The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
July 19, 2013 January 17, 2014
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PASATIEMPO I January 17 - 23, 2014
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And Ain’t I a Woman
a selection of songs by, for and about women A concert celebrating women, showcasing female composers from the medieval mystic Hildegard of Bingen, to contemporary composers such as Abbie Betinis and Gwyneth Walker. Also featuring the words of female poets such as Emily Dickinson and Sara Teasdale and “Gloria,” originally written by Vivaldi for women’s voices.
The Zia Singers — Karen Marrolli, Director January 25th & 26th, 3:00p.m. Tickets $20, Students Free Immaculate Heart of Mary Chapel 50 Mt. Carmel Rd., Santa Fe, NM
Interested in singing with the Zia Singers? We are holding auditions on January 28th. Contact us on our website for more information.
www.theZiaSingers.com
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PASATIEMPO I January 17 - 23, 2014
L a
HAPPY NEW YEAR! HAPPY NEW NECK! HAPPY NEW YOU!
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THE SANTA FE NEW MEXICAN
January 17 - 23, 2014
www.pasatiempomagazine.com
On the cOver 26 cocktail hour Now in its 20th season, the Portland, Oregon-based ensemble Pink Martini makes a return visit to Santa Fe this week, bringing its upscale, muli-culti, ’40s and ’50s-retro, supper-club style to the stage of the Lensic Performing Arts Center. “You could call it world music without being rural,” the group’s founder and director, Thomas Lauderdale, told Pasatiempo — and he shared some thoughts about Santa Fe’s upcoming mayoral race. The photo of Pink Martini, the bucolic frolickers on the cover, is by Holly Andres; Lauderdale and singer Storm Large are in the foreground.
BOOKS & talKS
MOvIng IMageS
12 In Other Words White Girls & Marie Antoinette’s Head 14 Mistaken identity Bill Ayers 32 Master Write An 18th-century automaton
40 Pasa Pics 44 The Selfish Giant 46 A Touch of Sin
calenDar
MUSIc & PerFOrMance 16 18 20 25 30
50 Pasa Week
Pasa tempos CD reviews terrell’s tune-Up 25 years tuned-up village voice Dave Van Ronk Onstage King Laz Sound Waves All the pub’s a stage
anD 9 Mixed Media 11 Star codes 48 restaurant review: the Beestro
art 36 Just like old times Will Wilson
correction In Pasatiempo’s Jan. 10 issue we described Tomas Tranströmer as a Pulitzer Prize-winning poet. Wrong prize: he was awarded the 2011 Nobel Prize in Literature.
aDvertISIng: 505-995-3819 santafenewmexican.com ad deadline 5 p.m. Monday
Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 e. Marcy St. Santa Fe, nM 87501. editorial: 505-986-3019. e-mail: pasa@sfnewmexican.com PaSatIeMPO eDItOr — KrIStIna Melcher 505-986-3044, kmelcher@sfnewmexican.com
Detail of the “brain” of a centuries-old automaton
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art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com
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assistant editor — Madeleine nicklin 505-986-3096, mnicklin@sfnewmexican.com
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chief copy editor/Website editor — Jeff acker 505-986-3014, jcacker@sfnewmexican.com
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associate art Director — lori Johnson 505-986-3046, ljohnson@sfnewmexican.com
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calendar editor — Pamela Beach 505-986-3019, pambeach@sfnewmexican.com
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StaFF WrIterS Michael abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 505-986-3039, billk@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com
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cOntrIBUtOrS loren Bienvenu, taura costidis, laurel gladden, Peg goldstein, robert Ker, Jennifer levin, robert nott, Jonathan richards, heather roan-robbins, casey Sanchez, Michael Wade Simpson, Steve terrell, Khristaan D. villela
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PrODUctIOn Dan gomez Pre-Press Manager
The Santa Fe New Mexican
© 2014 The Santa Fe New Mexican
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Robin Martin Owner
www.pasatiempomagazine.com
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Ginny Sohn Publisher
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aDvertISIng DIrectOr Tamara Hand 505-986-3007
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MarKetIng DIrectOr Monica Taylor 505-995-3824
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graPhIc DeSIgnerS Rick Artiaga, Jeana Francis, Elspeth Hilbert
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aDvertISIng SaleS - PaSatIeMPO art trujillo 505-995-3852 Julee Clear 505-995-3825 Matthew Ellis 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830
Ray Rivera editor
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Collected Works Bookstore & The Lensic present
OLD AGE. SICKNESS. DEATH.
