.B.
Birthday blues: Canyon Road Blues Jam Invitations have been sent to local musicians to help celebrate year number eight of El Farol’s blues jam, and the players have responded in droves. The guest list includes Hillary Smith, Stephanie Hatfield, Jay Boy Adams, John Kurzweg, Ryan Montano, and Mark Clark. And that’s not even counting the house band (Tiho Dimitrov, Brant Leeper, Mike Chavez, and Tone Forrest). Completing the festivities are the cutting of a big cake, and in all likelihood, an unusually bluesy rendition of “Happy Birthday.” The event is free, but tips are appreciated. As always, the jam takes place on a Tuesday (Sept. 3), beginning at 8:30 p.m., at El Farol (808 Canyon Road, 983-9912). Taking his cue from blues legend Howlin’ Wolf, master of jam ceremonies Forrest said: “It’s official! We gon’ pitch a wang dang doodle all night long!” — L.B.
8th
Anniversary
El Farol
PASATIEMPOMAGAZINE.COM
29
TERRELL’S TUNE-UP Steve Terrell
I’m just wild about hairy
Harry Chapin was an American singer-songwriter who was most famous for his early-1970s pop hits “Taxi” and “Cat’s in the Cradle.” A dedicated activist devoted to ending world hunger, Chapin died in a car accident in 1981 at the age of 38 on his way to perform a free concert in East Meadow, New York. He was a distant cousin of singer-songwriter Mary Chapin Carpenter. None of this has anything to do with the music I’m about to discuss. But it occurred to me that fans of the San Antonio band known as The Hickoids might not realize where the name of the band’s new album, Hairy Chafin’ Ape Suit came from. (On their website, Hickoid honcho Jeff Smith explains, “It was kind of one of those things where you just string some words together and it sounds amusing. It also echoed our derision for Harry Chapin, though I’m sure he was a nice man.”) The title has a long history in the Hickoids mythos. Reportedly it was first mentioned in print nearly a quarter century ago. Back in 2010 the band teased us with The Hairy Chafin’ EP — a strictly limited release, according to the back cover of the CD — that included early recordings of four songs that would later be redone. And early this year, four songs from the new album appeared on a split LP with their friends and European tour buddies, The Grannies. (More on that below.) Just who are these Hickoids? And who are they to besmirch the memory of a noble humanitarian like Chapin? They started out in San Antonio in the mid-1980s. Known as one of the first progenitors of cowpunk, the group was more than just a sloppy country-western parody band. Sure, they could pull off a hilarious mock hillbilly weeper like “Driftwood 40-23” and a completely nutso cover of the Hee Haw theme. But many other songs were short on twang while full of rage, fire, and profanity (though never without a big Texas grin).
The original version of the group flamed out in the early ’90s, but after a decade of dormancy, they sprang back to life in the new century. And here’s a local angle: Santa Fe punk-rock vet (and current Austin resident) Tom Trusnovic (Monkeyshines, The Blood Drained Cows, The Floors, 27 Devils Joking) has been a full-fledged Hickoid for the past couple of years. He played drums for them on one tour and then switched to guitar. As with the band’s earlier incarnation, this latest version of the group plays music that is raw trashy joy, a drunken joy ride down Thunder Road all the way to Armageddon. Those who discovered The Hickoids through their previous record, Kicking It With the Twits (a twisted tribute to the British Invasion and English glam bands), might be surprised that many tracks from Ape Suit are more representative of the cow part of the cowpunk equation. There’s “TJ,” a song of border-town debauchery, in which Smith drawls, “If you go to Tijuana, please don’t smoke no marijuana/It might be laced with heroin and PCP/Be a good Americano, don’t mess with Mexicanas/Your poor honey’s gonna miss you when you’re gone.” The song borrows from the melody and final refrain of “Me and Bobby McGee.” The Hickoids pay subtle tribute to the late George Jones on a song called “If Drinkin’ Don’t Kill Me, Kill Me,” which sounds like country filtered through The Rolling Stones. There’s “Side by Side Doublewides,” which is sung by guitarist Davy Jones and proposes a redneck solution to the age-old problem of personal space in a relationship. And one of my favorites is “The Workingman’s Friend,” a lazy blues about a cut-rate gas station that starts out with a vow I’ve made to myself a few times: “If I can make it to that Workingman’s Friend/I’ll never play chicken with that gas gauge again.” On other songs, the country is less obvious. The album starts out with a fierce, hard-driving rocker called “Fruit Fly,” which is a cover of a song by another San Antonio band, Loco Gringo. The Hickoids also help themselves to a tune by the Happy Dogs, another Alamo City band — the epic, near seven-minute “Stop It, You’re Killing Me.” It’s disgusting and filthy — the press release for the record says “Not suitable for terrestrial airplay!” — but it’s irresistible. One of the funniest songs here is “Cool Arrow,” complete with cheesy synth — the same kind that has polluted too much Latino music since the 1980s. The narrator of this ditty fancies himself a lady’s man, bragging about his “bling bling” and his Camaro and proudly says people call him “Cool Arrow,” apparently oblivious to the fact that the phrase sounds like something dirty in Spanish. There aren’t many cooler arrows than The Hickoids. Visit www.hickoids.com.
Also recommended:
300 Years of Punk Rock by The Hickoids and The Grannies. I’ve already talked about all the Hickoids tracks here, so let’s get straight to The Grannies’ side of this red vinyl delight. I was going to call this San Francisco group a “raw, hard-hitting, no-nonsense punk band.” But that’s not true. These cross-dressing maniacs — they’re fond of grandmotherly frocks and muumuus — are extremely pro-nonsense and proud. I’m quite fond of their previous album, For Those About to Forget to Rock, and most of the songs here are at least as strong as that effort. The Grannies’ contributions to this record are all previously unreleased tracks. The song that sums up their sound is “Cranked Up Really High,” though my favorites here are “Eviler” (mainly for the crazed guitar solo) and their seismic cover of the Nervous Eaters’ “Just Head.” But there’s one song that’s a serious departure for the group. The Grannies go country — obnoxiously so — on “God Loves The Hickoids,” a tribute to their friends from Texas. I’m not sure who is playing the Jew’s harp on this one. This irregular LP is available at the regular online places. And the whole thing is streaming for free at https://soundcloud.com/saustex/sets/300-years-ofpunk-rock. ◀ ▼
30
PASATIEMPO I August 30 -September 5, 2013
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31
PASA TEMPOS
album reviews
ROSE WINDOWS FOREST SWORDS The Sun Dogs (Sub Pop) Even Engravings (Tri Angle Records) though none of the members of Rose British producer Matthew Barnes crafts Windows were alive at the time, the songs music that sounds as if he were raised in on their first album, The Sun Dogs, sound the way of the Wu-Tang Clan. Operating like reminiscences from the Summer of Love. under the very Wu-like name Forest They call themselves “hard hitting hippies,” Swords, he fuses hip-hop and dub beats and their name evokes the vintage, chromatic with spaghetti-western licks and produces vividness of stained-glass church windows. results that feel Eastern in origin and omiSome reviewers have labeled their music psychedelic folk. nous in tone. Engravings is a noirish album that is full of long Others say it’s reflective of The Doors, Pink Floyd, or even Black shadows and smoke, where tracks like “Thor’s Stone” use grimy Sabbath. Currently seven members fill the Seattle band’s roster, beats and low whistles to sound as close to steampunk as music can covering flute and organ in addition to the standard rock rhythm get. The album’s centerpiece is “The Weight of Gold,” a five-minute section. Three members sing, two men and one woman, and the composition that wobbles forward like a cart with four different-sized sometimes unconventional layering of their harmonies helps give The wheels and sways between distorted vocal samples and psychedelic guitar. Sun Dogs much of its full-bodied lushness. Guitarist Nils Peterson told “An Hour” follows that track with a slower tempo and a melody centered Pasatiempo that their involved songwriting process usually begins with song on piano and vibraphone loops. The album is a consistently engaging arc of structures written by leader Chris Cheveyo, which then develop music; it’s entirely possible you will find your ears tuning in to differinto full-fleshed compositions through countless hours of ent highlights with each listen. What’s even more remarkable is rehearsal. “We all hear different things because of the that this is Barnes’ debut full-length record (after the celebrated influences we bring to the table, so we just give everything 2010 EP Dagger Path). It’s rare for an artist to deliver on that a shot to see what fits the best.” Peterson added that kind of promise, not just with a bold batch of songs but In Morton Feldman’s his particular influences include a lot of ’60s vocal pop with a fully realized sound. Barnes has broken down the bands, including the Beach Boys and Simon & Garfunkel. chemical compositions of rap, classical, country, Tibetan ‘Violin and Orchestra,’ lines Asked if, as the oldest band member, he also brings music, Kabuki theater, and club music, and assembled wisdom to the mix, he joked, “I wouldn’t say I’m wise, stretch and twist but never seem the molecules into a new creature. — Robert Ker but maybe the wisest of the group.” — Loren Bienvenu LES AMIS DE PHILIPPE Johann Gottlieb Graun, Carl to tighten, leaving listeners MORTON FELDMAN Violin and Orchestra (ECM New Heinrich Graun: Trios (CPO) Sophistication and hyperSeries) As its title suggests, Feldman’s 50-minute-long elegance mark the chamber music of the brothers Carl off balance and unsure single-movement piece, written in 1979, divides soloist Heinrich Graun (circa 1703-1759) and Johann Gottlieb of what’s coming next. from orchestra in ways not usually associated with violin Graun (circa 1702-1771), who spent their careers in the concertos. The roles are mostly separate, though occasionally music-mad capitals of Dresden and Berlin. Four of their the orchestra shadows the violin rather than echoes it. The trios are assembled here, three of them for violin with obblicomposer’s reputation for the quiet and slow isn’t challenged gato keyboard instrument, the other for viola with keyboard here. Crescendo, such as it is, comes at a creep and is constructed instrument. We’re not sure who wrote which; manuscript sources typically label the author as just “Graun,” and other pieces in which one on percussive additions and other instrumental variations. At their quietest, the violin’s unaccompanied lines mirror the tensile strength of the strings. or the other is specified as author reveal that they were remarkably unified Lines stretch and twist but never seem to tighten, leaving listeners off balance in their approach. Les Amis de Philippe may be the most adept ensemble in the world when it comes to navigating the expressive post-Baroque and unsure of what’s coming next. A single violin phrase, slowly rocking contours of what used to be called the “Berlin Elegant Style” or the school back and forth, induces a subdued response of strings, woodwinds, and of Empfindsamkeit (“sensitivity”). The most eminent representative of brass or a repeated piano tone from deep in the lower register that seems that aesthetic is Carl Philipp Emanuel Bach (he is the “Philippe” who to flash like a distant beacon. The various sections of the orchestra Les Amis de Philippe are friends of). If the oeuvre of the Grauns take turns responding to the soloist and, despite the uncertainty, doesn’t quite rival his breadth, it runs almost neck and neck when make sense from a progression of echoes, mirrored passages, and it comes to chamber music, which brims with graceful phrases, simple resemblances. Violinist Carolin Widmann spins her thin lines as strong as spider silk as she circles sighing postures, contrapuntal cleverness, the orchestra with reserve and patience. and momentary inspirations tossed off The Frankfurt Radio Symphony Orchestra with charmed insouciance. As these pieces responds with pensive strings, foreboding date from the era when the piano was brass, slippery harp and flute combinations, superseding the harpsichord, the ensemble’s and, at last, percussive definition. By the period instruments include a fortepiano piece’s end, we know we’ve arrived. whose lines sustain nicely against We just don’t know where. those of the strings. — Bill Kohlhaase — James M. Keller
32
PASATIEMPO I August 30 -September 5, 2013
susan schwalb and Clifford smith
SEptEmbEr
Lines of LiminaLity
5
CalEndar oF EvEntS Thursday
Fall Fest 2013
11 a.m. to 2 p.m., Courtyard 505-428-1723 Come experience the music, food, programs, clubs and more.
From the Inside Opening Reception
4:30 to 6:30 p.m., SFCC’s Visual Arts Gallery 505-428-1501 A rare opportunity to see the diverse professional artwork of SFCC’s talented faculty members whose pieces are in permanent and private collections and whose instruction has inspired many local artists. Two separate shows: Sept. 5 through Oct. 14 and Oct. 24 through Jan. 15.
Backyard Astronomy
clIfford SmIth, gray Surf II, oIl on lInen, 44 X 66 IncheS.
7 to 8 p.m., Planetarium 505-428-1744 Enjoy a live presentation of the current skies in the Planetarium and an outdoor viewing of the night sky, if weather permits.
8 12 13 SuSan Schwalb, Interlunar VIbratIonS XVIII, SIlVerpoInt, copperpoInt and black geSSo on wood, 16 X 16 IncheS.
august 30 – october 5, 2013 o P e n i n g r e C e P t i o n t o n i g h t: f r i d ay, a u g u s t 3 0 t h f r o m 5 - 7 P m f o r m o r e i n f o r m at i o n C a L L e v a n f e L d m a n , d i r e C t o r , ( 5 0 5 ) 9 5 4 - 5 7 3 8 o r e m a i L , e f e L d m a n @ g P g a L L e r y. C o m a L L i m a g e s © 2 0 1 3 , C o u rt e s y g e r a L d P e t e r s g a L L e ry ®
17 19
Historical/ Hysterical Parade
sunday
Noon, Downtown Santa Fe SFCC in the Parade Celebrating 30 Years in the Santa Fe Community. Thursday
505-428-1271
Ring World
7 to 8 p.m., Planetarium 505-428-1744 A presentation on the Cassini-Huygens mission to the planet Saturn and its moon, a joint effort of NASA and European Space Agency.
Gallery Opening: Meet Me in September
Friday
4:30 to 7:30 p.m., Red Dot Gallery The exhibit continues through October 20.
SFCC Governing Board Meeting
Tuesday
5 p.m., Boardroom
Thursday
505-820-7338
505-428-1940
Presentation: Live Your Better Life
10 a.m., Room 223 505-428-1266 Presentation by Author and Motivational Speaker Ankit Shukla.
College will be closed on Labor day, Mon., sept. 2. Registration for credit and non-credit courses is ongoing at www.sfcc.edu. all EvEntS liStEd abovE arE FrEE. Individuals who need special accommodations should call the phone number listed for each event.
1 0 1 1 Pa s e o d e P e r a Lta , s a n ta f e , n e w m e x i C o 8 7 5 0 1
Learn more. 505-428-1000 www.sfcc.edu
EmpowEr StudEntS, StrEngthEn Community. EmpodErar a loS EStudiantES, FortalECEr a la Comunidad. PASATIEMPOMAGAZINE.COM
33
Where there’s smoke Embattled Zozobra returns to his roots
R
Untitled photo by Bill Chauvenet, Negative No. HP.1985.25.1 Top, untitled photo by Bill Chauvenet, Negative No. HP.195.25.2 Opposite page, children watching construction of Zozobra (Old Man Gloom), Santa Fe Fiesta, 1959; photo by Steve Northup, Negative No. 010909 Courtesy Palace of the Governors Photo Archives (NMHM/DCA) 34
PASATIEMPO I August 30 -September 5, 2013
Loren Bienvenu I For The New Mexican
ay Sandoval’s worst fear is seeing Zozobra on the front page of The Santa Fe New Mexican — the day after his scheduled burning — with a headline reading “Old Man Gloom Wins.” Such an ill omen for the town’s spiritual health almost came to pass in 2008, which Sandoval (the man who lights Zozobra’s fuse) called “our rain year.” He told the full story from construction headquarters at El Museo Cultural de Santa Fe. In the background, his crew unloaded flatbed trucks piled high with garbage bags full of shredded paper: Zozobra’s stuffing and fuel for the fire. According to Sandoval’s memory of that fateful year, a heavy downpour lasted from early afternoon up through showtime, drenching the five-story marionette and turning Fort Marcy Park into a giant mud pit. The sludge-covered masses chanting angrily for Zozobra’s demise completed the primeval spectacle. Sandoval put his flare to the puppet’s single fuse and watched anxiously as the flame flickered upward to Zozobra’s head. After a few minutes, he realized that the fire was not hot enough to evaporate the water saturating Zozobra’s long white dress and ignite the rest of his body. So, against the advice of the firefighters on standby, he decided the only option was to climb inside the dress and torch him from the inside. “It was the most surreal experience. He was moving at that time, rocking back and forth, kind of like he was coming off the pole. And I’m literally inside him, just trying to find a dry spot where the flare will actually light.” Sandoval eventually succeeded, thus avoiding negative front-page coverage the following day. The burning of Zozobra is a surreal event from any perspective (not just from inside his dress while his head is aflame). The tradition dates back to 1925, when local artist Will Shuster created the effigy and stuffed him with scraps of paper on which he and his friends had written accounts of unwanted emotions and experiences. He was inspired by the burning of Judas effigies in Mexico as well as by the idea of combining artistry and craft with the cathartic burning away of the year’s gloom. So Zozobra was born, only to be reborn out of his own ashes every year since. Over the years, the event — originally put on by Shuster for his friends — has become more and more elaborate. Now it incorporates live music and a complicated preburning ceremony involving rows of children swirling in bedsheets like ghosts, a ritualistic fire dance, and fireworks. Recent audiences are estimated to have approached 30,000 people. The star of the hour has also grown in stature. A few years ago, the 49-foot marionette set a Guinness World Record for largest puppet (since overturned by a far less frightening puppet made in Ottawa). Today, despite widespread public support, several groups are known for voicing unease with the pageant,
and their diverse perspectives merit consideration, given that Zozobra is billed as a community event. Some Native Americans object to the event because it kicks off the larger Fiesta de Santa Fe, a celebration of the supposedly peaceful reconquest of the city by Spanish conquistadors in 1692. Fiesta comprises a weekend of city-sponsored events that commemorate the subjugation of the region’s indigenous population. Other locals are uncomfortable with the mob mentality inherent in a public spectacle in which the audience demands the burning at the stake of a moaning effigy. Then there are religious groups, like the Potter’s House Christian Fellowship, that protest what they see as the event’s sacrilegious or pagan undertones. Sandoval is familiar with all these objections, having been involved with Zozobra since before he could remember. He attended the spectacle for the first time at the age of one month and helped with the actual construction of the puppet beginning in kindergarten. A precocious youth, he remembers spending his early elementary years in the Zozobra workshop each fall, trying to make himself useful by delivering tools to the builders. “Looking back at it now, It was kind of like the U.S. Senate. It was very hierarchical — who could touch what. Of course everyone wanted to work on the face.” After Sandoval insisted on making himself useful for three or four years, Harold Gans, who learned the craft from Shuster and was Zozobra’s voice for 40 years, decided to teach Sandoval how the face was made. “We did it together in ’88 and ’89,” Sandoval remembered. “Ever since then I’ve been building Zozobra’s face.” He creates the face alone, late at night after the rest of the body has been built, and acknowledged that it can be a bit spooky to share a darkened warehouse with the monstrous visage. But Sandoval’s contributions hardly end there. He is in charge of the fireworks, which he started learning about as a teenager. An attorney, he also provides legal counsel for the Kiwanis Club of Santa Fe — organizers of the festivities — specific to the event. It’s no surprise, then, that this year Sandoval has risen to become the chairman of the entire show. When asked how he responds to some of the various ideological criticisms leveled at the burning, Sandoval said, “What I do is try to have a conversation, because I think their perspectives are valid, if not correct. I try to say, first of all, look at the history of humans sacrificing something, especially during harvest season. This goes all the way back to when we began as humans.” He then added: “You give people the context that this is not a political person, this isn’t an ethnicity, this is a monster.” Sandoval’s principal defense of Zozobra, however, is that the event has a long and successful history as a Kiwanis-run continued on Page 36
PASATIEMPOMAGAZINE.COM
35
Zozobra, continued from Page 34
This year marks the inauguration of ZozoFest, taking place Friday and Saturday, Aug. 30 and 31. ZozoFest allows the public to visit Old Man Gloom up close for the first time in his temporary home at El Museo Cultural de Santa Fe (555 Camino de la Familia). It also provides an alternative experience for members of the community who prefer to avoid the crowds on the night of the burning. Friday’s 3 to 11 p.m. schedule includes the unveiling of the official Zozobra poster, free musical performances in the Railyard (with hip-hop group La Junta headlining), and a screening of the family-friendly film Rise of the Guardians. Saturday’s festivities, which run from 11 a.m. to 6 p.m., are dedicated to the Boys and Girls Club Family Fun Fair. A variety of artwork and photographs are on display both days, including works by Zozobra creator Will Shuster that have never been exhibited before.Also available both days is a station where people can write down their woes and personally stuff them into Zozobra, who will be dressed for the occasion. “He’ll be all decked out in his cummerbund and bow tie,” event chairman Ray Sandoval said.Visitors can also take pictures with Zozobra’s body and decapitated head “just like you do with the Easter Bunny or Santa Claus.” However, some surprises will be left for the burning of Zozobra on Thursday, Sept. 5. According to Sandoval, the most important part of the entire Zozobra ritual for many people is finding out what vibrant shade his hair will be.“We made the decision that for ZozoFest, Zozobra will not have visited his hairdresser at the time, so everyone will still be surprised by the hair color on Thursday.” All events are free of charge.Visit www.burnzozobra.com/zozofest for details and times. — L.B.
fundraiser. Proceeds from past burnings have raised an estimated $500,000 in local scholarship money alone. The group also has an international reach through parent organizations Kiwanis International and UNICEF. “Right now our project is Project Eliminate for neonatal tetanus, which effects about 60,000 women and children globally every year. Last year we made a commitment that a dollar out of every ticket went to Project Eliminate, and we got a report back estimating Zozobra was able to save about 6,000 lives. Just in one year. So we feel like we actually walk the walk. We are out there in the community, doing things to actually make it better. Whatever religious belief you have, ultimately the thing is to help your fellow man.” On a nonideological level, last year was significant because of the public outcry that resulted from what some saw as an overly regulated and drawnout event that did not live up to its increased ticket price ($20 at the gates). Caring as much about the fun, community-building aspect of Zozobra as its fundraising capacities, Sandoval acknowledged that the most important thing is to balance those two features of the event without compromising public safety. “I think it showed that we weren’t very good hosts to the city. One of the things that was important to us after last year’s debacle was inviting the community to have much more of a role.” In response, the Kiwanis conducted a survey aimed at a diverse cross-section of 5,000 locals, and then “took the entire event down to the nuts and bolts in every department.” Changes this year include reduced ticket prices, a more welcoming atmosphere with designated ushers assisting visitors, a shuttle service to ease parking problems, better lighting to and from the event grounds, the inauguration of ZozoFest (pre-Zozobra festivities), and most important in Sandoval’s opinion, a return to Shuster’s original script. Since Shuster passed the event on to the Kiwanis in 1964, the pageant has perpetuated itself in a manner that Sandoval compared to a game of telephone; because each year draws directly on the year before, subtle changes to the original script have compounded with time. Seeking inspiration from the source itself, Sandoval retrieved Shuster’s journals from their safe deposit box. He stored the journals there years ago after receiving them from John Conron — a long-time friend of Shuster’s who set Zozobra alight for several decades before literally passing the torch to Sandoval. “Shuster writes in his journal that he thought he really hit his stride in the 1950s, so we went back and looked at the 1953 script. ... For a lot of people, they’ll see some elements of the script that they’ve always remembered and loved, because they were important enough that they made it through the telephone line not so messed up. But there is some other stuff that was really important to Shuster in the ceremony that we had completely lost or misplaced or misinterpreted.” Sandoval looks forward to restoring those elements this year, while fully taking advantage of the special effects and pyrotechnic technology expected by a 2013 audience. He believes that Shuster would approve of the combination. “There’s an entry from the late 1930s where he talked about the black sky as a canvas, and he’s using fireworks to paint on this black canvas in the sky. He was thinking about this as an art form. He was definitely ahead of his time.” ◀
details ▼ Annual Burning of Zozobra ▼ Official opening 7 p.m. Thursday, Sept. 5 (gates open & entertainment begins at 3 p.m.) ▼ Fort Marcy Ballpark, Bishop’s Lodge Road
Above, Zozobra under construction, artist Will Shuster on the right, Santa Fe, New Mexico, 1963; courtesy Palace of the Governors (NMHM/DCA), Negative No. 029551 Top left, Will Shuster: Mother and Child, etching; top right, Washer Woman, oil on canvas; images courtesy Kiwanis Club of Santa Fe
36
PASATIEMPO I August 30 -September 5, 2013
▼ $10; children under 10 free; advance tickets & information at 877-466-3404 & www.burnzozobra.com (tickets may also be purchased at the following locations in Santa Fe only: State Employees Credit Union, Guadalupe Credit Union, First National Bank of Santa Fe & the Boys and Girls Club of Santa Fe until 4 p.m. Friday, Aug. 30)
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49
Paul Weideman I The New Mexican
PHOTOS ON THE FLY NAT HAN
B E N N’S
hen Nathan Benn would go out on assignment for National Geographic magazine, he often had no idea what he would be photographing. “You get the assignment, just this slip of paper, from Bob Gilka [the magazine’s longtime photography director, who died in June], and you go off by yourself. You get the rental car, and you check into a hotel and unpack. Then the next morning it’s, What the hell am I doing here?” The magazine’s photographers were trusted to come up with the stories — they were basically the producers. “You shot your film; you followed your nose.” A fascinating selection of Benn’s photos appears in the new book Kodachrome Memory: American Pictures 1972-1990 (published by Powerhouse Books). Benn, who worked as a National Geographic Society photographer from 1972 to 1991, has an exhibition opening on Friday, Aug. 30, at Mark Sublette Medicine Man Gallery. Hearing Benn’s account, it is rather amazing that National Geographic, 125 years old and inarguably the most famous monthly publication of documentary photography in the world, is produced with such a casual process. “There were 18 picture editors, and they were the people who 50
PASATIEMPO I August 30 -September 5, 2013
LEGACY
looked at the film to pull the first pictures and kind of help consolidate and keep the photographer somewhat on track,” Benn said during an interview at his Santa Fe home. “You would be assigned a picture editor at the beginning. There was no writer assigned yet, because the magazine was picture-driven. Still is. “So you’d get this slip of paper, and it would just say Bruce McElfresh is the editor or something like that, and that’s all you’d get. Then you went to his assistant, Lilian Davidson, to tell her, I’m going off to Egypt or China or Vermont, could I have $10,000 in traveler’s checks? Then you go to the film guy for 300 rolls of Kodachrome or Ektachrome.” The 35 mm film was packaged in what was called “bricks” of 20 rolls. It was handed out like water.” Some projects required Benn to do research. For a piece on Moses, his first overseas story, he read “a lot on biblical archaeology.” For other assignments, the photographer relied on his news nose. Sometimes Benn was disappointed with his work, realizing that his photos reinforced clichés. “On my last story on Pittsburgh, I actually tried to turn that upside down. You think it’s steel mills. Well, there was only one
Nathan Benn: Cape Charles, Virginia, 1982
left, and I spent a week shooting it. But by 1990 I was also more selfaware and dissatisfied with what I was doing, and I asked for Pittsburgh — rather than the Soviet Union, which they wanted me to do — and I spent a week going to law offices. The fact is, there were more lawyers working in Pittsburgh than steel workers.” One of the book’s Pittsburgh photos is of a framed 1888 painted portrait of the family of Henry Clay Frick, who was one of the directors of the United States Steel Corporation. On the next page is an image of a woman sitting behind a massive reception desk, her head barely clearing its top. “I was thinking about the Old World and the role of women, the idealization of purity and the family center, and then you turn to this woman who is lost in this corporate armature.” In the same section, there is a photo of a middle-aged woman standing at a deli counter. It’s a completely ordinary scene. Who is she? It’s Sophie Masloff, then mayor of Pittsburgh. “The kind of photography I was attracted to is the tradition of Dr. Erich Salomon: the miniature camera, available light,
fly-on-the-wall photography.” Salomon was a groundbreaking German news photographer who died at Auschwitz in 1944. When Benn was finished shooting photos for an assignment, he would put the 20 or 30 rolls of film in a yellow box. He would send it off to National Geographic, which sent it to Kodak, and Kodak returned the slides in yellow boxes to the magazine’s film review department. “Film review would stamp them with your name and the place, and they might tell you one of your cameras isn’t exposing correctly or something’s scratching your film. Then it went to the editor and then to the picture editor, and it might sit on his desk for six weeks until you bugged him.” The picture editor would choose five or 10 slides and put them into a “work box” containing images destined for use in the magazine. Then all the little yellow boxes were put into a blue box, an acid-free box, and sent to “Siberia.” That was Benn’s name for the magazine’s photography warehouse in Maryland. “Conscientious photographers like Sam Abell
continued on Page 52
Top from left, Key West, Florida, 1981; Miami, Florida, 1981; Fourth of July, Pittsburgh, 1990; bottom, Memphis, Tennessee, 1983
PASATIEMPOMAGAZINE.COM
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Nathan Benn, continued from Page 51 would look at every frame. For nonconscientious photographers like me, it was just, Give me another stack of traveler’s checks and send me off somewhere else.” He had never seen most of the pictures before choosing them for the book. He began the selection process by going to the warehouse and asking for the 40-some cartons of blue boxes of yellow boxes. Of the many thousands of images he made during nearly 20 years at the magazine, about 500 have been published either in National Geographic or in books. “There are three distinct steps in the life of the photograph, and each one has a specific set of skills,” Benn said. “The first is deciding where you’re going to be today. Is it New Haven or Seoul, Korea, or where? Then you try to schedule with events that might be happening there.” The photo Cohocton, New York, 1975 is an example of the method. It shows a young man sitting in a tree-hung hammock, watching a drill team performing with batons and walking down a rainy street. “I had found there was an annual tree-sitting contest and parade in upstate New York. I was doing a story about the Finger Lakes. I learned that was going to happen, and I made plans to be in that town on that day. I didn’t know what I was going to get.” The second step in the process, Benn said, has to do with how the photographer uses the equipment to make a photo — in his case a Leica M4 or Nikon F. The third step is “to redact your photographs and select. I think of myself as a hunter-gatherer. That’s what I did when I was out as a documentary photographer. And going through my yellow boxes, I’m still a hunter-gatherer.” After National Geographic, and after having known many of the world’s renowned photographers — among them W. Eugene Smith, 52
PASATIEMPO I August 30 -September 5, 2013
Henri Cartier-Bresson, and Berenice Abbott — Benn went in a different direction. “I had gotten interested in electronic publishing. I recognized that digital publishing was going to have a big impact on publishing and copyright. So I developed the idea for what became the first online stock photography company, Picture Network International. We launched the first commercial picture library online in 1993. I was the founder and president, and Kodak bought it in 1998.” From 2000 to 2002, Benn worked at another venerable photographic institution, serving as director of Magnum Photos Inc. Benn intends Kodachrome Memory to stand as his legacy monograph. He has two ongoing projects — one about the Jewish Diaspora and the other about an ancient tomb in Peru. “It is the richest tomb ever excavated in the New World, and I was sent down before anyone knew what would be found. It’s the King Tut of the New World, and I have the only photographs.” ◀
details ▼ Nathan Benn: Kodachrome Memory ▼ Opening reception & booksigning 5 p.m. Friday, Aug. 30; exhibit through Sept. 13 ▼ Mark Sublette Medicine Man Gallery, 602-A Canyon Road, 820-7451
Cohocton, New York, 1975; images courtesy the artist
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53
Jennifer Levin I For The New Mexican
MY BACK PAGES TRINA BADARAK’S BOOK ART
seems impossible that Trina Badarak has been making artist books for just one year. The expert bindings, the level of ornamentation and embellishment of the pages, and the themes of her pieces suggest the work of an artist who has been honing her medium for decades. “I’m bringing a whole lifetime of art to book-making right now,” Badarak said. “My art has developed and come around to this other form now, though I’ve always worked with paper. I like to grow.” The Santa Fe Public Library displays Badarak’s artist books at the downtown branch in an exhibit titled Migration: Ebb and Flow, which is on view beginning Saturday, Sept. 1. It is the first-ever book arts exhibition for the library. “The thrust of the show, migration, is an idea about journey,” Badarak said. “My grandparents were immigrants from Russia. I got to thinking about migration and what it means, and started looking up different aspects of migration — [in the lives of] butterflies, penguins, and whales. There are also migrations of viruses, movements of ideas, movements of food. I see the whole Earth as this moving entity. Migration becomes this mysterious force that animals, including humans, tune into. We are all trying to survive.” In conjunction with the exhibition, Badarak will conduct workshops in her studio on Old Santa Fe Trail. (See www.trinabadarakworkshops.blogspot.com.)
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PASATIEMPO I August 30 -September 5, 2013
One of her books is an arrangement of family photos transferred to the page using gum arabic — which distorts the images in a way that is pleasing to Badarak — and a letter from Badarak’s great aunt to her mother, giving her a bit of insight into her family’s history in Russia, Poland, and Austria. The book also shows pictures of a flower (in gum-arabic transfer) moving from a closed state to an open one. Another book explores the migration of people, butterflies, and whales, with a leather tie-back binding that makes it appear to be three books in one. “I found out an interesting thing about whales while I was working on it,” Badarak said. “The males are the ones that sing. They sing the same song until the season changes, and then they sing a new song.” Badarak grew up in Michigan and has been a painter for as long as she can remember. She attended the University of Michigan but was not allowed by her parents to take art classes. “They did not want me to be an artist. They were willing to send me to school, but I was confused about where I was going [with my studies]. Being the kids of immigrants, I think they just could not picture an artist’s life. It was just frivolous to them.” Her mother and father died when she was in her early 20s. She went to work as a gallery manager in Sausalito, where she met her husband. Being immersed in the art world made her realize she was
free to determine her own path. She started taking trips to New York City, staying abreast of the art movements during the late 1960s, ’70s, and ’80s, and establishing a jewelry-making practice alongside her painting. After moving to Santa Fe in the mid-1980s, Badarak worked out of studios on Shelby Street and then in the Design Center, making contemporary Southwestern pieces in gold and silver. Her jewelry business flourished; reps were selling her wares in the U.S. as well as in Germany and Japan. “I was hiring people and doing all this work, and then it became harder for me to do that,” she said. As her eyesight — and the economy — changed, she stopped making jewelry and turned to her paintings, getting shows in local galleries. Her mixed-media paintings incorporate old books and papers. She has one made from the pages of a book of ancient kimono designs and another made from the pages of a musical score. From far away, some look like landscapes, others like falling water. They have been exhibited at Darnell Fine Art, Canyon Road Fine Art, the Center for Contemporary Arts, and the Santa Fe Community Gallery, among other locales. The art world has changed, she noted, and though her paintings have always sold well, she hasn’t had recent gallery interest — which has given her time to focus on the contemplative, detail-oriented work of artist books, for which she uses many of the same skills she brought to making jewelry. She also works in assemblage, and now those pieces have books as their focus. “I’ve always been interested in the historical aspect of the documents that I put into my paintings. I love papers; I love to bind my own books and do our own visuals in the books. Some people are poets, or there are personal things they want to say, like the book about my family. I think book arts give an artist a chance not only to do an art form but to have a voice that’s different.” Another piece she created for the show is a game board with a Turkish map fold. The game, which is a fine-art print that looks like a very old map, includes decorative paper pieces featuring images related to migration as well as cards on which cryptic phrases are printed. There are no stated rules, but the game is enticing enough to tempt a viewer to spend a great deal of time trying to determine what they might be. Badarak’s exhibition travels to other New Mexico libraries after the exhibit at the main branch closes, and her work will be shown in an upcoming exhibit with the Santa Fe Book Arts Group at the Roundhouse. As accomplished as she is, Badarak has a way of talking about herself as though she is perpetually a student, always learning, not a single artist working alone but a member of a group, part of a collective of artists working toward a common goal. “That’s true,” Badarak said. “I do look at it that way.” ◀
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55
Michael Abatemarco I The New Mexican
Remaking places When we think of Fiskars, the corporation’s familiar orange-handled scissors immediately come to mind. Less well-known in the United States is Fiskars Village, a Finnish village dating to the 17th-century, surrounding the site of the original Fiskars Ironworks. In the 1990s the village became home to a cooperative of cabinetmakers, ceramicists, industrial designers, and other artisans working in a variety of media and crafts. El Paso-based artists Rachelle Thiewes and Susan Davidoff spent two months in the village as part of a residency program where they created Common Language, a collaborative project on exhibit at Zane Bennett Contemporary Art that documents, through photographs, a series of site-specific installations based on the interaction of humanmade and natural landscapes. Common Language, running concurrently with Regeneration, a series of Davidoff’s works on paper, is the most recent joint project between Thiewes and Davidoff, who have worked together off and on for more than a decade. “Our first project was back in, I think, 1999,” Thiewes told Pasatiempo. “We did a book project with one other artist named Beverly Penn. It was a small edition of eight books.” For their first collaboration, Thiewes, a jewelry maker, refashioned several of her pieces as small sculptural objects and included them inside each book along with drawings by Davidoff. The books were presented as metal-covered, boxlike portfolios. Penn wrote the text. Every book was an original rather than a series of copies. “We saw a lot of similarities in our work, not so much in a visual way but in how we thought about our work and what we drew inspiration from,” Thiewes said. “We thought it would be interesting to present an aspect of each of our work together for the general public. We had quite a few opportunities to show the book project and did pretty well placing them in some museum collections.” Finland was another matter. The nature of the project required space and time for its realization. “We went to Finland not knowing what we were going to do, actually, and taking no supplies with us,” she said. “After about a week we decided we wanted to do site-specific installations in the landscape using what we came with and a few materials we got while we were there. Some of the installations we did may still be there. It’s been a few years.” “We wanted to be really open to the environment and this artist community we were living in,” Davidoff said. “We thought it would be pointless to go with a preconceived notion of what we wanted to do, which made it very exciting and sort of scary.” The installations call attention to existing patterns in the landscape that betray human interference. Their photograph Langsjö ˚ Woods 9.3, for instance, depicts a forested region that shows evidence of lumbering. “They would go in and plant and then cut,” Thiewes said. “It was an area that had been cut and replanted probably a few times, and the trees were all evenly spaced.” Thiewes and Davidoff photographed the trees after marking their trunks with tape. The tape appears at roughly the same height on each one, although uneven terrain and distance between foreground continued on Page 58
56
PASATIEMPO I August 30 -September 5, 2013
Artists Rachelle Thiewes & Susan Davidoff make their marks in Finland and El Paso.