An Evening with
Are We Having Fun Yet ? Armistead Maupin reads from his brand-new book, The Days of Anna Madrigal— the ninth and final novel in his classic Tales of the City series. Book signing to follow.
January 24, 7 pm $10–$15
LAZ A Solo Performance by
Susana Guillaume Directed by Maura Dhu Studi
Friday& Saturday January 17 & 18 at 7:30pm Sunday January 19 Matinee at 4 pm
SANTA FE PLAYHOUSE
142 East DeVargas Street Tickets $2o / $18 Seniors/Students: 988.4262
Fit in 20 Reps. Fit in 10 Laps. Get Fit. Stay Fit. Quail Run Club offers membership options that fit your needs and your schedule. Conveniently located, Quail Run features a fully equipped fitness center, ozone purified indoor lap pool, a complete schedule of classes, and special spa services. GET FIT. STAY FIT. Call today for a tour.
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PASATIEMPO I January 17 - 23, 2014
PHOTO BY CHRISTOPHER TURNER
Photo: Rachael Rodgers
KING
“Wonderful . . . as compulsively readable and endearing as all the previous [Tales of the City] novels have been.”—Booklist (starred review)
Tickets: 505-988-1234 www.TicketsSantaFe.org SERVI CE CH ARG ES APPLY AT ALL POINTS OF PURCHASE
th e lensic is a non profit, member-supported organ ization
MIXED MEDIA
NORTHERN NEW MEXICO CITIZENS’ ADVISORY BOARD MEETING The Northern New Mexico Citizens’ Advisory Board (NNMCAB) is a federally chartered organization that offers recommendations to the U.S. Department of Energy (DOE) regarding Environmental Monitoring, Remediation and Waste Management activities at the Los Alamos National Laboratory (LANL). The meeting is open to the public and all interested parties are encouraged to attend. January 29th 2014 • 1:00 p.m. to 5:00 p.m. The Lodge at Santa Fe • Kachina Room • 750 N. St. Francis Drive • Santa Fe, NM 87501 1:00 p.m. 1:15 p.m. 1:30 p.m. 1:45 p.m. 2:00 p.m. 2:30 p.m. 3:00 p.m. 3:30 p.m. 4:30 p.m. 5:00 p.m.
Call to Order Public Comment Period Old Business New Business Upcoming Hearings, Permits, and Public Comment Periods Presentation on Performance Assessment and Composite Analysis – Dan Cox Presentation on Material Disposal Area G Corrective Measures Evaluation – Pete Maggiore Update from Liaison Members Update from the Deputy Designated Federal Officer Adjourn
Please Note: For more information about this meeting or the mission of the NNMCAB, Contact Menice B. Santistevan, Executive Director 505.995.0393 or 800.218.5942, E-mail address: menice.santistevan@nnsa.doe.gov Visit the NNMCAB website at www.nnmcab.energy.gov or Facebook page (NNMCAB)
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Papp schmear There’ll be bagels and lox plus complimentary coffee and the Sunday New York Times crossword puzzle at the Center for Contemporary Arts (1050 Old Pecos Trail, 505-982-1338) on Sunday, Jan. 19,, at 11:30 a.m., preceding the Santa Fe Jewish Film Festival’s noon screening of the documentary Joe Papp in Five Acts. And right afterward, costume designer and Papp collaborator Patricia McGourty takes the stage for some reminiscences and a Q & A. The late Papp was a visionary whose dream of bringing Shakespeare to a wide audience improbably grew into the phenomenon that is New York’s Public Theater. A rebel who took on New York’s parks commissioner Robert Moses and beat him, Papp was a communist who defied the House Un-American Activities Committee and lived to tell the tale. He established free productions of Shakespeare in Central Park and produced such theater landmarks as Hair, A Chorus Line, and The Normal Heart. Even his closest friends didn't know he was a Jewish kid from Brooklyn whose immigrant parents could barely speak English. He was a figure of Shakespearean dimensions himself, with titanic flaws as well as strengths. Filmmakers Tracie Holder and Karen Thorsen peel away the layers in this absorbing collection of film clips and talking heads that include Meryl Streep, David Hare, Ntozake Shange, David Rabe, and many other professional and personal associates of this complex giant of the theater. Papp closes it out with a moving rendition of “Brother, Can You Spare a Dime?” You’ll be asked to spare $10 to $17. Tickets can be purchased at www. santafejff.org/tickets and at the door if available; call 505-216-0672. — Jonathan Richards