Left, Susan Davidoff and Rachelle Thiewes: Path to Alsviken 8.11, 2009, photograph/aluminum Below left, L˚angsjö Woods 9.3, 2009, photograph/aluminum Below, Santa Teresa Red 10.31, 2010, photograph/aluminum Bottom right, Santa Teresa Wash 5.25, 2010, photograph/aluminum Opposite page, Suzan Davidoff: Regeneration — Fire Map With Thistles, 2013, charcoal, earth, graphite, watercolor, and wax on paper
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Davidoff & Thiewes, continued from Page 56 and background trees suggest the markings were actually applied at different levels. For Langsjö ˚ Woods 9.3, the artists were working with a pre-existing pattern: the spacing of the trees. In other images, however, the artists created patterns themselves such as circles painted on top of a small, privately owned dock. “The reality is that those really are ovals and not round, but wherever we stood they read as more circular,” Thiewes said. “We had made a stencil of an oval pattern that was similar to our foot shape. We measured the distance between our feet as we were walking and imprinted each of those oval shapes to mimic our walking pattern to the end of the dock.” Common Language can be read as a series of artistic interventions executed with reverence for natural objects and the environment. “The first piece we did is called Path to Alsviken,” Davidoff said. “It was a big root across a path to a lake where people used to go swimming, and we gold-leafed it. Even though we were doing this in a remote, rural site, lots of people had to walk over it to get to where they were going. The interaction of the people with the piece was interesting. Some people would notice and other people wouldn’t.” A second root was coated in El Paso, using silver leaf instead of gold. Davidoff’s Regeneration series had a similar genesis to that of Common Language, inspired by walks through natural landscapes. On these walks, Davidoff collected items such as lichen, earth, and cochineal for use as either natural pigmentation or directly applied elements of her paintings. “Many of the things I use, like cochineal, have a long history of being used as natural pigments, but I’ll use anything I find that will make color.” Davidoff’s Fire Map With Thistles is one of a number of pieces that explores the theme of new growth in the aftermath of a recent forest fire in the Davis Mountains of West Texas. “These are pieces from within the last year when we started getting rains,” the artist said. “There has been this incredible amount of growth, some different plants and a profusion of plants that were there pretty sparsely before the fire. That’s what Regeneration refers to. A number of them include Forest Service fire maps that charted the extent of the fire. They include other materials, too, like mica, earth, plant materials, and some silver.” While Regeneration incorporates material from Davidoff’s Texas surroundings, Common Language became a transnational project with several installations made in Finland and several more in El Paso. “We thought it would be interesting to finish the project when we got back to El Paso,” Thiewes said. “Some pieces would be a response to what we did in Finland and others would be different ways of looking at the landscape in El Paso, not as a response but as an extension.” “Finland was the exact opposite of the landscape we both live in,” Davidoff said. None of the projects were intended to be long-term, and the photographs stand as a record of the installations. “Some of them we left to wear off in time,” Davidoff said. “Others, like the tape on the trees, we went and took off ourselves, because we didn’t want to damage the trees or have someone mistake them for trees that needed to be cut down.” On occasion, when revisiting sites in Finland and Texas months after photographing them, they discovered that their work no longer remained. “Much of what we did was in remote areas,” Thiewes said. “When we were working, we rarely ran across people, but we would come back a week later and what we’d done had been taken.” Davidoff and Thiewes are unconcerned about the ephemeral nature of their projects. Perhaps whoever took the silver-leafed tree root that eventually went missing from the El Paso area appreciated its aesthetic value. “We like to think they did,” Thiewes said. ◀
details ▼ Susan Davidoff & Rachel Thiewes: Common Language & Davidoff: Regeneration
lensiC PerforMing Arts Center • 211 W. San Francisco St., Santa Fe
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Jonathan Richards I For The New Mexican
ON FILM
Estragon: I can’t go on like this. Vladimir: That’s what you think. - - - from Waiting for Godot by Samuel Beckett
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In the late 1950s, a young director had a brilliant idea. Theodore J. Flicker had just staged a standing-room-only production of Samuel Beckett’s Waiting for Godot, which was then only a few years old, at his theater in St. Louis. What if, he thought, he were to put on a 24-hour Beckett marathon — nonstop Beckett, around the clock? The problem was that there was not enough Beckettiana to fill the time. Undaunted, he took pen in hand and wrote the great man a letter. He explained his idea and asked if Mr. Beckett would please comb through his files and perhaps write a piece or two to make up the shortfall. He received a one-sentence reply from Beckett: “I would sooner swim the Marne.” In the waning years of the 20th century a director in Dublin had another great idea. Why not put all of Beckett’s theater work on film? Michael Colgan, as artistic director of Dublin’s Gate Theatre, had staged his own Beckett Festival in 1991, mounting 19 of Beckett’s theater works over a three-week period. The cycle had been repeated a few years later at Lincoln Center in New York and in 1999 in London. When Colgan decided to capture the Beckett repertoire on film, he and coproducer Alan Moloney rounded up an impressive collection of movie talent. Michael Lindsay-Hogg (director of the Beatles’ film Let It Be) signed on to direct Waiting for Godot. Canadian director Atom Egoyan (The Sweet Hereafter) took Krapp’s Last Tape, with John Hurt in the starring role. Charles Sturridge (Shackleton) directed Jeremy Irons in Ohio Impromptu. Not I, a monologue directed by Neil Jordan (The Crying Game), features Julianne Moore — or to be more specific, Julianne Moore’s mouth, in a 14-minute close-up of cherry-red lips in a rambling stream-of-consciousness. Missing is Eleuthéria, Beckett’s first completed play, written in French in 1947 and never produced.
The Beckett on Film project was completed in the early 2000s, but while the slate of full-length and short films, individually and as a whole, has had television and festival screenings and won awards, it has never been shown in general theatrical release. A couple of years ago the Lannan Foundation and The Screen began talking about bringing the Beckett cycle to Santa Fe. “We spent a year tracking down the rights,” said Peter Grendle, manager of The Screen. “He [Patrick Lannan] is the Beckett geek; I’m the film geek. Our idea was that somehow you feel you’re doing a disservice to the community in not showing these things that deserve to be seen the way they were meant to be seen, on a big screen.” Thanks to an underwriting grant from the Lannan Foundation, a selection of the Beckett cycle will be shown at The Screen at 11 a.m. on each of the five Sundays in September, beginning on Sept. 1. On Sept. 29, the final Sunday of the series, Beckett’s Rough for Theatre II, directed by Katie Mitchell, an esteemed British theater director, and starring Timothy Spall and Jim Norton, will be accompanied by Check the Gate: The Making of “Beckett on Film.” The documentary features interviews with some of the directors and stars on the sets of their films and looks at the special challenges faced by an industry used to shouting “Get me rewrite!” in hewing to the exact words and pauses in the Beckett texts and in finding cinematic equivalents for the staging and lighting requirements specified by the playwright. The film also explores some of the criticisms that have been addressed to these productions. Inevitably some big names have not made the program at The Screen. The late Anthony Minghella’s direction of Play, which stars Alan Rickman, Kristin Scott Thomas, and Juliet Stevenson, missed the cut. The full cycle of plays is available in a four-DVD boxed set, which runs about 10 and three-quarter hours (still less than half the time Flicker needed to fill in St. Louis in 1957, when many of these works had not yet been written). The Screen is offering Santa Fe audiences the chance to see these film productions “bigger, louder, and more intimate” than even a large flatscreen TV can afford. And all for free. ◀ “Beckett on Film” opens at 11 a.m. Sunday, Sept. 1, at The Screen (1600 St. Michael’s Drive) with screenings of “Not I” and “Endgame”; the free series continues through Sept. 29.
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ThIS WEEK: NOT I and ENDGAME Sunday at 11:00am
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Deep in the hearts of Texans Laurel Gladden I For The New Mexican Ain’t Them Bodies Saints, drama, rated R, Center for Contemporary Arts, 3 chiles David Lowery. Familiarize yourself with that name. If this feature is any indication, you’re going to be hearing it again. Probably at award ceremonies. Bob Muldoon (Casey Affleck) is a small-time crook who’s in love with Ruth Guthrie (Rooney Mara). They live in a ramshackle country cabin, but they’re dreaming about bigger, better things now that Ruth’s expecting a baby. When one of Bob’s heists goes awry, he, his partner Freddy, and Ruth attempt to fend off the cops from their cabin until Freddy is fatally wounded and Ruth shoots a policeman. She wants to run for it, but Bob knows they wouldn’t stand a chance, so they turn themselves in. He takes the fall for shooting the cop and gets a 25-year prison sentence. Jump forward a couple of years. Bob’s still behind bars, faithfully writing to Ruth. A local shopkeeper named Skerritt (Keith Carradine) has taken Ruth under his wing and given her a “proper” house in town where she can raise her daughter. One day, a young deputy named Patrick (Ben Foster) stops by to tell Ruth that Bob has escaped from prison. Patrick seems smitten with her; funny thing is, he’s the cop she shot all those years before. Maybe he knows that, or maybe he doesn’t. The story isn’t really new. You’ve seen grittyromantic criminals-on-the-lam flicks before —
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PASATIEMPO I August 30 -September 5, 2013
Rooney Mara and Casey Affleck
Arthur Penn’s Bonnie and Clyde, Robert Altman’s Thieves Like Us, and Terrence Malick’s Badlands, for example. Malick’s influence on writer-director Lowery is clear here — the sweeping Texas-hillcountry setting; the tall, waving grass; the romantic golden light; the lyrical voice-overs; and the suggestion of grander, even mythic themes will remind you of 2010’s The Tree of Life. But hey, if you’re a young filmmaker who’s going to stand on the shoulders of your predecessors, they might as well be giants, right? If you’re not a fan of Malick’s work, don’t let his name scare you off. Ain’t Them Bodies Saints has a plot, a little romance, and some action and violence, and there’s not a dinosaur in sight. The characters aren’t terribly verbose, but they’re practically motormouths compared to Neil and Marina from To the Wonder. Still, Ain’t Them Bodies Saints is more like a cinematic tone poem than a straightforward nar-
rative film, and it does deal in larger themes, like ambition, love, money, freedom, violence, loyalty, and new beginnings. It’s also visually mesmerizing. You might find yourself thinking about the photographs of Walker Evans and — especially in the shots of Ruth wearing a thin cotton dress or cuddling her daughter — Dorothea Lange. Gifted cinematographer Bradford Young (he won the Sundance award for that category this year) makes good use of “golden hour” light and creates a kind of cinematic chiaroscuro indoors at night. That all acts as a gorgeous canvas for the talented cast. Mara in particular shows her range. She leaves behind the punk aesthetic of The Girl With the Dragon Tattoo and plays her simple rural character without resorting to clichés or cheesiness. That’s not to say the film is without flaws. The story is simple — perhaps too much so for a fulllength feature. Is this the 1870s or the 1970s? Lowery doesn’t care to clarify — he’s more interested in mood than specifics. We don’t know much about any of the characters, so it’s hard to be fully invested in them. You might find yourself frustrated by the lack of back story, too. Just who is this Skerritt character, anyway? What has he done, and what’s his relationship to Bob? Why does he care so much about Ruth and her daughter? The dialogue, while almost poetic, is spare, and Bob and Ruth’s Texas drawls can make some lines nearly indecipherable. Good thing Mara and Affleck are skilled enough to convey worlds with a mere word or glance. Daniel Hart’s score — which combines minimalist symphonic movements with humming, clapping, and the occasional bluegrass or country-and-western tune — is inventive and often propulsive but sometimes also distractingly busy and overly insistent. I won’t give away details, but the ending won’t surprise you. You know almost from the opening frames that things aren’t going to turn out well for these star-crossed lovers. Lowery, though — good things are in store for him. ◀
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Jonathan Richards I For The New Mexican Passion, thriller, rated R, The Screen, 1.5 chiles There’s something more than a little sad about a septuagenarian director still trying to cram himself into somebody else’s style. Brian De Palma burst onto the movie scene in the late ’60s, working with a young Robert De Niro in the raw but exuberant Greetings (1968) and Hi, Mom! (1970). Shortly thereafter, like Bradley Manning, De Palma realized he’d been born into the wrong body, and he decided to turn himself into Alfred Hitchcock. He’s been at it for about 40 years now, with varying degrees of success and a few side trips into other styles and genres. De Palma’s latest Hitch pastiche is the regrettable Passion, in which the aging wunderkind demonstrates that even a thriller packed with back stabbing, throat slitting, and plenty of girl-on-girl action can come up flat when the inspiration tank is running on empty. Passion is an English-language remake (set in Berlin, but hardly anyone speaks German) of the late Alain Corneau’s final film, Love Crime (2010), which stars Kristin Scott Thomas as an icy business exec and Ludivine Sagnier as her ambitious protégée. Here those roles are taken by Hitchcockian blonde Rachel McAdams as Christine, the boss, and dark, brooding Noomi Rapace (the original Girl With the Dragon Tattoo) as Isabelle, the assistant. They’re both good actresses, but you’d never know it as they giggle, kiss, claw, and slog their way through this forced march, with De Palma hitting every nail squarely on the head. An initially chummy relationship hits the rocks when Christine, the American head of the Berlin office of a U.S. ad agency, brazenly takes credit for Isabelle’s inspired idea for a jeans commercial and wins herself a transfer to the New York office. “There’s no back stabbing here,” she purrs to an incredulous Isabelle. “This is business. You’d do the same in my place.” And first chance she gets, Isabelle does. From then on, it’s a duel to the death using every weapon at their command, from sex to humiliation to treachery to a very sharp blade. De Palma throws in a medley of his greatest hits: identical twins, dream sequences, sexual manipulation, female power struggles, and a split-screen device where showering and murder unfold simultaneously with a ballet performance of Afternoon of a Faun. De Palma still knows how to fill a frame stylishly, and the movie has its moments visually thanks to cinematographer José Luis Alcaine (a frequent Almodóvar collaborator). Veteran composer Pino Donaggio (Carrie, Dressed to Kill) swells the soundtrack with a lushly ominous musical guide. But there’s no life, no suspense, no surprise, no seduction. From props to performances, this is a utilitarian exercise by a once-promising master who has run out of ideas. ◀
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San Francisco Streetcar Jonathan Richards I For The New Mexican Blue Jasmine, drama, rated PG-13, Regal DeVargas. 3.5 chiles Think of Woody Allen as a conductor leading an orchestra of ensemble actors with a clutch of brilliant soloists through a programmatic symphony rich in themes of class and lust and lies and greed. Allen is a terrific director of actors, with a reputation for letting them do whatever they want, which pinpoints much of the genius of his working scheme at the casting stage. It seems such a simple formula: write a great script, find the perfect actors to fit the roles, and step out of the way. First among the soloists in Blue Jasmine is Cate Blanchett as Jasmine, the Ruth Madoff-esque wife of high-flying Wall Street tycoon Hal (Alec Baldwin, all smile and no soul). The movie is divided between time frames, the present and the old days when Jasmine lived in a silken cocoon, lunching in fashionable watering holes, throwing glittering dinner parties in their high-ceilinged Park Avenue penthouse, and weekending at their beachfront place in the Hamptons, choked in jewels, awash in champagne, and blinded by a willful myopia to her husband’s double-dealing on fronts financial and amorous. If she knows more than she lets on (“I don’t have any head for business.”) she keeps it to herself. When we first meet her, Jasmine is flying west, chatting nonstop to her seatmate in first class about her life, not sparing the intimate details, and (as we later discover) not bothering much with truth. But Jasmine’s world has come crashing down around her ears, and she is going to throw herself on the hospitality of her sister Ginger (Sally Hawkins) in
Peter Sarsgaard and Cate Blanchett
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PASATIEMPO I August 30 -September 5, 2013
Home bitter home: Cate Blanchett and Sally Hawkins
San Francisco. “Home,” Robert Frost said, “is the place where, when you have to go there, they have to take you in,” and Ginger’s modest flat is the only home Jasmine has left. Ginger is a checkout girl in a supermarket. Her ex-husband Augie (Andrew Dice Clay) is a handyman; her boyfriend Chili (Bobby Cannavale) is a mechanic. She lives in a walkup with a couple of doughy young sons. Jasmine and Ginger are not blood sisters — they were both adopted, and mother always liked Jasmine best. “Our paths went in totally different directions,” Jasmine tells her nephews. The movie skitters through a succession of quick scenes as we begin to find our bearings in the split framework of time and circumstance. When she arrives in San Francisco Jasmine is still dressed in the designer clothes and carrying the designer luggage that reflects the only world she knows. “Where, exactly, am I?” she asks. Her eyes register not so much dismay as incomprehension when she casts them about Ginger’s apartment. She’s beyond broke, but her head, heart, and rapidly fragmenting mind are still living in the past. “If you’re broke,” Ginger asks, “how did you fly first class? “I don’t know, Ginger,” Jasmine replies exasperatedly. “I just did!” It does not take long to discover the armature of A Streetcar Named Desire giving shape to Blue Jasmine. Blanchett, who portrayed Blanche Dubois in a celebrated production of the Tennessee Williams classic a few years ago, is miraculous here, a tightly sheathed bundle of neuroses that increasingly comes undone at the seams when exposed to the harsh light of poverty. Jasmine has always lived in the protected world of her own imagination, reinventing herself from Jeanette to Jasmine and cutting her ties to a world that could produce the path that Ginger
has followed. Phoniness is so natural to her that it’s unreasonable to expect anything else, and when the slings and arrows of life drag her down to ordinary circumstances, it’s as if she is just holding her breath until she can bob up to the surface again. When she meets Dwight (Peter Sarsgaard), a wealthy diplomat, the lies about her life flow as naturally as breath from her reanimated lips. Allen is dealing in ways that are both hilarious and harsh with themes of class and honesty here, with self-deception and irresponsibility and that old Tennessee Williams favorite, mendacity. It starts with the adopted sisters and the different paths their different natures took them from their unknowable beginnings. Allen plumbs questions of sexual and social morality, which may strike some as skating riskily close to hypocrisy, but he doesn’t spare himself. In a climactic confrontation with Jasmine, Hal declares that his latest fling with a friend’s 18-year-old au pair is different, because they have fallen in love. If Allen leans a little sturdily on the poor-buthonest aspect of his salt-of-the-earth characters, there really doesn’t seem to be anywhere else to go. Jasmine, with her withering disapproval of Ginger’s circumstances and especially her Stanley Kowalskilike boyfriend Chili, nudges her down the path of discontent and into the arms of a rough-hewn charmer, Al (Louis C.K.). But we know that Ginger’s basic decency, as played to poignant perfection by Hawkins, will lead her straight in the end. There is a tendency for some critics to treat Allen’s serious work with a heightened respect, and Blue Jasmine has drawn plaudits as being his best work since his 2005 thriller Match Point, as if there had not been much of interest in between. That is nonsense. Allen’s body of work ranges from the good to the sublime, and this is up there at the high end. ◀
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Where’s Friz Freleng when you need him? A member of the Pink Panthers gang
No cute cartoon here Robert Ker I For The New Mexican Smash & Grab: The Story of the Pink Panthers, documentary, not rated, The Screen, 2 chiles Cars crash through the glass doors of an opulent shopping mall, tires squealing, and spin around to face the exits. Men in masks leap out and break open display cases, removing the enclosed jewels as quickly as possible. Within two minutes, they hop back in the cars and peel out, leaving behind a bed of shattered glass. This is not the newest The Fast and the Furious movie; this is security footage from a high-end jewelry store in Dubai. The men who perpetrated the crime are a Serbian gang of thieves known as the Pink Panthers. This documentary by Havana Marking takes us inside their ring to show us how they operate. Naturally, she can’t present the thieves on camera. The ones who are at large remain hidden from authorities; their identities are a mystery. She works around this by having actors perform some of the dialogue from the interviews and paints over footage with animation in a style similar to that used in Richard Linklater’s Waking Life. She uses ample clips of the turmoil in Yugoslavia that birthed the massive crime spree from which the Panthers emerged, along with security-camera views of the crimes and interviews with the authorities that have pursued the Panthers, tying it together with a driving score that moves things along nicely. These limited resources don’t quite provide enough material for a movie, however. It is undeniably fascinating to hear two thieves discuss how they arranged and executed such incredible jobs, but we’ve already seen such things staged in movies with far more compelling results. Marking never quite instills a sense of wonder, and we don’t get a gripping, overreaching arc as we’ve seen in such crime documentaries as Cocaine Cowboys. Instead we get an incomplete picture, with the Serbian war and the Sierra Leone “blood diamond” conflicts oversimplified and with shocking images standing in for big-picture context. The ramifications of the thieves’ actions are also whitewashed. These are terrible people who are a product of a terrible time and place, and they contribute to making the world a worse place, but we don’t see how. Smash & Grab is not a Hollywood film, but it achieves a similar effect: it makes us sympathize with antiheroes, it glorifies crime, and it glosses over the impact that crime has on victims. ◀
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Tutor: J. Walter Sterling, St. John’s College, Santa Fe Date: Friday, August 30
“Another Universe: Ancient China, Mind, and Landscape” Tutor: David Hinton, Inaugural Rohrbach Lecturer Date: Friday, September 13
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Lunchtime Concert: Peter Pesic, piano; Robert Marcus, clarinet Brahms and Prokofiev Date: Friday, September 20 Time: 12:10 p.m., Junior Common Room, Peterson Student Center
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“‘Freedom of the Intellect is a Sacred Thing’: A Modest Defense of Liberal Education, or Why We Still Need These Books ”
Tutor: Daniel J. Mahoney, Assumption College, Department of Political Science Date: Friday, September 6, Worrell Lecture Series
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Lectures and concerts will be held in the Great Hall, Peterson Student Center, St. John’s College campus at 7:30 p.m. unless otherwise noted. Lectures and concerts are free and open to the public.
“‘The Active Struggle Against Evil’: Solzhenitsyn’s Response to Marx and Tolstoy”
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“The Anger of Achilles and its Source: A Reading of Book One of the Iliad” Tutor: Adam Schulman, St. John’s College, Annapolis Date: Friday, September 20, Worrell Lecture Series
Evening Concert: Krzysztof Zimowski, violin; Jacquelyn Helin, piano
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Brahms, Sonata no. 1 for violin and piano in G major, op. 78; Syzmanowski, “Mythes” for violin and piano; Prokofiev, Violin Sonata no. 1 in F minor, op. 80 Date: Friday, September 27
“Hobbes’ Mortal God”
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Tutor: Jay Smith, St. John’s College, Santa Fe Date: Wednesday, October 2. Time: 3:15 p.m., Junior Common Room, Peterson Student Center
“Self-knowledge: The Key to Hegel’s Phenomenology of the Spirit”
Tutor: Robert Berman, Xavier University of Louisiana, Department of Philosophy Date: Friday, October 4
Lunchtime Concert: David Bolotin, piano; Christine Chen, violin; Dana Winograd, cello Date: Friday, October 11 Time: 12:10 p.m., Junior Common Room, Peterson Student Center
“Holism: Philosophy, Language, Things”
Tutor: Joshua Kates, Indiana University, Department of English Date: Friday, October 11
“Finding the Higgs Particle: Sweet Dream or Nightmare?”
Tutor: Melissa Franklin, Harvard University, Department of Physics Date: Friday, October 25. Time: 3:15 p.m., Great Hall
“Rousseau’s Chemical Apprenticeship”
Tutor: Christopher Kelly, Boston College, Department of Political Science Date: Friday, November 1
Evening Concert: Manhattan Piano Trio
Haydn, Piano Trio in E-flat major, Hob. XV:31; Brahms, Piano Trio no. 2 in C major op. 87; Smetana, Piano Trio in G minor, op. 15 Date: Friday, November 8
“Film as Liberal Art: Reading Francis Ford Coppola’s ‘The Godfather’” Date: Friday, November 15. Time: 3:15 p.m., Great Hall
“The Age of Chronos and the Age of Zeus ”
Tutor: Janet Dougherty, St. John’s College, Santa Fe Date: Friday, November 22
Evening Concert: Ellen Hargis, soprano; Carla Moore, violin Margriet Tindemans, viola de gamba; Jillon Stoppels Dupree, harpsichord
Four musicians celebrate the season with French and English carols, Spanish Villancico, and Scarlatti and Telemann Christmas cantatas Date: Friday, December 6
Student Theater Performance Date: Friday, December 13
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SHOWCASE OF THE STARS Sun., September 8, 4:00 pm AT THE LENSIC
Liszt, Hungarian Rhapsody Rachmaninov, Piano Concerto No. 3 Saint-Saëns, Introduction and Rondo Capriccioso Saint-Saëns, Havanaise Sarasate, Zigeunerweisen
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High drama VADYM KHOLODENKO Piano Gold Medalist of the 2013 Van Cliburn International Piano Competition
CHEE-YUN Violin “This is a talented instrumentalist, with the kind of high-gloss tone that pulls sensuously at the listener’s ear.” —New York Times
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Underwritten by eddie & Peaches Gilbert 68
PASATIEMPO I August 30 -September 5, 2013
Jonathan Richards I For The New Mexican The English Teacher, comedy, rated R, Jean Cocteau Cinema, 2 chiles Linda Sinclair ( Julianne Moore) is a middle-aged spinster and high school English teacher. She has tried dating, but her mental red pencil marks up her prospects like a stack of essay assignments, and none of these jerks pass the test. Underscored by Rob Simonsen’s cute, bouncy music, as Linda suffers through the movie cliché of a succession of male loser types on what seem to be blind dates, the screen fills with her scrawled comments and failing grades. Well, all right. She has her Louisa May Alcott and her Brontë sisters, and she has her students, eager young minds (where is this high school?) in which she can light the fire of intellectual passion. And so, as a Jane Austen-like narrator (Fiona Shaw) primly informs us, Linda goes along, content with her life — until one of her former students comes back to town. Jason (Michael Angarano) and Linda meet cute, sort of, over a shot of mace late at night at an ATM. When his eyes clear, he tells her he was so inspired by her as a teacher that he went on to study dramatic writing at NYU and wrote a play. But he couldn’t get it produced (if it’s anything like this screenplay, we can see why), and he has returned home under orders from his oppressive father to abandon his dreams of being a writer and go to law school. His story is a dagger to the heart of the romantic Linda. She reads his play, is moved to tears, and gives it to her drama-teacher colleague (Nathan Lane), who is similarly moved. They vow to give Jason every young playwright’s dream, a chance to see his play put on by the high school drama society. And when Linda runs into Jason’s father (Greg Kinnear) at the gym, she gives the brute a piece of her mind. Linda lectures one of her prize pupils, the lovely Halle (Lily Collins), who is in the play and has been flirting with Jason. Linda warns her about appearances. Halle, protesting that “we haven’t done anything,” complains about the double standard girls have to endure. It’s a problem Linda painfully understands and one that casts its shadow over the story. There are reversals and betrayals, and not everyone turns out to be what they seem. In more capable hands, parts of this story might have had a chance. Craig Zisk, who has worked in edgy TV comedies (The Office, The Larry Sanders Show), goes all gooey in his feature debut. Moore has to eat, so do Kinnear and Lane, and they all do the best they can here under the circumstances. But the circumstances are trying. ◀
Sunday, September 1 · 1:00 – 4:00 pm
Japanese Bamboo Art Program Presented by TAI Gallery in conjunction with the exhibition Tako Kichi: Kite Crazy in Japan
1:00 pm Lecture on Contemporary Japanese Bamboo Art by Rob Coffland of TAI Gallery 2:00 – 4:00 pm Artist Demonstration with Japanese bamboo artist Yufu Shohaku Free with museum admission. New Mexico residents with I.D. free on Sundays. Youth 16 and under and MNMF members always free. Funded by the International Folk Art Foundation. Yufu Shohaku, Nine Layers, 2013. Madake and bamboo root, 22" × 21" × 19.5". Courtesy of TAI Gallery, #23597. Photo by Gary Mankus Studios.
On Museum Hill in Santa Fe · (505) 476-1200 · InternationalFolkArt.org
J o i n T h e Sa n Ta Fe a n i m a l Sh elT er & Sa n Ta Fe Ta i l S F o r
A Seminar with Sarah Kalnajs
Beyond Dog Behavior Understanding Canine Motivation
This fun, informative seminar with Sarah Kalnajs, nationally renowned certified dog behavior consultant and certified dog trainer, will feature videos, materials and demonstrations.
Open to the general public & animal-welfare professionals:
Sat. Sept. 28 & Sun. Sept. 29 9 am – 4:30 pm 1 day: $100 · 2 days: $150
sunday
saturday
Networking party after Sat. session: $10 Location: Santa Fe Country Club, 4360 Country Club Rd • Clever Dogs, Clueless People: How dogs think, learn and see the world; behavior modification. • Guarding: Food, Bones, Toys & Beyond. • Five Faux Paws: Body language/sensory systems, terminology troubles/label dilemmas, freedom/ control, how dogs think/learn, and punishment. • Interrelation of Chronic Stress, Arousal & Aggression.
More information about Sarah Kalnajs: www.bluedogtraining.com
animal shelter Contact: Ben Swan 505-983-4309, ext. 139
Mon. Sept. 30, 9 am – noon
Half-day for animal-welfare professionals only: $75 Location: Santa Fe Animal Shelter, 100 Caja del Rio Rd
• Behavior assessments, body language, temperament testing and fair safe handling procedures.
Registration & information: www.sfhumanesociety.org
www.SantaFeTails.com CCPDT CEUs available.
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MOVING IMAGES pasa pics
— compiled by Robert B. Ker
GETAWAY As Ethan Hawke hit middle age, his boyish good looks were replaced with a gaunt, torturedlooking face — giving him new career possibilities working in thrillers. Here he plays a former professional driver who races to rescue his wife after she is kidnapped. MTV Video Music Award winner Selena Gomez plays a passenger who is swept along for the ride. Rated PG-13. 94 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) THE GRANDMASTER Ip Man, the martial arts master who helped popularize kung-fu and taught Bruce Lee, has been the subject of several films of late. Wong KarWai directed this one, though, which will undoubtedly look better than the rest — and probably better than any other film currently in theaters. Tony Leung (Infernal Affairs) and Zhang Ziyi (Crouching Tiger, Hidden Dragon) star. Rated PG-13. 130 minutes. Regal DeVargas, Santa Fe. (Not reviewed)
No two kung-fu moves look exactly alike: Zhang Ziyi in The Grandmaster, at Regal DeVargas in Santa Fe
opening this week AIN’T THEM BODIES SAINTS Familiarize yourself with writer-director David Lowery’s name. If this feature is any indication, you’re going to be hearing it again — probably at award ceremonies. Bob (Casey Affleck) is a small-time crook who’s in love with Ruth (Rooney Mara). After a heist goes awry, he gets a 25-year prison sentence. Then one day, a deputy (Ben Foster) stops by Ruth’s house to tell her that Bob has escaped from prison. The story isn’t really new, and Lowery’s work is heavy on mood but light on narrative and specifics. The film is visually mesmerizing, though, thanks to gifted cinematographer Bradford Young. Not rated. 105 minutes. Center for Contemporary Arts, Santa Fe. (Laurel Gladden) See review, Page 62. BECKETT ON FILM In 1991 Michael Colgan, artistic director of Dublin’s Gate Theatre, staged a Beckett Festival, mounting 19 of Samuel Beckett’s theater works over a three-week period. A few years later, when he and co-producer Alan Moloney decided to capture the Beckett repertoire on film, they rounded up an impressive collection of A-list movie and stage directors and stars. A selection of the Beckett cycle, 70
PASATIEMPO I August 30 -September 5, 2013
including Waiting for Godot, Endgame, Happy Days, and Krapp’s Last Tape, will be shown in free screenings at 11 a.m. over each of the five Sundays in September. Not I and Endgame screen Sunday, Sept. 1, only. Not rated. Running times vary. The Screen, Santa Fe. ( Jonathan Richards) See story, Page 60. BREATH OF THE GODS This documentary looks at the life and teachings of Tirumalai Krishnamacharya, the man who is credited with bringing yoga into the modern world. Not rated. 105 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) THE ENGLISH TEACHER Linda Sinclair ( Julianne Moore) is a middle-aged spinster and high school English teacher. She has her Louisa May Alcott and her Brontë sisters, and she has her students, eager young minds in which she can light the fire of intellectual passion. But when Jason (Michael Angarano), a former student turned aspiring playwright, comes back to town, her world begins to unravel. Craig Zisk, known for his work in edgy TV comedies (The Office, The Larry Sanders Show), goes all gooey in his feature debut. Julianne Moore has to eat, and so do Greg Kinnear and Nathan Lane; they all do the best they can here under the circumstances. But the circumstances are trying. Rated R. 93 minutes. Jean Cocteau Cinema, Santa Fe. ( Jonathan Richards) See review, Page 68.
IN A WORLD ... Lake Bell wrote, directed, and stars in this comedy about a woman who tries to break the gender barrier in a very specific segment of society: voice actors who narrate movie trailers. Alas, her biggest competition is her father (Fred Melamed), the man whose gravelly delivery made the words “In a world where ...” famous. Rated R. 93 minutes. Regal DeVargas, Santa Fe. (Not reviewed) INSTRUCTIONS NOT INCLUDED As Valentín (Eugenio Derbez) prepares for his big move from Mexico to Hollywood to realize his dream of becoming a stuntman, a former lover leaves him a surprise to take along: a screaming baby. And so he learns how to be father at the same time that he learns how to take a fall, to comedic results. In English and Spanish with subtitles. Rated PG-13. 115 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) OF TWO MINDS In this documentary, filmmakers Douglas Blush and Lisa J. Klein follow the lives of three people who suffer from bipolar disorder. Not rated. 89 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) ONE DIRECTION: THIS IS US If you’re a tweenie who helped this boy band’s “Best Song Ever” win the fan-voted “best song of the summer” award at the MTV Video Music Awards, you don’t need prompting to see this Morgan Spurlock-helmed documentary. If you’re confused as to which direction this film’s title refers to, it’s probably not for you. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) PASSION In Brian De Palma’s latest Hitchcock pastiche, the aging wunderkind demonstrates that even a thriller packed with back stabbing,
throat slitting, and plenty of girl-on-girl action can come up flat when the inspiration tank is running on empty. It’s a remake of the late Alain Corneau’s 2010 psychological thriller Love Crime, with Hitchcockian blonde Rachel McAdams replacing Kristin Scott Thomas as an icy business exec and dark, brooding Noomi Rapace (the original Girl With the Dragon Tattoo) stepping in for Ludivine Sagnier as her assistant. But there’s no life, no suspense, no surprise, no seduction. From props to performances, this is a utilitarian exercise by a once-promising master who has run out of ideas. Rated R. 100 minutes. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 63. SMASH & GRAB: THE STORY OF THE PINK PANTHERS Havana Marking’s documentary takes us inside a loose gang of Serbian thieves called the Pink Panthers, who break into high-end jewelry stores, take what they can, and split. Security footage and interviews with two members — their identities concealed by stand-in actors and animation — provide the bulk of their story, and a background look at the Serbian conflict they rose out of provides context. It’s intriguing, but there isn’t enough material here for a full movie, and as with Hollywood action films, the crimes of these antiheroes are glorified and portrayed as victimless. Not rated. 90 minutes. The Screen, Santa Fe. (Robert Ker) See review, Page 66. WAR OF THE ARROWS This epic film from South Korea takes us back to the 17th century, when an archer (Park Hae-Il) takes on an army to win back his kidnapped sister (Moon Chae-Won). In Korean with subtitles. 11 p.m. Friday and Saturday, Aug. 30 and 31, only. Not rated. 122 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed)
now in theaters BLUE JASMINE Woody Allen’s latest mixes comedy and tragedy in an inspired symphony of social criticism drawn loosely from A Streetcar Named Desire. Cate Blanchett will catch the Academy’s eye as Jasmine, a Park Avenue socialite who lost everything when her husband (Alec Baldwin) went to jail for financial fraud. She’s Ruth Madoff by way of Blanche Dubois, and when her world crashes she goes to San Francisco and moves in with her blue-collar sister Ginger (a perfect Sally Hawkins). The rest of the cast, which includes Bobby Cannavale, Andrew Dice Clay, and Peter Sarsgaard, is flawless. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) See review, Page 64.