three courses before 7 p.m. eVerY NIGHT
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Santa Fe Science Café For Young Thinkers
“Bionic Hearing: The Science and the Experience”
Ian Shipsey University of Oxford Thursday, January 23 6 – 7:30 PM O’Keeffe Education Annex 123 Grant Avenue, Santa Fe Cochlear implants are the first devices to successfully restore neural function. They have instigated a popular but controversial revolution in the treatment of deafness, and they serve as a model for research in neuroscience and biomedical engineering. We will discuss the physiology of natural hearing as well as how cochlear implants function. We’ll do this in the context of historical treatments, electrical engineering, human neural response, clinical evaluations and my own personal experience. The social implications of cochlear implantation and the future outlook for auditory prostheses will also be discussed. Admission is Free. Youth (ages 13-19) seating a priority, but all are welcome! Ian is a particle physicist and professor of physics at Oxford University. He has been profoundly deaf since 1989. In 2002 he heard the voice of his daughter for the first time, and his wife's voice for the first time in thirteen years, thanks to a cochlear implant.
presents
o l t r t a e’s h C Web by E.B. White with an original musical adaption
Scottish Rite Center 463 Paseo de Peralta
Jan. 24 – 7 pm Jan. 25 and 26 – 2 pm For reservations go to:
www.eldoradochildrenstheatre.org Or buy tickets at the door
Adults $12, Seniors $10, Students $8
Go to www.sfafs.org or call 603-7468 for more information.
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PASATIEMPO I January 17 - 23, 2014
Free Mac OS X Security Essentials Information Session Wednesday, February 26, 5:15pm-6:30pm Get an exciting overview of how to make your Mac and data impenetrable to bad guys. Call 505-277-6037 to RSVP.
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STAR CODES
Heather Roan Robbins
Friday, Jan. 17: Our egos may be unwieldy; it’s hard to depersonalize the situation under an expressive, heartfelt Leo moon. Our wills push and pull, so we can spin our wheels this afternoon. Be generous with warmth and respect for others, and they will resist less and offer more. Evening closes more comfortably as the moon sextiles Mars.
Wednesday January 29th, 6:30pm Eighty-Five Dollars per person, Inclusive of tax & service charge
We have more room in our brain for possibilities this week as Mercury, now in open-minded Aquarius, sextiles iconoclastic Uranus. It’s a good time to initiate plans for the future or put into motion small changes that move us toward our long-term goals. Follow through on plans already in the works, too, because there’s a lot going on, and it’s not a good time to drop the ball. Honesty comes easily this week. Say it like it is. Open up the conversation, but add tact. Fresh objectivity can help us see the bigger picture. With Mars now in Libra for seven months, most people would prefer that niceties be observed and feelings be considered, and they may smile but take a passiveaggressive step backward if we tweak their feelings. As the weekend begins, the mood is gently experimental as long as no one tries to push us out of our comfort zone. Change it up, try a different cuisine, or laugh at something unexpected. Buy new tech or learn how to use that new app. Stretch the brain around a new concept. Friday night is more socially restless under a Leo moon. Over the weekend we can use this fresh ingenuity to tackle some practical problems around the house. We should sharpen our critical capacity as we look at the world around us but not at other members of our household. On Sunday the sun enters social Aquarius, the sign that encompasses both the ideal of abstract love on Valentine’s Day and the political enthusiasm of Presidents’ Day, initiating a month in which we can examine our community involvement and refine our group dynamics.
Winemaker Dinner Reception Passed Hors d’oeuvre - Chef’s Creations Sauvignon Blanc First Course Pan Seared Atlantic Salmon Chardonnay Second Course Roasted Duck Breast Cabernet Sauvignon Chef d’oeuvre Grilled New Zealand Lamb Chop “Justification” & Sous Vide New Mexico Strip Loin “Isosceles” Made in Heaven Raspberry Chocolate Crepe “Obtuse”
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Saturday, Jan. 18: Rest up as the moon squares Saturn. Serve the body and spirit this morning. A little self-indulgence is good for us this afternoon, but communications may be off. Chores and responsibilities are clarified later on as the moon enters industrious Virgo. Evening scintillates with critical thinking. Sunday, Jan. 19: Keep a sense of humor nearby. A prim, critical attitude can so easily take the fun out of an industrious but self-conscious Virgo moon. We can get our work done if we focus on what we’re doing, not who’s watching. Evening meanders into more philosophical questions and brings us closer to our heart as the moon trines Pluto. Monday, Jan. 20: Have a good breakfast, get organized, and get a good start on a busy week under this Virgo moon. Balance workload, details, and human connection as the moon trines Venus this morning. People want to be appreciated for something they did right. Tuesday, Jan. 21: Ride a wave of cooperation under a friendly Libra moon and a sociable Aquarius sun. Talk over heavier issues with humor and banter. Just be respectful of a pool of tender feeling underneath. Tonight, listen to advice, but let one’s internal voice have the final say as the moon opposes Uranus. Wednesday, Jan. 22: We can choose to work together or get petty in response to difficulties as the moon squares Pluto, Jupiter, and Venus this morning. Later on, the mood is generally friendly but quirky and willful; we tend to wear our eccentricities proudly and need them to be accepted. Evening is edgier and more impatient as the moon conjuncts Mars. Thursday, Jan. 23: We may still need to cooperate when we would rather work by ourselves as the moon enters Scorpio. Find a healthy balance between independent vision and necessary collaboration. Watch the snarky comebacks; it’s easy to accidentally wound feelings when we think we’re just being witty. ◀ www.roanrobbins.com
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In Other wOrds book reviews White Girls by Hilton Als, McSweeney’s, 344 pages White Girls is not for the thin-skinned. If you have never passed as a member of another race, had your own ethnicity constantly misread by strangers, or identified with a culture more strongly than with your own, Hilton Als’ new collection of essays will indeed be a strange journey. Through a mix of reportage and madcap monologues, The New Yorker writer has crafted an unusually sensuous book, tracking a long arc of artists and lovers who long for nothing more than to live in the skins of others. These are Als’ comrades, such as his high school girlfriend Marie, to whom he is drawn for “her misleading whiteness — the blonde mistaken for a gringo by Latino men; the Jewish girl mistaken for a shiksa by Jewish men; a white girl mistaken for a white girl in my colored world.” With the term white girls, Als has in mind less a demographic than a cultural leitmotif that runs from Annie Hall to HBO’s Girls. As a gay black man, Als seeks to answer why a real Joni Mitchell and a fictional Holly Golightly speak to him, their archetype resonating through a larger discussion about privilege and vulnerability. White girls, Als writes, “lived inside and outside the privilege of their skin, and the horror about what they shared with their white male oppressors: their skin.” So for Als, one need be neither white nor a woman to be a white girl. Instead, a “white girl” is a calling card and a cultural echo that the writer claims can be found rattling through the voices in his profiles: Truman Capote, Eminem, Flannery O’Connor, Michael Jackson, and Richard Pryor. The author isn’t gun-shy, and some of his pronouncements carry the whiff of gunpowder. “Truman Capote became a woman in 1947,” is how Als starts an otherwise well-observed essay about how the gay author of Breakfast at Tiffany’s and In Cold Blood saw women as a form of language itself, one that he self-consciously mined and mimicked to appropriate the audience and thematic concerns of his white, female author contemporaries. In “Michael,” he eulogizes the life of the superstar “who said no to life but yes to pop.” The result of that decision, Als argues, was that Jackson 12
PASATIEMPO I January 17-23, 2014