THE BUTLER Forest Whitaker plays a White House butler who serves Eisenhower (Robin Williams), Kennedy ( James Marsden), Nixon ( John Cusack), Reagan (Alan Rickman), and Johnson (Liev Schreiber) while seeing decades of change sweep the country. Lee Daniels (Precious) directs. Oprah Winfrey co-stars. Rated PG-13. 132 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) CLOSED CIRCUIT Eric Bana and Rebecca Hall star as two lawyers and former lovers who are assigned to the trial of a terrorist suspect (Denis Moschitto). Issues of confidentiality, mysterious deaths, and shocking conspiracies come up before the gavel comes down. Rated R. 95 minutes. Regal DeVargas, Santa Fe. (Not reviewed) DESPICABLE ME 2 The 2010 hit gets its sequel with this story about the exvillain Gru (voiced by Steve Carell), who is called out of retirement to track down a bad guy. The animation is a step up from the first film, and the plot is mercifully to the point. Unlike many family films, Despicable Me 2 is proudly a comedy, and it shelves the action, life lessons, and sentiment in favor of attempts at laughter. Whether or not it succeeds is up to the viewer, and the filmmakers hedge their bets by bringing slapstick for the kids and pop-culture references for the adults. Rated PG. 98 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) ELYSIUM Director Neill Blomkamp (District 9) presents a futuristic tale in which the wealthy live in a utopian space station called Elysium, while everyone else lives on Earth in what could be called “District 99%.” Matt Damon plays a man in an L.A. shantytown who fights back. The film is reminiscent of Paul Verhoeven’s satirical sci-fi films (such as Robocop) but without that B-movie sense of fun; it’s just obvious, ugly, overly violent, and deeply cynical, with nothing good to say about the human race. The special effects, however, are incredible; one could say it’s the best-looking movie about not being able to afford cancer treatment for your dying child that you’ll ever see. Rated R. 109 minutes. Regal Stadium 14, Santa Fe. (Robert Ker) EUROPA REPORT In the midst of the exhausting special-effects arms race going on at the multiplex, it’s a pleasure to sit back and watch a science-fiction film that looks as if it were crafted by human hands. Ecuadorian director Sebastián Cordero’s low-budget movie — about a crew aboard a spaceship on a mission to one of Jupiter’s moons — does the trick, with its foundfootage approach and nods to Kubrick and Lovecraft. The characters could be much stronger, the ending
less telegraphed, but the lived-in sets and homespun effects give you much to savor. Rated PG-13. 90 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) JOBS Apple co-founder Steve Jobs was so beloved that he could be said to have followers rather than fans. It’s unclear whether his followers will take to having one of the dudes from Dude, Where’s My Car? (Ashton Kutcher) play him in this biopic. Rated PG-13. 125 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) KICK-ASS 2 This sequel to the colorful, violent 2010 adaptation of Mark Millar’s popular comic book wants so desperately to be a future cult classic that it’s doomed to fail. Instead, the average-bloke superhero story (starring Aaron Taylor-Johnson, Chloë Grace Moretz, and Jim Carrey) is gross, mean-spirited, sexist, racist, and stupid. It’s more The Toxic Avenger than The Avengers, without Troma’s grindhouse glee. Rated R. 107 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) THE LONE RANGER The titular hero (Armie Hammer) and his faithful Comanche friend Tonto ( Johnny Depp) take on the railroad, the cavalry, bad guys led by a cannibalistic Butch Cavendish, and a host of other creeps in this fast-moving but curiously unexciting retelling of the classic tale. That the movie is terrible is disappointing, given that most of the creative talent was also involved with the successful and frequently entertaining Pirates of the Caribbean film franchise. Rated PG-13. 149 minutes. Regal DeVargas, Santa Fe. (Robert Nott) THE MORTAL INSTRUMENTS: CITY OF BONES Another fantasy series that you probably haven’t heard of unless you’re 14 or a parent hits the big screen. The first installment in the series centers on a girl (Lily Collins) who discovers she’s a Shadowhunter. The job has its drawbacks, such as having to fight powerful demons. It also has its perks, such as hanging out with hunks ( Jamie Campbell Bower). Rated PG-13. 130 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) MUSEUM HOURS Working as a guard in a museum can be an intensely meditative and introspective experience. Befriending a patron named Anne (Mary Margaret O’Hara) gives Johann (Bobby Sommer), a guard at Vienna’s Kunsthistorisches Museum, an opportunity to reinvigorate his life while sharing insights into art and continued on Page 72
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existence. Johann tours Vienna with Anne and gains a richer understanding of and appreciation for his city and the timeless spirit that animates it today, as it did in the time of Pieter Bruegel the Elder. Not rated. 107 minutes. In English and German with subtitles. The Screen, Santa Fe. (Michael Abatemarco) PARANOIA Liam Hemsworth plays a blue-collar Brooklynite who takes a job as a corporate spy and enjoys the paychecks until he finds out he’s a pawn in a nasty game between rival CEOs (Gary Oldman and Harrison Ford). Rated PG-13. 106 minutes. DreamCatcher, Española. (Not reviewed) PERCY JACKSON: SEA OF MONSTERS Now that Harry Potter has hung up his broomstick, Percy Jackson (Logan Lerman), basically Potter in a world full of Greek gods instead of wizards, fills the void and finds the Golden Fleece in this sequel to his 2010 film. Rated PG. 107 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Not reviewed) PLANES This animated film looks exactly like Pixar’s Cars — right down to the underdog story and the uncomfortable stereotypes — and is even said to take place in the same world as Cars. The only major difference can be found in the title. Rated PG. 92 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) PRINCE AVALANCHE Director David Gordon Green returns to the arthouse with this ambling, pastoral film that finds comedic middle ground among the works of Samuel Beckett and Terrence Malick. Paul Rudd and Emile Hirsch play two men tasked with painting lines on a road that runs through a Texas landscape ravaged by wildfire. They bicker and cheer and meet some odd locals. The film looks and sounds wonderful, and it strays from the predictable path. I’d call it a return to form for Green, but no movie has had ever had a form quite like this. Rated R. 94 minutes. Center for Contemporary Arts, Santa Fe. (Robert Ker)
spicy
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THE SPECTACULAR NOW The writers of 2009’s much-loved (500) Days of Summer adapt Tim Tharp’s coming-of-age novel. The film version, directed by James Ponsoldt, is a rom-com that relies on familiar teen-movie tropes, with the hard-partying guy hooking up with the unpopular girl, but at least the lead actors (Miles Teller and Shailene Woodley) look like real teenagers. Rated R. 95 minutes. Regal DeVargas, Santa Fe. (Not reviewed) 20 FEET FROM STARDOM “Not everyone is cut out for stardom,” says Bruce Springsteen, one of the headliners who muses here on the contributions and frustrations of the backup singers whose vocals raise the sound to another level. Táta Vega, Claudia Lennear, and Lisa Fischer are a few that will send you out of the theater wondering about that barrier that kept them from headliner stardom. But Morgan Neville’s documentary brings these singers front and center, and it’s glorious. Rated PG-13. 90 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) 2 GUNS Mark Wahlberg and Denzel Washington play men who pull off a bank heist, only to find out that they’re both cops who have been tricked into pulling off the robbery, not knowing the other is also undercover. Rated R. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) UNFINISHED SONG British cinema has lately cultivated a minor growth industry in geriatric nostalgia, with pictures like The Best Exotic Marigold Hotel. The latest entry is this undercooked tearjerker from writer-director Paul Andrew Williams. What makes it worth seeing is the work of Vanessa Redgrave and Terence Stamp. Marion (Redgrave) is dying of cancer but determined to keep singing with a chorus of old-age pensioners at the local community center. Her husband, Arthur (Stamp), is a crusty old grouch, but he loves her. The plot is whipped together with that old standby, a singing competition. You may grumble at the sappy writing, but the two stars will make you cry. Rated PG-13. 93 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) THE WAY WAY BACK The latest indie comedy to probe the hot, hazy months of one’s teen years stars Liam James as 14-year-old Duncan, who is living with his mom (Toni Collette) and her boyfriend (Steve Carell) for the summer and working at a water park, where he learns about life from his manager (Sam Rockwell). Rated PG-13. 103 minutes. Regal DeVargas, Santa Fe. (Not reviewed)
WE’RE THE MILLERS In one of the year’s biggest surprise hits, a stripper ( Jennifer Aniston) and a pot dealer ( Jason Sudeikis) join up, recruit a couple of kids, and pretend to be a family so they can sneak drugs across the border from Mexico. The plan does not go off without hitches or high jinks. Rated R. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE WOLVERINE The second solo movie for Hugh Jackman’s hairy hero (after 2009’s crummy X-Men Origins: Wolverine) takes the saga to Japan and surrounds Wolvie with women. This change of setting is welcome in the stale superhero genre, but as with most cape films, it could sorely use a sense of style. That Wolverine is dull as dirt and Jackman could now play him in his sleep doesn’t help. Rated PG-13. 129 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) THE WORLD’S END Gary (Simon Pegg) returns to his small hometown with his mates to reenact a pub crawl they did many years ago. He’s dismayed by how much things have changed but soon realizes that it’s worse than he thought: the local populace has been replaced by robots. Edgar Wright directs and Nick Frost co-stars; it’s a reunion for most of the Shaun of the Dead crew. Rated R. 109 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) YOU’RE NEXT At the 2011 Toronto International Film Festival, this horror film generated much buzz about its thrilling originality. I guess you had to be there. It’s true that the flick boasts a few new twists in the standard home-invasion story, but they’re not interesting enough to elevate it above other low-budget bloodletting pictures — some of which, like The Strangers and Them, at least handle the acting and the suspense significantly better. Not rated. 94 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker)
other screenings Railyard Park, 740 Cerrillos Road 8 p.m. Friday, Aug. 30: Rise of the Guardians. Free outdoor screening. Regal Stadium 14 12:20 p.m., 2:50 p.m., 5:25 p.m. Friday-Wednesday: The Smurfs 2. 8 p.m., 9:35 p.m., 10 p.m. Thursday, Aug. 29: Riddick. ◀
HHHH”
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-Claudia Puig,
What’s shoWing Call theaters or check websites to confirm screening times. CCA CinemAtheque And SCreening room
1050 Old Pecos Trail, 982-1338, www.ccasantafe.org 20 Feet from Stardom (PG-13) Fri. to Wed. 2:15 p.m., 4:15 p.m. Ain’t Them Bodies Saints (R) Fri. to Wed. 5:15 p.m., 7:30 p.m. Of Two Minds (NR) Fri. to Mon. 12:15 p.m. Prince Avalanche (R) Fri. to Wed. 6:15 p.m., 8:15 p.m. Unfinished Song (PG-13) Fri. to Wed. 1:15 p.m., 3:15 p.m. JeAn CoCteAu CinemA
418 Montezuma, 505-466-5528 Breath of the Gods (NR) Fri. and Sat. 6:30 p.m. Sun. 2 p.m., 6:30 p.m. Mon. and Tue. 6:30 p.m. Wed. and Thurs. 2 p.m., 6:30 p.m. The English Teacher (R) Fri. and Sat. 4:15 p.m., 8:45 p.m. Sun. 4:15 p.m. Mon. and Tue. 8:45 p.m. Wed. and Thurs. 4:15 p.m., 8:45 p.m. Europa Report (PG-13) Fri. and Sat. 2 p.m. Sun. 8:45 p.m. War of the Arrows (NR) Fri. and Sat. 11 p.m. regAl deVArgAS
562 N. Guadalupe St., 988-2775, www.fandango.com Blue Jasmine (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 9:50 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. Closed Circuit (R) Fri. and Sat. 1:20 p.m., 3:50 p.m., 7:10 p.m., 9:35 p.m. Sun. to Thurs. 1:20 p.m., 3:50 p.m., 7:10 p.m. The Grandmaster (PG-13) Fri. and Sat. 1:10 p.m., 4 p.m., 7 p.m., 9:30 p.m. Sun. to Thurs. 1:10 p.m., 4 p.m., 7 p.m. In a World... (R) Fri. and Sat. 1:50 p.m., 4:20 p.m., 7:20 p.m., 9:40 p.m. Sun. to Thurs. 1:50 p.m., 4:20 p.m., 7:20 p.m. The Lone Ranger (PG-13) Fri. to Thurs. 3:25 p.m., 6:50 p.m. The Spectacular Now (R) Fri. and Sat. 1:40 p.m., 4:10 p.m., 7:40 p.m., 9:55 p.m. Sun. to Thurs. 1:40 p.m., 4:10 p.m., 7:40 p.m. The Way Way Back (PG-13) Fri. and Sat. 1 p.m., 10 p.m. Sun. to Thurs. 1 p.m. regAl StAdium 14
3474 Zafarano Drive, 424-6296, www.fandango.com Call theater or see website for Thursday times. 2 Guns (R) Fri. to Wed. 12:50 p.m., 4:10 p.m., 7:35 p.m., 10:15 p.m. The Butler (PG-13) Fri. to Wed. 12:25 p.m., 3:45 p.m., 7 p.m., 10:05 p.m. Despicable Me 2 (PG) Fri. to Wed. 12 p.m., 2:25 p.m., 4:50 p.m., 7:15 p.m. Elysium (R) Fri. to Wed. 1:10 p.m., 4 p.m., 7:30 p.m., 10:10 p.m. Getaway (PG-13) Fri. to Wed. 12 p.m., 2:15 p.m., 4:30 p.m., 7 p.m., 9:20 p.m. Instructions Not Included (PG-13) Fri. to Wed. 1 p.m., 4 p.m., 7:05 p.m., 9:50 p.m. Jobs (PG-13) Fri. to Wed. 10 p.m. Kick-Ass 2 (R) Fri. to Wed. 9:55 p.m. The Mortal Instruments: City of Bones (PG-13) Fri. to Wed. 12:35 p.m., 3:35 p.m., 7:10 p.m., 10:05 p.m. One Direction:This Is Us 3D (PG) Fri. to Wed. 1 p.m., 3:20 p.m., 5:40 p.m., 8 p.m., 10:20 p.m.
One Direction:This Is Us (PG) Fri. to Wed.
7:55 p.m., 10:15 p.m.
Percy Jackson: Sea of Monsters (PG) Fri. to Wed.
1:50 p.m., 4:55 p.m., 7:25 p.m. Planes (PG) Fri. to Wed. 12:10 p.m., 2:35 p.m., 5:15 p.m., 7:40 p.m. Riddick (R) Thurs. 8 p.m., 9:35 p.m., 10 p.m. The Smurfs 2 (PG) Fri. to Wed. 12:20 p.m., 2:50 p.m., 5:25 p.m. We’re the Millers (R) Fri. to Wed. 1:30 p.m., 4:40 p.m., 7:20 p.m., 10 p.m. The Wolverine (PG-13) Fri. to Wed. 10:10 p.m. The World’s End (R) Fri. to Wed. 1:10 p.m., 4:20 p.m., 7:10 p.m., 9:50 p.m. You’re Next (R) Fri. to Wed. 12:15 p.m., 2:45 p.m., 5:10 p.m., 7:45 p.m., 10:20 p.m.
EXCLUSIVE ENGAGEMENTS Santa Fe UA De Vargas Mall 6 taoS Storyteller Cinema (800) FANDANGO #608 (505) 758-9715
NOW PLAYING
“A gorgeously crafted, sexy camp-noir, as bitingly funny as it is restlessly hypnotic.” – R. Kurt Osenlund, IndieWire
the SCreen
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com Beckett on Film: Not I and Endgame (NR) Sun. 11 a.m. Museum Hours (NR) Sat. and Mon. 11:45 a.m. Passion (R) Fri. to Thurs. 4 p.m., 8:10 p.m. Smash & Grab:The Story of the Pink Panthers (NR) Fri. to Thurs. 2 p.m., 6:10 p.m. mitChell dreAmCAtCher CinemA (eSpAñolA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com 2 Guns (R) Fri. 5 p.m., 7:35 p.m., 10 p.m. Sat. 2:30 p.m., 5 p.m., 7:35 p.m., 10 p.m. Sun. 2:30 p.m., 5 p.m., 7:35 p.m. Mon. to Thurs. 5 p.m., 7:35 p.m. The Butler (PG-13) Fri. 4:25 p.m., 7:05 p.m., 9:45 p.m. Sat. 1:50 p.m., 4:25 p.m., 7:05 p.m., 9:45 p.m. Sun. 1:50 p.m., 4:25 p.m., 7:05 p.m. Mon. to Thurs. 4:25 p.m., 7:05 p.m. Jobs (PG-13) Fri. 4:40 p.m. Sat. and Sun. 1:55 p.m., 4:40 p.m. Mon. to Thurs. 4:40 p.m. Kick-Ass 2 (R) Fri. 4:55 p.m., 7:30 p.m., 9:55 p.m. Sat. 2:30 p.m., 4:55 p.m., 7:30 p.m., 9:55 p.m. Sun. 2:30 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. The Mortal Instruments: City of Bones (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m. One Direction:This Is Us (PG) Fri. 4:30 p.m., 7 p.m., 9:35 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:35 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Paranoia (PG-13) Fri. and Sat. 7:25 p.m., 9:55 p.m. Sun. to Thurs. 7:25 p.m. Planes (PG) Fri. 4:35 p.m., 7:10 p.m., 9:30 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:10 p.m., 9:30 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:10 p.m. Mon. to Thurs. 4:35 p.m., 7:10 p.m. The Smurfs 2 (PG) Fri. 4:40 p.m., 6:55 p.m., 9:25 p.m. Sat. 2:10 p.m., 4:40 p.m., 6:55 p.m., 9:25 p.m. Sun. 2:10 p.m., 4:40 p.m., 6:55 p.m. Mon. to Thurs. 4:40 p.m., 6:55 p.m. We’re the Millers (R) Fri. 4:50 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:20 p.m. Mon. to Thurs. 4:50 p.m., 7:20 p.m. You’re Next (R) Fri. 4:45 p.m., 7:40 p.m., 9:50 p.m. Sat. 2:25 p.m., 4:45 p.m., 7:40 p.m., 9:50 p.m. Sun. 2:25 p.m., 4:45 p.m., 7:40 p.m. Mon. to Thurs. 4:45 p.m., 7:40 p.m.
ExclusivE EngagEmEnt starts tOday
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RESTAURANT REVIEW Laurel Gladden I For The New Mexican
Down on the corner Mangiamo Pronto 228 Old Santa Fe Trail, 989-1904 Breakfast 7:30-11 a.m. daily; lunch 11 a.m.-5 p.m. and dinner 5-8 p.m. Mondays-Saturdays; lunch and dinner 11 a.m.-6 p.m. Sundays
Counter service at lunch, table service at dinner Vegetarian options Takeout available Handicapped-accessible Noise level: quiet sidewalk café chatter Beer & wine Credit cards, no checks
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The short order Especially now, while the weather is still warm, the patio of this cute sidewalk café on the corner of Alameda Street and Old Santa Fe Trail is the place to be. Grab a table beneath the boughs of a huge shady Russian olive tree, sip a soda or a glass of wine, enjoy some Italian-inspired food, and watch the world go by. Mangiamo Pronto offers breakfast, lunch, and dinner, and the menu includes salads, hot and cold sandwiches, pastas, pizzas, and in the evening, entrees like chicken, fish, and Italian meatloaf. If you have a sweet tooth, don’t pass up the gelato, which is offered in an impressive array of flavors. Service is very friendly and welcoming, if occasionally clueless. Recommended: vegetable panini, spicy garbanzo bean salad, sardine bruschetta, and ravioli.
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.
74
Sunlight pours in through French doors and windows inside Mangiamo Pronto, but especially now, while the weather is still warm, the patio is the place to be. In this prime location on the corner of Alameda Street and Old Santa Fe Trail, you can grab a table beneath the boughs of a huge shady Russian olive tree, sip a soda or a glass of wine, enjoy some Italianinspired food, and watch the world go by. Mangiamo Pronto offers breakfast, lunch, and — until 8 p.m. — dinner. During the day, place your order at the counter. San Pellegrino sodas, beer and wine, coffee drinks, and water — in a glass dispenser by the door — are available to quench your thirst. If you have a sweet tooth, don’t pass up the gelato, which is offered in an impressive array of flavors. The Greca salad — romaine, kalamatas, artichoke hearts, dollops of feta, a sprinkling of capers, and a shower of grated Parmesan — makes a nice, light midday meal. In an interesting twist, the small metal pitcher on the side contained only about a tablespoon of vinaigrette. You could interpret this as a sign of stinginess, but it will certainly keep you from overdressing your salad. Nutty whole-grain bread makes good framework for the filling of the portobello panini, which included roasted peppers and some super-fresh greens in addition to the titular mushrooms. It’s a terrific vegetarian sandwich, lightly oiled and toasted and resonating with the flavors of summer. Tossed in a light, slightly acidic dressing, the spicy garbanzo bean salad combines contrasting crunchy chopped celery and tender, globelike chickpeas. I’d like to buy this flavorful, refreshing stuff by the quart and stock it in my home fridge. Dinner is more formal. You order at your table rather than at the counter, and although some lunch items reappear on the menu, entrees like chicken, fish, and Italian meatloaf fill things out. The happy hour special — bruschetta and a glass of wine (try the full-bodied Il Bastardo Sangiovese or Banfi’s Col di Sasso Sangiovese-Cabernet Sauvignon blend) for $6.50 — is a smoking deal. Our sardine bruschetta — flaky fatty fish draped with strips of roasted tomato and dotted with a few salty capers — was simultaneously rich, salty, bright, creamy, and meaty. We also ordered a bruschetta with anchovies but were served toasts topped with cheese and deep-brown mushroom slices. When we asked, “Are these anchovies?” our server assured us they were. Perhaps the staff members we encountered hadn’t had much training yet; still, it’s not that hard to tell fish from fungi. The antipasto plate is a collection of treats, including briny olives; funky, tangy blue cheese; artichoke hearts; crunchy crostini; and a selection of varyingly lean and fatty cured meats — some of which were marred by a heavy drizzle of a balsamic glaze so thick and concentrated it resembled chocolate syrup. The plump prosciutto-stuffed cherry pepper was hard to slice, but once we had sawed it into bites, it offered a satisfying balance of rich meat and tangy vegetables. The ravioli wasn’t hot — possibly on purpose. The delicate rounded pillows of room-temperature pasta — demonstrating
PASATIEMPO I August 30 -September 5, 2013
that telltale tenderness of handmade dough — were fluffed up by light, herby ricotta-spinach filling and resting lightly on fresh leaves of basil. The dish’s mild sweetness got a boost from a trail of pesto and a drizzle of that pervasive balsamic glaze (here used to positive effect). A blanket of melted mozzarella covers the crisp, albeit too thick, crust of the margherita pizza, and eight or nine thick quarters of tomato form a ring on top. In a traditional margherita these proportions would be switched, with bright, tangy tomato sauce covering the crust and dotted with disks of milky cheese. The fresh basil was welcome, but the dish certainly didn’t need the Jackson Pollock-like application of syrupy-sweet balsamic glaze. Service is very friendly and welcoming, if occasionally clueless. At lunch, the counter staff wasn’t familiar with several of the menu items and beverage choices. After dinner, we ordered the Maker’s Mark gelato affogato (from the Italian word for “drowned,” this means gelato topped with a shot of espresso). What arrived at our table was a dish of plain vanilla and chocolate gelato. When we pointed out the error, our server explained that she had “misunderstood” and returned moments later with our affogato. It was an addictive combination of still-barely-warm coffee, cool-but-melting gelato, and the flavors of woody whiskey; rich, nutty espresso; and soothing milkiness. Service hiccups aside, there’s something pleasantly continental about sitting on a street corner and enjoying a meal, even if cars are cruising by. This is especially true at dinner, when traffic is gliding down Alameda, headlights occasionally lighting up the street. Sure, the world might be speeding by, but at Mangiamo Pronto, you can be perfectly content to sit still. ◀
Check, please
Lunch for two at Mangiamo Pronto: Portobello panino ............................................ $10.25 Greca salad ...................................................... $ 8.85 Side, spicy garbanzo bean salad ....................... $ 2.50 TOTAL ............................................................. $21.60 (before tax and tip)
Dinner for three, another visit: Happy hour special with anchovy bruschetta .. $ 6.50 Happy hour special with sardine bruschetta ... $ 6.50 Glass, Col di Sasso ........................................... $ 6.00 Antipasto plate ................................................. $ 7.50 Ravioli ............................................................. $10.50 Margherita pizza .............................................. $ 9.50 Gelato affogato ................................................ $ 5.75 TOTAL ............................................................. $52.25 (before tax and tip)
505.983.8977 604 N. GUADALUPE ST. DE VARGAS CENTER 5STARBURGERS.COM
IAF.935 ca.1670
IAF.645 ca. 1810
IAF.997 ca. 1870-1880 IAF.682 ca. 1880-1890
Grand Opening August 31, 2013
Experience this living tradition through a visual feast of Acoma pottery brought together for the first time, featuring fine examples of historic pottery as well as unique “Dyuuni” created during the last Century from collections of the Haakú Museum, School for Advanced Research, Museum of Indian Arts & Culture and the Collections of David Rasch.