transformed himself into a person who “was most himself when he was someone other than himself.” With his red lips, his porcelain skin, and his distancing from his upbringing in a working-class African American family, Jackson engendered confusion over his racial and sexual identity. But he was not so sui generis as he appeared to be. Als uses the singer’s life story as a launching point from which to discuss the pain and hurt engendered in an America where race is sexually encoded and vice versa, creating the “bizarre fact that queerness reads, even to some black gay men themselves, as a kind of whiteness.” The book’s most impressive narrative is “Tristes Tropiques” a nearly 100-page account of Als’ passionately platonic relationship with a man known only as “Sir or Lady.” Over the course of two decades, the two men pursue a sort of twinship, unconventional artists united in their belief that the term black male is barely suited to describe their race, much less their identity. SL, as his name becomes abbreviated, was Als’ inverse image. Als grew up gay and poor, raised by a single mother in an all-black neighborhood. SL grew up traveling across Europe with his middle-class parents. If Als had an aesthetic interest in the artsy liberal white girl archetype, SL was consumed by white girls, choosing relationships where he was dominated by them. For a time, SL became so consumed by his identification with a tribal feminism that he convinced a lesbian commune to take him on a resident. The two artists, bonded by a need to embrace their cultural whiteness and their ethnic blackness, their identities as men and their different but dominating needs for femininity, form a friendship that tilts on an axis that even their close friends could not understand. “I did not worshipfully suffer at the altar of SL’s love of women,” writes Als. “If anything, SL was a supplicant at the prie-dieu of my queerness. As such, he was beyond heterosexual. Let’s call him something else.” Ultimately, this “something else” — that we are never so much ourselves as when we are consumed and transformed by difference — is what interests Als. In reading White Girls, one gets the sense that the lives of these artists and racial and sexual nonconformers are not marginal so much as marginalized by a society that lacks the words to describe them and the will to recognize them. The reader eventually sees Als, as he combs through his past lovers and his literary and cinematic obsessions, as a man whose consummation by art is not just a passion but a mode of survival. The best art is a flirt who has found an unlisted number in your psyche, riveting your body with new shocks and forcing you to see yourself in others. “That’s how you recognize love,” Als writes. “You’ve never met it before.” — Casey Sanchez
SubtextS Koan-head What is Phantom Buddha? The book’s subtitle offers a hint: “Forty-six Dream Koans and a Mudra of Reality.” These koans, if koans they be, exist as italicized dream sequences interspersed within a larger, more autobiographical work. And a mudra, author Alvaro Cardona-Hine explains, is the “Sanskrit term for the symbolic gestures or hand postures used in Buddhist rituals, extended here to mean that reality as we know it, is just that, a gesture.” The author’s own reality is one of betrayals still bitter after the passage of decades. At the opening, we meet Cardona-Hine (now a painter, poet, and long-term resident of Truchas) during his nine-year period stuck in the corporate grind as a supervisor at an insurance mega-firm in Los Angeles. The burgeoning poet initially finds solace in art and drugs, as epitomized by clinical LSD studies he participated in during the 1950s. (“Writing under LSD,” he remembers, “is like writing during an earthquake while standing under a cascade of shredded ice wedded to mint, to lavender.”) Later he finds consolation in the form of a mysterious woman who attends various of his poetry readings. Because of their mutual ensuing infatuation, his life takes the first of several abrupt swerves, starting with him abandoning his wife and children to devote himself to his new lover. Soon the two are sharing everything, including an interest in Zen philosophy. This in turn leads them to intense studies with a Japanese master whose intentions may be less than honorable. Phantom Buddha is a memoir more than anything else — a sustained look inward that seeks to understand through words what the author once confronted through meditation. Cardona-Hine reads at Collected Works Bookstore (202 Galisteo St., 505-988-4226), on Sunday, Jan. 19, at 3 p.m., following an introduction by poet Joan Logghe. — Loren Bienvenu
Marie Antoinette’s Head: The Royal Hairdresser, the Queen, and the Revolution by Will Bashor, Lyons Press/Globe Pequot Press, 299 pages One of the final humiliations Marie Antoinette suffered, after languishing in a filthy prison cell, waiting for her execution, was to have her hair chopped off in order to offer a clean surface for the blade of the guillotine. Practical perhaps, but also the ultimate insult according to Marie Antoinette’s Head, a new historical work by Will Bashor, a professor at Franklin College, who earned his doctorate degree in international studies from the American Graduate School in Paris, and a member of the Society for French Historical Studies. The book won the 2013 Adele Mellen Prize for Distinguished Scholarship. Marie Antoinette’s Head tells the story of Léonard Autié, hairdresser to the 1 percent, who invented outrageously towering hairdos for members of the 18th-century French aristocracy, including his most famous client, the ill-fated Austrian bride of King Louis XVI. This small-town hairdresser worked his way to fame, fortune, and the inner circles of French society, played a part in the attempted escape of the royal family at the outset of the French Revolution, and later offered financial assistance to exiled members of the court in England, Germany, and Russia. The close-cropped tête de mouton, or sheep’s head hairstyle, was popular when Autié arrived in Paris in 1769 after leaving his native town of Pamier in the mountains of southwestern France for an apprenticeship in Bordeaux. In the capital, through a connection he hoped would help land him a spot in a modest salon, he was given the opportunity to work with actresses at a popular theater, where attractive young women performed rope dances, acrobatics, and balancing acts. Autié’s initial success with these women had as much to do with his good looks and abilities in seduction as it did with his hairstyles, according to Bashor. One night he styled the hair of an actress who was to appear as a fairy, and he had a brainstorm. “When finally freed from its
curling papers and Léonard’s comb, Julie’s hair took on a bewitching charm. He had divided it into zones with each one presenting different visions: here emeralds, there pearls with a little flower, and a few blossoms that seemed to pierce through the curls. But the most ingenious, the most original attribute of the hairstyle, was an array of stars which ‘in no way seemed to be part of the head which it crowned.’’’ His hairstyle helped the actress win sudden acclaim, and shortly thereafter, Autié’s handiwork was in demand not only with other actresses but increasingly with women of means and position. Before long, he was given an introduction to the royal court, where Marie Antoinette decided that he should become her personal hairdresser. His hairstyles were over-the-top exercises in creativity and a symbol of the excess that ultimately contributed to the downfall of the aristocracy. What started with the idea of replacing Antoinette’s bonnets with pieces of chiffon, arranged delicately in her hair, evolved into the era’s famous poufs — wigs festooned with the likes of butterflies, swarms of Cupids, and model ships. The “hedgehog” pouf was a “concoction of unpowdered hair curled to the tips and rising in tiers, leaving several strands of curls falling on the neck. The hair on top of the forehead was held up in a high and very large clump with hairpins. The entire bouffant style was supported by a ribbon that encircled the entire pouf.” The wigs towered so high that women had to remove them to enter their carriages. Rules were made at the opera house limiting the heights of these creations after theatergoers complained that it was impossible to see over the hair of the women in the audience. Bashor weaves history, politics, French court customs, and a movie-worthy tale of ambition, luck, romance, and tragedy into a book that sometimes sinks a little under the weight of its academic tone. Perhaps the most impressive aspect of Marie Antoinette’s Head is the way the author tells a compelling story drawing on court memoirs, letters of Autié’s acquaintances and contemporaries, the
admittedly embellished biography of the hairdresser written in 1838 — 18 years after his death — and other surviving texts, all duly footnoted and documented. “All dialogue has been transcribed verbatim from original sources,” Bashor writes in his “Note on Sources.” There is also Autié’s family tree, a map of Paris, a chronology, a cast of historical characters, a bibliography, a list of illustrations and credits, endnotes, and a nine-page index to finish things off. Clearly, this book, described on its jacket as “The Devil Wears Prada comes to Versailles,” is no mere exercise in historical extrapolation. No current book, movie, advertising campaign, runway fashion, or music video inspired by Marie Antoinette is ever presented without her towering hair. And while the hairdresser behind the pouf might be looked at as a somewhat marginal character in French history, the story contains more historical interest and drama than readers might expect. The hairdresser’s saga throws new fuel on the fire that still manages to burn for everything Antoinette. And ultimately, although the tale is rooted in French history, Marie Antoinette’s Head is, at its core, an all-American, small-town-boy-makes-it-big saga. Too bad Jimmy Stewart isn’t around for the Hollywood version. — Michael Wade Simpson
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13
Jennifer Levin I For the New Mexican
Mistaken identity The misunderstood Bill Ayers
Bill Ayers was a member of the Weather Underground during the Vietnam War, but he never killed anyone. He once hosted a small party for Barack Obama, but he did not write Obama’s book Dreams From My Father, despite sometimes saying he did when asked (as he continues to be, again and again). Bill Ayers also didn’t conspire with the president to create Common Core standards in education as a nefarious communist plot against America — first off because he barely knows Obama, and secondly because he strongly opposes the Common Core. Bill Ayers didn’t do a lot of the things people think he did, but he won’t defend himself anymore. He’s busy advocating and agitating for public school reform in Chicago, where he has lived with his wife, Bernardine Dohrn — formerly on the FBI’s Most Wanted List for her activities with the Weathermen — since the late 1980s. As told by Ayers in his new memoir, Public Enemy: Confessions of an American Dissident (sequel to his first memoir, Fugitive Days), the couple has lived a normal life, raising three sons