1-40 Exit 102, South 15 miles
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Pueblo of Acoma, NM
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800 747 0181
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www.acomaskycity.org
School for Advanced Research, Catalog Number IAF.645., IAF.682., IAF.935., IAF.997. Detail Photography by Addison Doty
Labor Day Weekend
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pasa week Friday, Aug. 30
yares art projects 123 Grant Ave., 984-0044. Energy Fields, sculptural video installations by Susanna Carlisle and Bruce Hamilton; Four Square, abstracts by painter Penelope Krebs, reception 5:30-7:30 p.m., through October 28. Zane Bennett Contemporary art 435 S. Guadalupe St., 982-8111. Common Language, collaborative works by Susan Davidoff and Rachelle Thiewes; Regeneration, Davidoff’s works on paper; reception 5-7 p.m., through Sept. 20 (see story, Page 56).
gallery/museum openings
Chalk Farm gallery 729 Canyon Rd., 983-7125. Works by A. Andrew Gonzalez. Charlotte Jackson Fine art 554 S. Guadalupe St., 989-8688. Green/Bronze, mixed-media paintings by Ed Moses, reception 5-7 p.m., through Sept. 23. gF Contemporary 707 Canyon Rd., 983-3707. Foundings, new work by painter Nigel Conway, reception 5-7 p.m. independent artists gallery 102 W. San Francisco St., second floor, 983-3376. Mixed-media paintings by the late Santa Fe artist Ellen Ward, through Sept. 26. Jay etkin gallery 703 Camino de la Familia, Suite 3103, 983-8511. View From the Twilight, paintings by James Koskinas, reception 5-7 p.m., through Sept. 6. Joe Wade Fine art 102 E. Water St., 988-2727. Memories and Notes, new oils and pastels by Roger Williams, reception 5-7 p.m. la posada de santa Fe resort and spa 330 E. Palace Ave., 986-0000. Paintings by Truchas artists Trish Booth, Sally Delap-John, and Leonardo Pieterse, reception 4 p.m. followed by discussions. longworth gallery 530 Canyon Rd., 989-4210. Rumi on Canvas, work by Rahileh Rokhsari, through September. marigold arts 424 Canyon Rd., 982-4142. The Art of the Tree, turned-wood vessels and sculpture by Jim McLain, reception 5-7 p.m., through Sept. 25. mark sublette medicine man gallery 602-A Canyon Rd., 820-7451. Kodachrome Memory, exhibit of photographs by Nathan Benn, book signing and reception 5-7 p.m., through Sept. 13 (see story, Page 50). mark White Contemporary 1611 Paseo de Peralta, 982-2073. Upon Reflection, work by White, reception 5-8 p.m., through Sept. 15. mark White Fine art 414 Canyon Rd., 982-2073. Upon Reflection, work by White, reception 5-8 p.m., through Sept. 15. matthews gallery 669 Canyon Rd., 992-2882. Figurative and Landscapes, work by Jamie Chase, reception 5-7 p.m., through Sept. 12. meyer east gallery 225 Canyon Rd., 983-1657. Attachment, figurative paintings by Fatima Ronquillo, reception 5-7 p.m.
Pasa’s Little Black Book......... 77 Exhibitionism...................... 78 At the Galleries.................... 79 Museums & Art Spaces........ 79 In the Wings....................... 80
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compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
ClassiCal musiC
TgiF piano recital Jan Worden-Lackey performs music of Poulenc and Debussy, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., 982-8544, Ext. 16.
in ConCerT
Christian sands Jazz pianist, 6 and 8 p.m. sets, The Den, 132 W. Water St., $55-$250, call for tickets, 670-6482 (see story, Page 26). slaid Cleaves Singer/songwriter, 7:30 p.m., Music Room, Garrett’s Desert Inn, 311 Old Santa Fe Trail, $20 in advance, southwestrootsmusic.org, $25 at the door (see story, Page 20).
TheaTer/danCe
Meyer East Gallery shows paintings by Fatima Ronquillo, 225 Canyon Rd.
paladino 839 Paseo de Peralta, 954-1024. Glamour & Glass, works by Franco Mondini-Ruiz and Justin Parr, reception 5-7 p.m., proceeds benefit Palliative Care Services of Santa Fe. a sea gallery 407 S. Guadalupe St., 988-9140. Work by sculptor Anne Russell, reception 5-7 p.m. signature gallery 102 E. Water St., 983-1050. Marie Channer’s portraiture and Western studies, reception 5:30-8 p.m.
Elsewhere............................ 82 People Who Need People..... 83 Under 21............................. 83 Pasa Kids............................ 83
PASATIEMPO I August 30 -September 5, 2013
silver sun gallery 656 Canyon Rd., 983-8743. Chigiri-e, Japanese torn-paper work by Hisae Tamura, reception 5-7 p.m., through Sept. 10. Tai gallery 1601-B Paseo de Peralta, 984-1387. Two Roads Diverge in a Bamboo Forest: Oita’s Art Movement, bamboo art, reception 4:30-7 p.m., through Sept. 21. Waxlander gallery 622 Canyon Rd., 984-2202. Uncommon Ground, new paintings by Matthew Higginbotham, reception 5-7 p.m., through Sept. 9.
A Fowl Play & A Fracking Good Time 2013 Fiesta Melodrama, an annual sendup of all things Santa Fe; 7:30 p.m., Santa Fe Playhouse, 142 E. DeVargas St., $20, 988-4262, continues through Sept. 8. Juan siddi Flamenco Theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, final weekend. Starting Here, Starting Now Greer Garson Theatre’s student production of Richard Maltby Jr. and David Shire’s musical revue, 7 p.m., Weckesser Studio Theatre, SFUA&D, 1600 St. Michael’s Dr., $10, 988-1234, ticketssantafe.org, final weekend.
Books/Talks
gary paul nabhan The author discusses and signs copies of Growing Food in a Hotter, Drier Land: Lessons From Desert Farmers on Adapting to Climate Uncertainty, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see story, Page 18).
ouTdoors
santa Fe Botanical garden at museum hill Open 9 a.m.-5 p.m. daily April-October, 10 a.m.-4 p.m. Tuesday-Sunday November-March, 715 Camino Lejo, $5, santafebotanicalgarden.org.
calendar guidelines Please submit information and listings for Pasa Week
no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter.
events
Pueblo of tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year. ZozoFest Indoor/outdoor celebration at the Railyard, 3-10 p.m.; including Southwest hopfunkers La Junta; Santa Fe Fiesta Council and dignitaries; exhibit of the late Zozobra creator Will Shuster’s artwork and photographs; and a screening of the 2012 film Rise of the Guardians; El Museo Cultural de Santa Fe and the Railyard Plaza, exhibit continues Saturday (see story, Page 34).
nightliFe
(See addresses below) Bishop’s lodge Ranch Resort & spa Jazz guitarist Pat Malone, 6-9 p.m., no cover. Café Café Los Primos Trio, traditional Latin rhythms, 6-9 p.m., no cover. ¡Chispa! at el Mesón The Three Faces of Jazz and Friends, featuring Bryan Lewis on drums, 7:30 p.m.-close, no cover. Cowgirl BBQ Classic country with Bill Hearne 5-7:30 p.m., Austin singer/songwriter Wendy Colonna, 8:30 p.m., no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. el Farol Salsa music with Tumbao, 9 p.m., call for cover. evangelos The Jakes, classic rock and blues, 9 p.m.-1 a.m., call for cover. hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.
d Wine Bar 315 Restaurant an 986-9190 il, 315 Old Santa Fe Tra tec St., 820-0150 Az 7 31 c te az 7 31 nter dinner agora shopping Ce d ar courty de, 466-1270 7 Avenida Vista Gran the inn agoyo lounge at E. Alameda St., 3 on the alameda 30 1 984-212 Betterday Coffee 5-1234 55 905 W. Alameda St., nch Resort & spa Ra e dg lo Bishop’s Rd., 983-6377 e dg 1297 Bishops Lo Café Café 6-1391 500 Sandoval St., 46 Casa Chimayó 8-0391 409 W. Water St., 42 ón ¡Chispa! at el Mes 983-6756 e., Av ton ing 213 Wash Cowgirl BBQ , 982-2565 319 S. Guadalupe St. Café te yo Co the den at 3-1615 98 , St. r ate W . W 2 13 lton el Cañon at the hi 811 8-2 98 , St. al ov nd 100 Sa spa eldorado hotel & St., 988-4455 o isc nc Fra n 309 W. Sa
la Fiesta lounge at la Fonda Country swing with Cathy Faber, 8-11 p.m., no cover. la Posada de santa Fe Resort and spa Nacha Mendez Duo, pan-Latin rhythms, 6:30-9:30 p.m., no cover. low ’n slow lowrider Bar at hotel Chimayó de santa Fe Jazz off the Plaza, Loren Bienvenu on drums, Justin Bransford on bass, and Alex Candelaria on guitar, 9:30 p.m.-close, no cover. the Palace Restaurant & saloon The Gruve, R & B, classic soul, and variety, 10 p.m., $5. Pranzo italian grill Geist Cabaret with pianist David Geist, 6-9 p.m., call for cover. Rouge Cat Gender-bending cabaret singer Bella Gigante, 8:30 p.m., call for cover. second street Brewery Roots-rock duo Man No Sober, 6-9 p.m., no cover. second street Brewery at the Railyard Todd and the Fox, norteño folk rock, 7 p.m., no cover. tiny’s The Honey Pot, rock and alt-country, 8:30 p.m, no cover. tortilla Flats Singer/songwriter Gary Vigil, acoustic rock, 6-9 p.m., no cover. the Underground at evangelo’s DJ Guttermouth, 9 p.m., call for cover. Upper Crust Pizza Balladeer J. Michael Combs, ranchera, folk, and honky-tonk, 6-9 p.m.; country-folk acoustic duo EagleStar, 7-8 p.m.; no cover.
Pasa’s little black book el Farol 3-9912 808 Canyon Rd., 98 ill el Paseo Bar & gr 848 2-2 208 Galisteo St., 99 evangelo’s o St., 982-9014 200 W. San Francisc hotel santa Fe ta, 982-1200 1501 Paseo de Peral la Boca 2-3433 72 W. Marcy St., 98 ina la Casa sena Cant 8-9232 98 e., Av e 125 E. Palac at la Fonda la Fiesta lounge , 982-5511 St. o isc 100 E. San Franc a Fe Resort nt sa la Posada de e Ave., 986-0000 lac and spa 330 E. Pa at the the legal tender eum us M d oa ilr Ra lamy 466-1650 151 Old Lamy Trail, g arts Center in rm rfo lensic Pe o St., 988-1234 isc 211 W. San Franc the lodge lodge lounge at St. Francis Dr., N. 0 75 Fe a nt at sa 992-5800 l rider Bar at hote low ’n slow low Fe 125 Washington a nt sa Chimayó de Ave., 988-4900
vanessie Pianists Doug Montgomery, jazz and classics, 6-8 p.m.; Todd Lowry and Kari Simmons, 8 p.m.-close; call for cover.
31 Saturday galleRy/MUseUM oPenings
scheinbaum & Russek 812 Camino Acoma, 988-5116. Beyond Reality, works by photographers Minor White (1908-1976) and Walter Chappell (1925-2000), through October 12.
theateR/danCe
aspen santa Fe Ballet Dancer Katie Dehler is showcased in the final performance of the summer season, 8 p.m., the Lensic, $25-$72, 988-1234, ticketssantafe.org (see story, Page 22). A Fowl Play & A Fracking Good Time 2013 Fiesta Melodrama, an annual sendup of all things Santa Fe; 7:30 p.m., guest pianist Kevin Zoernig, Santa Fe Playhouse, 142 E. DeVargas St., $20, 988-4262, continues through Sept. 8. Juan siddi Flamenco theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, final weekend. Revelations A play by the late James Galloway presented by Sandia Performing Arts; 7:30 p.m., Teatro Paraguas, 3205 Calle Marie, $15, discounts available, 424-1601, encore Sunday. Starting Here, Starting Now Greer Garson Theatre’s student production of Richard Maltby Jr. and David Shire’s musical revue, 7 p.m., Weckesser Studio Theatre, SFUA&D, 1600 St. Michael’s Dr., $10, 988-1234, ticketssantafe.org, final weekend.
the Matador 116 W. San Francisco St., 984-5050 the Mine shaft tavern 2846 NM 14, Madrid, 473-0743 Molly’s kitchen & lounge 1611 Calle Lorca, 983-7577 Museum hill Café 710 Camino Lejo, Milner Plaza, 984-8900 Music Room at garrett’s desert inn 311 Old Santa Fe Trail, 982-1851 the Palace Restaurant & saloon 142 W. Palace Ave, 428-0690 the Pantry Restaurant 1820 Cerrillos Rd., 986-0022 Pranzo italian grill 540 Montezuma Ave., 984-2645 Rouge Cat 101 W. Marcy St., 983-6603 san Francisco street Bar & grill 50 E. San Francisco St., 982-2044 santa Fe Community Convention Center 201 W. Marcy St., 955-6705 santa Fe sol stage & grill 37 Fire Pl., solofsantafe.com second street Brewer y 1814 Second St., 982-3030
Books/talks
artist talk Abstract painter Ed Moses in conversation with Rani Singh of the Getty Research Institute, 2 p.m.,Charlotte Jackson Fine Art, 554 S. Guadalupe St., 989-8688, reservations required. douglas Folsom The novelist reads from and signs copies of The Return of the Santa Fe Super Chief, 2 p.m., Garcia Street Books, 376 Garcia St., 986-0151.
events
amigos fundraiser BBQ, music, and guest historian Bill Baxter speaking on the mining history of Cerrillos Hills, 3-7 p.m., Cerrillos Hills State Park Visitor Center, 37 Main St., Cerrillos, donations requested, 474-0196. Fiesta de los niños El Rancho de las Golondrinas hosts its annual event, 10 a.m.-4 p.m. today and Sunday, 334 Los Pinos Rd., $8, discounts available, 471-2261. santa Fe artists Market 8 a.m.-1 p.m. Saturdays at Railyard Park across from the Farmers Market, through November, 310-1555. santa Fe Farmers Market 7 a.m.-noon; Collected Works Bookstore hosts a book signing by Gary Paul Nabhan, author of Growing Food in a Hotter, Drier Land: Lessons From Desert Farmers on Adapting to Climate Uncertainty, 9 a.m., 1607 Paseo de Peralta, 983-4098. santa Fe society of artists show 9 a.m.-5:30 p.m., First National Bank parking lot on W. Palace Ave., across from the New Mexico Museum of Art, weekends through Oct. 20.
pasa week
continued on Page 81
second street Brewer y at the Railyard 1607 Paseo de Peralta, 989-3278 steaksmith at el gancho 104-B Old Las Vegas Highway, 988-3333 sweetwater harvest kitchen 1512-B Pacheco St., 795-7383 taberna la Boca 125 Lincoln Ave., Suite 117, 988-7102 thunderbird Bar & grill 50 Lincoln Ave., 490-6550 tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 tortilla Flats 3139 Cerrillos Rd., 471-8685 the Underground at evangelo’s 200 W. San Francisco St., 819-1597 Upper Crust Pizza 329 Old Santa Fe Trail, 982-0000 vanessie 427 W. Water St., 982-9966 veterans of Foreign Wars 307 Montezuma Ave., 983-9045 Warehouse 21 1614 Paseo de Peralta, 989-4423 Zia diner 326 S. Guadalupe St., 988-7008
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exhibitionism
James Koskinas: Head 27, 2011, acrylic on canvas. Jay Etkin Gallery (703 Camino de la Familia) presents View From the Twilight, an exhibition of James Koskinas’ paintings and sculptures. The show features artwork that is part of the forthcoming film The Twilight Angel. It is the story of an artist’s struggle to complete his magnum opus and was made by Koskinas, John Witham, and Julie Schumer. There is a 5 p.m. reception on Friday, Aug, 30. Call 983-8511.
A peek at what’s showing around town
minor White: Two Barns, Dansville, New York, 1955, gelatin silver print. Beyond Reality is an exhibition of photographs by Minor White (1908-1976) and Walter Chappell (1925-2000) at Scheinbaum and Russek Ltd. (812 Camino Acoma). On view is a selection of important works by White and a retrospective selection of work by Chappell, including unique examples of photographs whose negatives were lost in a fire in 1961. The show opens Saturday, Aug. 31; the gallery is open by appointment only. Call 988-5116.
hisae tamura: A Circular Window, 2013, Japanese calligraphy paper. Hisae Tamura presents a body of abstract works made in the chigiri-e tradition of Japan. Chigiri-e is an art form that uses pieces of colored paper arranged in decorative designs. Unlike collage, which is often made with printed materials and photographs, chigiri-e uses torn pieces of hand-made paper. The show is at Silver Sun Gallery (656 Canyon Road). The opening reception is at 5 p.m. on Friday, Aug. 30. Call 983-8743.
ed moses: Gold Over Green, 2013, mixed media on canvas. Charlotte Jackson Fine Art (554 S. Guadalupe St.) presents Green/Bronze, an exhibit of Ed Moses’ abstractions. Moses is a veteran of the legendary Ferus Gallery in Los Angeles, which also represented such notable artists as Robert Irwin and Ed Ruscha. Moses shows his recent “crackle” paintings. The show opens Friday, Aug. 30, with a reception at 5 p.m. Moses delivers a free talk with Rani Singh of the Getty Research Institute at the gallery on Saturday, Aug. 31, at 2 p.m. Reservations are required for the talk. Call 989-8688.
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PASATIEMPO I August 30 -September 5, 2013
Leonardo Pieterse: Jimson Weed, 2012, oil on canvas. La Posada de Santa Fe Resort and Spa presents paintings by three artists from Truchas, New Mexico: Sally Delap-John, Trish Booth, and Leonardo Pieterse. The exhibit opens on Friday, Aug. 30, with a reception at 4 p.m., followed by a discussion with the artists and curator. La Posada is at 330 E. Palace Ave. Call 954-9668.
At the GAlleries Addison Rowe Gallery 229 E. Marcy St., 982-1533. Works by early-20th-century artists known as the Transcendental Painting Group, through Sept. 6. Adobe Gallery 221 Canyon Rd., 629-4051. Paintings by Pueblo and Navajo artists of the early 20th century; ceramic figures by the late Cochiti Pueblo artist Helen Cordero; Hopi and Zuni katsina dolls from the Tom Mittler estate; through Saturday, Aug. 31. Bellas Artes 653 Canyon Rd., 983-2745. Pozos Azules, work by textile artist Olga de Amaral, through Sept. 28. Bill Hester Fine Art 830 Canyon Rd., 660-5966. Beneath the Stars, bronzes by sculptor David Unger, through Sunday, Sept. 1. Blue Rain Gallery 130-C Lincoln Ave., 954-9902. New work by glass artist Preston Singletary, through Saturday, Aug. 31. Chiaroscuro Contemporary Art 702½ Canyon Rd., 992-0711. Headwater, Emmi Whitehorse’s paintings; contemporary Native group show, including Rick Bartow, Rose B. Simpson, and Harry Fonseca; through Sept. 14 . David Richard Gallery 544 S. Guadalupe St., 983-9555. Ted Larson: Some Assembly Required; Peter Demos: Ten Paintings; Matthew Penkala: There’s No Shame in It; Lilly Fenichel: High Contrast; through Sept. 7. Eight Modern 231 Delgado St., 995-0231. Chance Animals, inkjet prints by Jason Salavon, through Sunday, Sept. 1. Gebert Contemporary 558 Canyon Rd., 992-1100. Keiko Sadakane: Geometric Paintings After Piero della Francesca, through Sept. 10. Gerald Peters Gallery 1011 Paseo de Peralta, 954-5700. Dwellings, new works by Christopher Benson, Tom Birkner, and Peri Schwartz; Beyond the Surface, works by John Felsing and Les Perhacs, through Saturday, Aug. 31. Heidi Loewen Porcelain Gallery 315 Johnson St., 988-2225. Loewen’s smoke-fired sculptures, through Saturday, Aug. 31. Houshang’s Gallery 50 E. San Francisco St., 988-3322, paintings by Judy Morgan, through Sept. 8. James Kelly Contemporary 550 S. Guadalupe St., 989-1601. Enrique Martínez Celaya: The Pearl, site-specific installation, through Sept. 21. Legends Santa Fe 125 Lincoln Ave., 983-5639. Totem and the Animal Within, works by Marla Allison and Robert Spooner Marcus, through Sept. 16. New paintings by Ben Wright, through Sept. 18. LewAllen Galleries at the Railyard 1613 Paseo de Peralta, 988-3250. Santa Fe’s Holy Trinity of Landscape Painting, works by John Fincher, Woody Gwyn, and Forrest Moses; paintings and sculpture by Nathan Oliveira; through Sunday, Sept. 1. New Concept Gallery 610-A Canyon Rd., 795-7570. Aaron Karp: Paintings, Then and Now, through Monday, Sept. 2. The Owings Gallery 120 E. Marcy St., 982-6244. New work by painter Ed Mell, through Sept. 14. Peyton Wright Gallery 237 E. Palace Ave., 989-9888. Idioms, work by abstract artist Charles Green Shaw (1892-1974), through Tuesday, Sept. 3. Photo-eye Gallery 376-A Garcia St., 988-5159. Storms, Mitch Dobrowner’s cloud studies, through Sept. 21.
Pippin Contemporary 200 Canyon Rd., 795-7476. The Path of Exploration Continues, new work by Aleta Pippin, through Tuesday, Sept. 3. Pop Gallery 142 Lincoln Ave., Suite 102, 820-0788. Dream Catchers, paintings by Joel Nakamura, through September. Red Dot Gallery 826 Canyon Rd., 820-7338. Traveling Raveling, works by Michelle Goodman, Kathleen McCloud, and Gina Telcocci, through Saturday, Aug. 31. Santa Fe Art Institute SFUA&D, 1600 St. Michael’s Dr., 424-5050. Anishnaabensag Biimskowebshkigewag (Native Kids Ride Bikes), installation by Métis artist Dylan Miner, through Sept. 27. Santa Fe Clay 545 Camino de la Familia, 984-1122. Works by ceramicists Priscilla Mouritzen, Monica Rudquist, and Hide Sadohara, through Sept. 7. Ventana Fine Art 400 Canyon Rd., 983-8815. New paintings by John Nieto, through Wednesday, Sept. 4. Verve Gallery of Photography 219 E. Marcy St., 982-5009. Figures Studied, 10th anniversary group show, through Saturday, Aug. 31. Wade Wilson Art 217 W. Water St., 660-4393. Active Sight and the Landscape, work by Jim Woodson; Conflicting Scales: Musicality and Dissonance, encaustic paintings by Winston Lee Mascarenhas; through Sept. 25. William & Joseph Gallery 727 Canyon Rd., 982-9404. Rhythms in Geometry, new work by sculptor Laird Hovland, through Saturday, Aug. 31. William R. Talbot Fine Art, Antique Maps & Prints 129 W. San Francisco St., second floor, 982-1559. Modernist Printmaking in the Southwest, 1920-1950, including works by Emil Bisttram, Gerald Cassidy, and Gene Kloss, through August. Indian Summer, 1830-1940, works by Karl Bodmer, George Catlin, Peter Moran, and Datus Myers, through Sept. 7. William Siegal Gallery 540 S. Guadalupe St., 820-3300. Nauticus, works by Karen Gunderson, David Henderson, and Tom Waldron, through Sept. 14.
MuseuMs & Art spAces refer to the daily calendar listings for special events. Museum hours subject to change on holidays and for special events. Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. Making Places, interdisciplinary installation by Linda Fleming and Michael S. Moore, through Sept. 22. Gallery hours available online at ccasantafe.org or by phone, no charge. El Rancho de las Golondrinas 334 Los Pinos Rd., 471-2261. Living history museum and historic paraje on El Camino Real, the Royal Road to Mexico City. Open 10 a.m.-4 p.m. Wednesday-Sunday through September. $8; seniors and teens $5; ages 12 and under no charge. Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Works from students of the museum’s 2013 Art & Leadership Programs for Girls and Boys, through Sept. 6 • Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land, through Sept. 8. Open 10 a.m.-5 p.m.
Restless Model, by eugenie Fish Glaman (1873-1956), in the New Mexico Museum of Art exhibit Back in the Saddle
Saturday-Thursday, 10 a.m.-7 p.m. Friday. $12; seniors $10; NM residents $6; students18 and over $10; under 18 no charge; no charge for NM residents first Friday of each month. Museum of Contemporary Native Arts 108 Cathedral Pl., 983-1666. Changing Hands: Art Without Reservations 3/Contemporary Native North American Art From the Northeast and Southwest, group show • Steven J. Yazzie: The Mountain • Jacob Meders: Divided Lines; Cannupa Hanska Luger: Stereotype: Misconceptions of the Native American; exhibits continue through December. Open 10 a.m.5 p.m.; noon-5 p.m. Sunday; closed Tuesday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250. What’s New in New: Recent Acquisitions, through December • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. TuesdaySunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups free; NM residents no charge on Sundays; no charge for NM residents over 60 on Wednesdays. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200. Let’s Talk About This: Folk Artists Respond to HIV/AIDS, collaborative community exhibit, through Jan. 5, 2014 • Tako Kichi: Kite Crazy in Japan, exhibit of traditional Japanese kites, through March 2014 • Plain Geometry: Amish Quilts, textiles from the collection and collectors, through Monday, Sept. 2 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, collection of toys and folk art. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays; school groups no charge.
Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226. Beltrán-Kropp Peruvian Art Collection, exhibit of gift items, including a permanent gift of 60 art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso, Peru’s ambassador to the U.S. (1944-1945), through May 27, 2014 • Stations of the Cross, works by New Mexico artists, through Monday, Sept. 2 • Metal and Mud — Out of the Fire, works by Spanish Market artists, through Saturday, Aug. 31. • San Ysidro/St. Isidore the Farmer, bultos, straw appliqué, paintings on tin, and retablos • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation. Open 10 a.m.5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge for on Sundays. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16, 2014 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9, 2014. Open 10 a.m.-5 p.m. TuesdaySunday; 5-8 p.m. Friday. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge for NM residents over 60 on Wednesdays; NM residents no charge on Sundays; free admission 5-8 p.m. Fridays. New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Peter Sarkisian: Shiprock and Mont St. Michel, Santa Fe photographer William Clift’s landscape studies, through Sept. 8 • Back in the Saddle, paintings, prints, photographs, and drawings of the Southwest, through Sept. 15 • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Friday. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents free on Sundays. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Pl., 988-8900. A Straight Line Curved, paintings by Helen Hardin (1943-1984), through September. Open 10 a.m.-5 p.m. TuesdaySunday. $10 admission. Poeh Museum Fashion designs by Patricia Michaels, through November. 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted. SITE Santa Fe 1606 Paseo de Peralta, 989-1199. Enrique Martínez Celaya: The Pearl, site-specific installation, through Oct. 13. Open 10 a.m.-5 p.m. Tuesday-Saturday; 10 a.m.-7 p.m. Friday; closed Wednesday beginning in September. $10; seniors and students $5; 10 a.m.-noon Saturday no charge; Friday no charge. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13, 2014. Open 10 a.m.-5 p.m. Monday-Saturday, 1-5 p.m. Sunday.
PASATIEMPOMAGAZINE.COM
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In the wings MUSIC
Donna Dean Country singer/songwriter, Jono Manson opens, 7:30 p.m. Friday, Sept. 6, The Music Room, Garrett’s Desert Inn, 311 Old Santa Fe Trail, $15 in advance online at brownpapertickets.com, $20 at the door. Melissa Etheridge Rock singer/songwriter, 7:30 p.m. Friday, Sept. 6, Santa Fe Opera, 301 Opera Dr., $44-$81, 986-5900. Santa Fe Symphony Featuring pianist Vadym Kholodenko and violinist Chee-Yun in a program of Rachmaninoff, Saint-Saëns, and Sarasate, 4 p.m. Sunday, Sept. 8, pre-concert lecture 3 p.m., the Lensic, $22-$76, 988-1234, ticketssantafe.org. Maria de Barros Jazz and traditional Cape Verde coladeira singer, 7:30 p.m. Thursday, Sept. 12, the Lensic, $15-$35, ticketssantafe.org, 988-1234. Brian Haas Jazz pianist/composer, with percussionist Dave Wayne, 8 p.m. Thursday, Sept. 12, Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com.
cellist/vocalist Jami sieber in concert, 7 p.m. sunday, sept. 22, Upaya Zen center, 1404 cerro gordo Rd., $20 in advance, $25 at the door, brownpapertickets.com.
Santa Fe Music Collective The jazz series continues with flutist Ali Ryerson, 7 p.m. Friday, Sept. 13, doors open at 6 p.m., Museum Hill Café, 710 Camino Lejo, Milner Plaza, $25, 983-6820. Neko Case Alt-country singer/songwriter, 7:30 p.m. Friday, Sept. 13, the Lensic, $29-$39, ticketssantafe.org, 988-1234. Jerry Lopez Singer/songwriter, 7 p.m. Saturday, Sept. 14, the Lensic, $20-$35, 988-1234, ticketssantafe.org. McFish Duo Harpsichordist Kathleen McIntosh and violist Marlow Fisher perform music of Bach, Brouwer, and Alex Shapiro, 3 p.m. Sunday, Sept. 15, Santa Fe Woman’s Club, 1616 Old Pecos Trail, $5 at the door, for more information call 670-8273. David Finckel, Philip Setzer, and Wu Han Beethoven, Shostakovich, and Dvoˇrák piano trios, 7:30 p.m. Monday, Sept. 16, the Lensic, $20-$50, 988-1234, ticketssantafe.org. Santa Fe Pro Musica season opener Conrad Tao: piano recital, music of Bach, Ravel, and Rachmaninoff, 7:30 p.m. Thursday, Sept. 19; the orchestra performs a program of Haydn, Shostakovich, and Mozart, featuring Tao and trumpeter Brian Shaw, Saturday and Sunday, Sept. 21-22, the Lensic, $20-$65, 988-1234, ticketssantafe.org.
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Shortgrass Music Festival Celtic music by Adam Agee and Jon Sousa, Texas country-rocker Joe Ely, and violin/cello duo Parnas, Friday-Sunday, Sept. 20-22, Cimarron, $10 and $20 in advance and at the door, ages 18 and under no charge, 888-376-2417, shortgrassfestival.com. Blondie: No Principals Tour Rock band, X opens, 7 p.m. Monday, Sept. 23, Santa Fe Opera, 301 Opera Dr., $38-$86, 986-5900, proceeds benefit the Española Valley Humane Society. Notes on Music Illustrated presentations; music of Richard Strauss, with soprano Gina Browning, Tuesday, Sept. 24; pianist/conductor Joseph Illick on Verdi, Tuesday, Oct. 22; United Church of Santa Fe, 1804 Arroyo Chamiso Rd., $20, 988-1234, ticketssantafe.org. Natalie Maines Singer/songwriter, 7 p.m. Friday, Sept. 27, Santa Fe Opera, 301 Opera Dr., $42-$94, 986-5900, santafeopera.org. Canticum Novum Chorus & Orchestra The 10th season opens with music of Pergolesi, Mendelssohn, and Donizetti, performers include soprano Cecilia Leitner and baritone Tim Wilson, 4 p.m. Saturday and Sunday, Oct. 5-6, Scottish Rite Center, 463 Paseo de Peralta, Oliver Prezant pre-concert lectures on both dates, $25 and $35 in advance and at the door, discounts available, 988-1234, ticketsantafe.org Yuja Wang Pianist; music of Prokofiev, Chopin, and Stravinsky, 7:30 p.m. Thursday, Oct. 10, the Lensic, $25-$95, 988-1234, ticketssantafe.org. World Blues Tour Featuring Taj Mahal, Vusi Mahlasela, Fredericks Brown, and Deva Mahal, 7:30 p.m. Sunday, Oct. 13, the Lensic, $25-$55, ticketssantafe.org, 988-1234. Steve Vai Rock guitarist, 7:30 p.m. Thursday, Oct. 24, the Lensic, $29-$51, ticketssantafe.org, 988-1234.
Upcoming events Minds Interrupted: Stories of Lives Affected by Mental Illness National Alliance on Mental Illness and Compassionate Touch Network offer personal stories written and presented by residents of Santa Fe and surrounding areas, 7 p.m. Wednesday, Oct. 9, the Lensic, general admission $15, reserved seats $50, 988-1234, ticketssantafe.org. I Hate Hamlet Santa Fe Playhouse presents a play by Paul Rudnick, directed by Robert Nott, 7:30 p.m. Thursday-Saturday, 4 p.m. Sunday, Oct. 11-27, 142 E. DeVargas St., 988-4262. Te Amo, Argentina Multimedia performance with tango dancers Miriam Larici and Leonardo Barrionuevo, The Capitol Ensemble, with pianist Brian Pezzone and double bassist Pablo Motta, 7:30 p.m. Friday, Oct. 11, the Lensic, $20-$40, 988-1234, ticketssantafe.org. National Theatre Live in HD Othello, 7 p.m. Tuesday, Oct. 15; Macbeth, 7 p.m. Tuesday, Nov. 5; 50th anniversary event showcase, 7 p.m. Tuesday, Nov. 12; the Lensic, $22, discounts available, ticketssantafe.org, 988-1234.
HAPPENINgS
Peace Talks Radio benefit KUNM Radio’s series celebrates ten years with an event including performances by Americana singer/songwriter Mary Gauthier and Iraqi oud player Rahim Alhaj, 7:30 p.m. Friday, Sept. 13, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., general admission $25, 6:30 pre-show reception $44, tickets available online and at the door, details available online at peacetalksradio.com. Hungry Mouth Festival Hosted by St. Elizabeth Shelter in celebration of its 27th anniversary; chefs-led cook-off, music, and auction, 6-9 p.m. Saturday, Sept. 14, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, $100, 982-6611. Museum of International Folk Art Fall Harvest Festival and 60th-birthday celebration Presented in conjunction with the exhibit New World Cuisine: The Histories of Chocolate, Mate y Mas, 1-4 p.m. Sunday, Sept. 15, 706 Camino Lejo, Museum Hill, 476-1200; by museum admission.
Station to Station: A Nomadic Happening National, train-traveling, multimedia public-art event; including singer/songwriters Cat Power and Nite Jewel and performance artist Doug Aitken, 6-10 p.m. Wednesday, Sept. 18, Santa Fe Farmers Market Pavilion, $25 in advance online at stationtostation.com. New Mexico Museum of Art openings Collecting Is Curiosity/Inquiry; A Life in Pictures: Four Photography Collections; 50 Works for 50 States: New Mexico; opening at no charge Friday, Sept. 20, 107 W. Palace Ave., 476-5072. Cowboy Movie Night: John Wayne Join Santa Fe New Mexican journalist Robert Nott for a discussion and screening of the 1972 film The Cowboys in conjunction with the New Mexico History Museum exhibit Cowboys Real and Imagined, 5:30-8 p.m. Friday, Sept. 20, museum auditorium, 113 Lincoln Ave., no charge, 476-5200. Santa Fe Renaissance Fair Juggling/fire-eating/magic troupe Clan Tynker, medieval combat reenactments, vendors, and food, 10 a.m.-6 p.m. Saturday and Sunday, Sept. 21-22, El Rancho de las Golondrinas, call for tickets, 471-2261. 23rd Annual Santa Fe Wine & Chile Festival Luncheons, tours, and seminars, Sept. 25-29, visit santafewineandchile.org or call 438-8060 for tickets and details. Lannan Foundation: In Pursuit of Cultural Freedom series Tim DeChristopher, climate justice activist and co-founder of Peaceful Uprising, in conversation with Terry Tempest Williams, 7 p.m. Wednesday, Sept. 25, the Lensic, $6, students $3, ticketssantafe.org, 988-1234. A Little Magic Under the Big Top Benefit gala for Big Brothers Big Sisters; dinner prepared by Chef Charles Dale of Bouche French Bistro, art auction, and a performance by circus arts and puppetry troupe Wise Fool New Mexico, 6 p.m. Saturday, Oct. 5, Buffalo Thunder Resort & Casino, visit bbbsnorthernnm.org or call 983-8360 for tickets and details. Paul Hawken Environmental lecturer, 7 p.m. Tuesday, Oct. 8, the Lensic, $15-$30, 988-1234, ticketssantafe.org.
THEATER/DANCE
Two Sisters and a Piano Teatro Paraguas presents Nilo Cruz’s play set in 1991 Cuba, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, Sept. 13-29, 3205 Calle Marie, $12 and $15, Sundays pay-what-you-wish, 424-1601. Good People Santa Fe Performing Arts presents the play by David Lindsay-Abaire, 7:30 p.m. Thursday-Saturday, 4 p.m. Sunday, Sept. 19-29, 1050 Old Pecos Trail, $20, discounts available, holdmyticket.com, call 982-7992 for reservations, Sept. 18 dress rehearsal, pay-what-you-wish. Vanya and Sonia and Masha and Spike Fusion Theater presents Christopher Durang’s comedy, 8 p.m. Friday and 2 and 8 p.m. Saturday, Sept. 27-28, the Lensic, $20-$40, student discounts available, 988-1234, ticketssantafe.org. Hungarian State Folk Dance Ensemble 7:30 p.m. Thursday, Oct. 3, the Lensic, $25-$45, 988-1234, ticketssantafe.org.
PASATIEMPO I August 30 -September 5, 2013
singer/songwriter melissa etheridge performs at the santa Fe opera, sept. 6.
pasa week
from Page 77
31 Saturday (continued) ZozoFest Indoor/outdoor celebration at the Railyard, Boys & Girls Club of New Mexico Family Fun Fair 11 a.m.-6 p.m., Railyard Plaza; exhibit of the late Zozobra creator Will Shuster’s art work and photographs, El Museo Cultural de Santa Fe (see story, Page 34).
Flea Markets
Pueblo of tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year. the santa Fe Flea at the Downs 8 a.m.-3 p.m. Saturdays and Sundays through September, south of Santa Fe at NM 599 and Interstate 25 Frontage Rd., 982-2671, santafetraditionalflea.com.
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(See Page 77 for addresses) Café Café Los Primos Trio, traditional Latin tunes, 6-9 p.m., no cover. ¡Chispa! at el Mesón Faith Amour and the Luminous Jazz Experience, 7:30 p.m.-close, call for cover. Cowgirl BBQ, The Santa Fe Chiles Dixie Jazz Band 2-5 p.m.; The Sean Healen Band, folk and rock and roll, 8:30 p.m.-close; no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Country swing with Cathy Faber, 8-11 p.m., no cover. la Posada de santa Fe resort and spa Jazz vocalist Whitney Carroll Malone, bassist Asher Barreras, and guitarist Pat Malone, 6-9 p.m., no cover. Molly’s kitchen and lounge The Medicine Dance Party with DJs Leonard Marion, Truewill, and P.F.F.P. 9:30 p.m., 21+, call for cover. Pranzo Italian grill David Geist and Julie Trujillo, 6-9 p.m., call for cover. second street Brewery Country Blues Revue, 6-9 p.m., no cover. second street Brewery at the railyard Broomdust Caravan, juke joint honky-tonk and biker bar rock, 7-10 p.m., no cover. sweetwater harvest kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover. tiny’s Sam Pace and the Gilded Grit, rock ’n’ roll, 8:30 p.m.-close, no cover. the Underground at evangelo’s DJ Dynamite Sol, 9 p.m., call for cover. Upper Crust Pizza Dana Smith plays country-tinged folk, 6-9 p.m., no cover. Vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; Bob Finnie 8 p.m.-close; call for cover.
1 Sunday gallery/MUseUM oPeNINgs
santa Fe Public library Main Branch, 145 Washington Ave., 955-6784. Migration: Ebb and Flow, book art and prints by Trina Badarak, through September (see story, Page 54).
scarlett’s gallery 225 Canyon Rd., 983-7092. Spanish Angels and Crosses, work by folk artist Sylvia Martinez.
IN CoNCert
Mariachi extravaganza Annual concert in conjunction with Fiestas de Santa Fe, performers include Mariachi Los Arrieros, Antonio Reyna, and Anita Lopez, 7:30 p.m., Santa Fe Opera, 301 Opera Dr., $30-$65, 986-5900, santafeopera.org.
theater/DaNCe
The Alan Allen Show Alan Vetter, aka Al Dente of Vanilla Pop, in his one-man musical comedy show, 7 p.m., The Palace Restaurant & Saloon, 142 W. Palace Ave, $10 in advance, $12 day of show, 428-0690. A Fowl Play & A Fracking Good Time 2013 Fiesta Melodrama, an annual sendup of all things Santa Fe; 4 p.m., guest pianist David Geist, Santa Fe Playhouse, 142 E. DeVargas St., $20, 988-4262, continues through Sept. 8. Juan siddi Flamenco theatre Company season finale 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234. Revelations A play by the late James Galloway presented by Sandia Performing Arts; 2 p.m., Teatro Paraguas, 3205 Calle Marie, $15, discounts available, 424-1601. Starting Here, Starting Now Greer Garson Theatre’s student production of Richard Maltby Jr. and David Shire’s musical revue, 2 p.m., Weckesser Studio Theatre, SFUA&D, 1600 St. Michael’s Dr., $10, ticketssantafe.org, 988-1234.
Books/talks
Japanese bamboo art A talk by Rob Coffland of Tai Gallery, 1 p.m., demonstration by artist Yufu Shohaku follows, Museum of International Folk Art, 706 Camino Lejo, Museum Hill, by museum admission, 476-1200. on the Climate Crisis Charlotte Levinson, Max & Anna Levinson Foundation president, speaks as part of Journey Santa Fe’s lecture series, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.
eVeNts
Fiesta de los Niños Living museum El Rancho de las Golondrinas hosts its annual event, 10 a.m.-4 p.m., 334 Los Pinos Rd., $8, discounts available, 471-2261. railyard artisans Market 10 a.m.-4 p.m.; live music, 10 a.m.-1 p.m., vocalist/guitarist Beth Valdez; 1-4 p.m., multi-instrumentalist Gerry Carthy; Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta. santa Fe society of artists show 9 a.m.-5:30 p.m., First National Bank parking lot on W. Palace Ave., across from the New Mexico Museum of Art, weekends through Oct. 20.
Flea Markets
Pueblo of tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year. the santa Fe Flea at the Downs 8 a.m.-3 p.m. Saturdays and Sundays through September, south of Santa Fe at NM 599 and Interstate 25 Frontage Rd., 982-2671, santafetraditionalflea.com.
A Fowl Play & A Fracking Good Time, Fiesta Melodrama at Santa Fe Playhouse, 142 E. DeVargas St.
NIghtlIFe
(See Page 77 for addresses) Cowgirl BBQ Zenobia, gospel, R & B, and soul, noon-3 p.m.; 50 Watt Whale, rock ’n’ roll, 8 p.m.; no cover. the Den at Coyote Café Jazz singer Faith Amour’s farewell performance, 6:30 p.m., no cover. el Farol Nacha Mendez, pan-Latin chanteuse, 7 p.m., no cover. evangelo’s Tone & Company, R & B, 8:30 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Classic movie night, 6-10 p.m., no cover. la Posada de santa Fe resort and spa Wily Jim, Western swingabilly, 6-9 p.m., no cover. Mine shaft tavern Gene Corbin, Americana, 3-7 p.m. second street Brewery at the railyard Busy and the Crazy 88s, hipster pop, 1-4 p.m.; Hot Honey, sweet Appalachian country, 6-8 p.m. no cover. Upper Crust Pizza Ray Matthew, Americana vocals and guitar, 6-9 p.m., no cover. Vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.
2 Monday Books/talks
Feathered serpents and Pole Climbing Clowns: Mesoamerican Connection in the southwest A Southwest Seminars’ lecture with Randall H. McGuire, Santa Fe Community Foundation, 501 Halona St., $12 at the door, 466-2775. Joyce Carol oates The author reads from and signs copies of The Accursed: A Novel, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see story, Page 16).
NIghtlIFe
(See Page 77 for addresses) Café Café Guitarist Michael Tait Tafoya, 6-9 p.m., no cover. Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda C.S. Rockshow featuring Don Curry, Pete Springer, and Andy Primm, classic rock, 7:30 p.m.-close, no cover. Mine shaft tavern Kenny Skywolf Blues, 2-6 p.m. the Underground at evangelo’s The Blue Suns, 9 p.m., call for cover. Upper Crust Pizza Gerry Carthy, tenor guitar and flute, 8 p.m.-close, no cover. Vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.
3 Tuesday Books/talks
george Johnson The local author signs copies of The Cancer Chronicles: Unlocking Medicine’s Deepest Mystery, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.
eVeNts
santa Fe Farmers Market 7 a.m.-noon, 607 Paseo de Peralta, 983-4098. santa Fe Farmers Market on the southside 3-6 p.m., Santa Fe Place Mall, Zafarano Dr. entrance, 913-209-4940.
NIghtlIFe
(See Page 77 for addresses) ¡Chispa! at el Mesón Argentine Tango Milonga, 7:30 p.m.-close, call for cover. Cowgirl BBQ Jesse Lafser and Will Courtney, Americana, folk, and rock, 8 p.m., no cover. el Farol Canyon Road Blues Jam Eighth Anniversary Party, 8:30 p.m.-midnight, no cover.
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Tiny’s Mike Clymer of 505 Bands’ electric jam, 8:30 p.m.-close, no cover. The Underground at Evangelo’s Antique Scream, bluesy psychedelic rock, 9 p.m., call for cover. Vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close, no cover.
5 Thursday in ConCERT
Freewheel Festival SFUA&D’s public program of music concerts and workshops’ The H@T, improv sessions open to all instrumentalists, 7-9 p.m., O’Shaughnessy Performance Space, Benildus Hall, 1600 St. Michael’s Dr., $10, presented by the Santa Fe University of Art & Design Contemporary Music Program, 473-6196, continues through Sept. 8.
BookS/TaLkS
did a Woman Write Shakespeare? A Renesan Institute for Lifelong Learning lecture with author Robin Williams, 1 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, 982-9274.
EVEnTS
89th annual burning of Will Shuster’s Zozobra Watch 50-foot-tall Old Man Gloom go up in flames; live music and food concessions, gates open at 3 p.m., Zozobra burns at dusk, Mager’s Field, Fort Marcy Park, Bishops Lodge Rd., $10, children under 10 no charge, burnzozobra.com, 877-466-3404 (see story, Page 34).
niGhTLiFE Eternal Water of Life by Rahileh Rokhsari, Longworth Gallery, 530 Canyon Rd.
La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda C.S. Rockshow featuring Don Curry, Pete Springer, and Andy Primm, classic rock, 7:30 p.m., no cover. Second Street Brewery at the Railyard Acoustic open-mic nights with Case Tanner, 7:30-10:30 p.m., no cover. Tiny’s Mike Clymer of 505 Bands’ acoustic open-mic night, 8:30 p.m.-close, no cover. The Underground at Evangelo’s Karaoke with DJ Optamystik, 9 p.m., call for cover. Vanessie Pianist Doug Montgomery, 6-8 p.m.; pianist David Geist, 8 p.m.; call for cover.
4 Wednesday in ConCERT
Concierto de Mariachi Annual concert celebrating Fiestas de Santa Fe, 10 a.m. and 2 p.m., the Lensic, $5, 988-1234, ticketssantafe.org.
ThEaTER/danCE
A Fowl Play & A Fracking Good Time 2013 Fiesta Melodrama, an annual sendup of all things Santa Fe; 4 p.m., Santa Fe Playhouse, 142 E. DeVargas St., $15, 988-4262, continues through Sept. 8.
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BookS/TaLkS
diego de Vargas’ Two Families State historian Rick Hendricks delivers the annual Fiestas de Santa Fe Lecture, 6 p.m., New Mexico History Museum auditorium, 113 Lincoln Ave., $5 at the door, 476-5200. Twentieth-Century Photographer Margaret Bourke-White New Mexico Museum of Art’s weekly docent talks continue, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5075.
oUTdooRS
Green hour hike Hosted by Los Alamos’ Pajarito Environmental Education Center, 9:30-10:30 a.m., Pajarito Trail trailhead, call for details, 662-0460, no charge.
niGhTLiFE
(See Page 77 for addresses) ¡Chispa! at El Mesón Joaquin Gallegos, flamenco guitar, 7:30 p.m., no cover. Cowgirl BBQ The John Kurzweg Band, rock and roll, 8 p.m., no cover. El Farol Pan-Latin chanteuse Nacha Mendez with Santastico, 8 p.m.-close, no cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. The Pantry Restaurant Acoustic guitar and vocals with Gary Vigil, 5:30-8 p.m., no cover.
PASATIEMPO I August 30 -September 5, 2013
(See Page 77 for addresses) Cowgirl BBQ White Buffalo, Americana, country, and rock, 8 p.m., no cover. Evangelo’s Rolling Stones tribute band Little Leroy and His Pack of Lies, 9 p.m., call for cover. La Boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. Low ’n Slow Lowrider Bar at hotel Chimayó de Santa Fe Russell Scharf’s Jazz Explosion, 6:30 p.m., call for cover.
The Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m.-close, no cover. Second Street Brewery Joe West Trio, psychedelic country, 6-8 p.m., no cover. Second Street Brewery at the Railyard Steve Guthrie, folk music, 6-8 p.m., no cover. The Underground at Evangelo’s Safiya, reggae, hip-hop, funk, punk, and more, 9 p.m., call for cover.
▶ Elsewhere abiquiú
images of the desert Gallery Monastery of Christ in the Desert, Forest Service Rd. 151, 75 miles north of Santa Fe on NM 84. Grand opening reception, 2-3:15 p.m. Saturday, Aug. 31, landscape photography by Erik Stensland, 970-586-4352.
albuquErquE Museums/art Spaces
516 arts 516 Central Ave. S.W., 505-242-1445. Contemporary Native American artists’ group shows: Air, Land, Seed and Octopus Dreams, through Sept. 21. albuquerque Museum of art & history 2000 Mountain Rd. N.W., 505-243-7255. Estampas de la Raza: Contemporary Prints From the Romo Collection, through Sept. 29 • Changing Perceptions of the Western Landscape, contemporary group show, through Sunday, Sept. 1 • Landscape Drawings From the Collection, through Oct. 27. Open 9 a.m.-5 p.m. Tuesday-Sunday; adults $4 ($1 discount for NM residents); seniors $2; children ages 4-12 $1; 3 and under no charge; the first Wednesday of the month and 9 a.m.-1 p.m. Sundays no charge. indian Pueblo Cultural Center 240112th St. N.W., 866-855-7902. Challenging the Notion of Mapping, Zuni map-art paintings, through Saturday, Aug. 31. Open 9 a.m.-5 p.m. daily; adults $6; NM residents $4; seniors $5.50. Palette Contemporary 7400 Montgomery Blvd. N.E., 505-855-7777. Primarily, lithographs by Alexander Calder (1898-1976), through Thursday, Sept. 5.
Events/Performance
Chatter Sunday The ensemble performs Philip Glass’ String Quartet No. 3 and C.P.E. Bach’s Bassoon Concerto in A minor; a reading by poet Sal Treppiedi follows,
Taos arTisT organizaTion studio Tour
Hit the high road to Taos for the Taos Artist Organization’s studio tour. Reception 5-8 p.m. Friday, Aug. 30, at Taos Art Space, 1021-EE Salazar Rd. Self-guided tours of 35 artists’ studios run 10 a.m. to 5 p.m. SaturdayMonday, Aug. 31-Sept. 2. Tour catalogs available at the Taos Visitor’s Center, 1139 Paseo del Pueblo Sur, area galleries, and online at taoartist.org.
10:30 a.m. Sunday, Sept. 1, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterchamber.org.
angel fire
Music From Angel Fire Music by Respighi, Britten, Oltarzewski, and Brahms, 2 p.m. Sunday, Sept. 1, Angel Fire Community Center, 15 CS Ranch Rd., $20-$35, 888-377-3300, musicfromangelfire.org.
Cleveland
Cleveland Millfest Art, food, music, and dance, water-powered flour mill will be in continuous operation, 10 a.m.-5 p.m., Saturday and Sunday, August 31 and Sept. 1, Cleveland Roller Mill Museum, Hwy. 518, mile marker 31, two miles northwest of Mora.
los alamos
Gordon’s Summer Concerts The weekly series continues with DK and the Affordables, roots rock, 7 p.m. Friday, Aug. 30, no charge, gordonssummerconcerts.com. Pajarito Environmental Education Center 3540 Orange St., 662-0460. Exhibits of flora and fauna of the Pajarito Plateau; an herbarium, live amphibians, and butterfly and xeric gardens. Open noon-4 p.m. Tuesday-Friday, 10 a.m.-1 p.m. Saturday, visit pajaritoeec.org for events schedule, no charge.
peñasCo
My Narcissistic Pilgrimage Performance about looking into mirrors, 7:30 p.m. Friday and Saturday, Aug. 30-31, Peñasco Theatre, 15046 NM 75, $10-$20 sliding scale, 575-587-2726.
taos Museums/Art Spaces
Caffe Renato 133 Paseo del Pueblo Norte, 575-758-0255. The Abby and Dean Show, mixed-media works, reception 5-6:30 p.m. Friday, Aug. 30, through January 7, 2014. David Anthony Fine Art 132 Kit Carson Rd., 575-758-7113. Annual DAFA Photography Invitational, photographs of The Beatles’ 1964 concert in Washington D.C., through Saturday, Aug. 31. 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 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents no charge on Sunday. Encore Gallery Taos Center for the Arts, 133 Paseo del Pueblo Norte, 575-758-2052. 4Sights:4walls/3curators, group show and silent auction, reception 5-7 p.m., Thursday, Sept. 5, through Sept. 26. Harwood Museum of Art 238 Ledoux St., 575-758-9826. The Taos art colony is celebrated with four exhibits, Woody Crumbo: The Third Chapter; Jim Wagner: Trudy’s House; R.C. Gorman: The Early Years; and Fritz Scholder: The Third Chapter; through Sept. 8. Open 10 a.m.-5 p.m. Tuesday-Saturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday. Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 10 a.m.-5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge.
Photographs by Erik Stensland, at Images in the Desert Gallery, Monastery of Christ in the Desert, off NM 84 on Forest Service Rd. 151, Abiquiú
La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Taos National Society of Watercolorists group exhibition, opening reception 5:30-7:30 Friday, Aug. 30, through Sept. 29. Museum open 10 a.m.-5 p.m. daily. NM residents $5; nonresidents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge. Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. Open 10 a.m.-5 p.m. Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday. Taos Artist Organization Studio Tour Sixth annual tour, works by 35 artists, reception 5-8 p.m. Friday, Aug. 30, Taos Art Space, 10211-EE Salazar Rd.; tour 10 a.m.-5 p.m., Saturday-Monday, Aug. 31-Sept. 2, Catalogs available at Taos Visitor’s Center, 1139 Paseo del Pueblo Sur, taoartist.org.
Events/Performances
Michael Hearne’s 11th Annual Big Barn Dance Music Festival Lineup includes Sonny Throckmorton, Claude “Butch” Morgan, Jimmy Stadler, and South by Southwest, Thursday-Saturday, Sept. 5-7, Taos Ski Valley, details available at michaelhearne.com. Music From Angel Fire Music by Mozart, Bartók, and Loeffler, 7 p.m. Saturday, Aug. 31, Taos Center for the Arts, 133 Paseo del Pueblo Norte, $20-$35, 888-377-3300, musicfromangelfire.org. Water Flowing Together Documentary film about dancer Jock Soto, Friday, Aug. 30, reception and book signing 6 p.m., film screening 7 p.m., Q & A with Soto after the film, $20; discounts available, Taos Center for the Arts, 133 Paseo del Pueblo Norte, 575-758-2052.
▶ people who need people Artists
City of Santa Fe Arts Commission call for entries Common Ground annual prize and exhibit; open to amateur and professional artists ages 18 and older residing in Santa Fe County; framed two- and three-dimensional pieces are eligible; deadline for entry forms is Monday, Sept. 16; visit santafeartscommission.org or call 955-6707 for more information. Fiesta de Cerrillos Artists and craftspersons interested in a booth at the Sept. 21 event can contact Sandy Young, 438-2885, sandy@dirtdauberstoneware.com. La Cienega/La Cieneguilla Studio Tour Artists interested in participating in the annual tour held Thanksgiving weekend can contact Lee Manning for information, 699-6788, lensandpens@comcast.net. New Mexico Arts 2013 Purchase Initiative Artwork (ranging from $1,000 to $40,000) sought from artists of all media residing in Arizona, Colorado, New Mexico, Oklahoma, and Texas; galleries located in these states may submit work by artists regardless of residency; submission deadline 11:59 p.m. Monday, Sept. 23; application and selection process online at callforentry.org.
Filmmakers
Reel New Mexico Independent Film Series New Mexico filmmakers may submit shorts, narrative and documentary features, student films, and works-in-progress through 2013; for more information or to submit a film, contact reelnewmexico@gmail.com.
Volunteers
Fight Illiteracy Literacy Volunteers of Santa Fe will train individuals willing to help adults learn to read, write, and speak English; details available online at lvsf.org, or call 428-1353.
Santa Fe Community Farm Help with the upkeep of the garden that distributes fresh produce to The Food Depot, Kitchen Angels, St. Elizabeth Shelter, and other local charities; 9:30 a.m.-4 p.m. daily, except Wednesdays and Sundays; email sfcommunityfarm@gmail.com or visit santafecommunityfarm.org for details. Santa Fe Women’s Ensemble Always in need of ushers for concerts; email info@sfwe.org or call 954-4922. Spanish Colonial Arts Society Office and grounds workers; plus, docents needed all year long at the Museum of Spanish Colonial Art; call Linda Muzio, 982-2226, Ext. 121, or email education@spanishcolonial.org.
▶ Under 21 Homeboy Sandman Hip-hop artist, opening acts Sublmnl RNsons, Dezert Banditz, and Calico Joe, all-ages hip-hop workshop 5 p.m., music 7 p.m. Sunday, Sept. 1, $3, Warehouse 21, 989-4423.
▶ pasa Kids Kids jazz festival Jazz pianist Christian Sands, 3:30 p.m. Friday, Aug. 30, The Den, 132 W. Water St., no charge, call for details, 670-6482 (see story, Page 26). Santa Fe Children’s Museum open studio Learn to paint and draw using pastels, acrylics, and ink, noon-3:30 p.m. Fridays, 1050 Old Pecos Trail, 989-8359, visit santafechildrensmuseum.org for weekly scheduled events. Santa Fe Art Institute graffiti workshops Geared to ages 11-19; 11 a.m.-1 p.m. Saturdays, continuing into the fall, call 424-5050 to register. Preschooler’s Story Hour 10:45 a.m. weekly on Wednesdays and Thursdays, Collected Works Bookstore, 202 Galisteo St., 988-4226. ◀
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