and pursuing their personal and professional interests. They come across as enviably happy and fulfilled people, still active with social causes. Ayers, who was Distinguished Professor of Education and Senior University Scholar at the University of Illinois at Chicago prior to his retirement a few years ago, is particularly involved in the fight to prevent the privatization of the Chicago public schools. The memoir (published by Beacon Press), from which he will read at Collected Works on Thursday, Jan. 23, is a story not of radical civil disobedience but of being a father and educator who, after four decades, had his life turned upside down by dirty campaign politics. In 2008 his name was dragged into the presidential election in an attempt by the Right to tie Obama to a person it called an “unrepentant domestic terrorist.” Ayers was branded a “cop killer,” despite never having killed anyone, let alone a police officer. The media camped out at his house, he received death threats, and numerous universities canceled speaking engagements because of concerns about controversy and security. One university went so far as to preemptively ban him from attending an educational conference he’d never heard of. There’s no doubt that Ayers has, in his lifetime, committed radical acts. He bombed police stations and advocated meeting violence with violence. But by and large people conflate him with Weather 14
PASATIEMPO I January 17-23, 2014
Underground members who were involved with police killings. When they went to jail, he and Dohrn raised their son. Where is the line between activism and fanaticism? In a conversation with Pasatiempo, Ayers said that he asks himself this question frequently. “I don’t think there’s an easy answer because I think the potential for activism to become fanaticism is very high. For me, the rhythm of good citizenship, being a moral person, and activism — which is easy to say but excruciatingly difficult to live — is this: first of all you have to pay attention to the world. If your eyes aren’t open, you can’t make a moral choice. Second, you have to be astonished at the beauty and ecstasy and joy that you see everywhere, and you have to be astonished by the unnecessary pain and suffering that human beings inflict on one another. Third, you have to do things knowing they are imperfect and inadequate. The fourth step is that you have to doubt. You have to ask yourself if what you did made sense or was the right thing to do. It’s the fourth step that, as in the worst moments of the Weathermen and the worst moments of any fanatical turn, is what people forget to do.” Ayers explained that you can’t choose to live by your principles and then set yourself to automatic pilot and do everything right. “Trying to live a life with the values that inspired you and sort of enslaved you when you were 20 is hard enough, but it’s also hard to love your own life enough to embrace it while loving the world enough to commit yourself to a project of repair or peace or justice. We’ve tried to do both, and the dialectic isn’t solvable.” But he feels that his life has been pretty consistent. “What I did that seems very dramatic looking backward seemed to me like a choice that I wanted to make and had to make at the time, and doesn’t feel much different from the choices I’m making now. I know it does to other people.” He doesn’t deny, however, that he can be a bit of a provocateur when he feels like it. Conformity pushes his buttons. “When I see people lining up mindlessly in an easy dogmatic direction, I do feel like being provocative; I do feel like asking the next question. I feel like that’s something we should all do. I don’t do it as a theatrical thing. We have to be courageous and willing to take the disdain of other people.” The latest assertion by Ayers’ critics — that he is the architect of Obama’s educational policy — is pure fic-
tion. He is an outspoken critic of Arne Duncan, Obama’s education secretary. “I was in open combat with him when he was here in Chicago. I despise the educational policy of the current administration.” Ayers described Chicago, a city long plagued by public education woes, as ground zero for the fight between privatizing education (through vouchers and corporately run charter schools) and true reform. He calls standardized testing the biggest fraud in education to date, and calls the data it provides useless from the point of view of creating decent schools in a democratic society. “To be clear, I don’t think the status quo is defensible. I don’t think we should do nothing to improve the schools, but the strategy of testing, testing, testing, and punishing and destroying the collective voice of teachers, is the wrong way to go.” Some people will never accept that Ayers didn’t do the things they think he did, and some people will never accept any apology he makes for the actions he took to protest the Vietnam War. He understands that he was young, that he made wrong choices, that he became a fanatic. But there is only so much heart-rending that he or anyone can do about the past. By the time his first memoir was published, quite fatefully on September 11, 2001 — a coincidence used as evidence of something sinister by some people — he was almost 60 years old. “No one can live that long with their eyes even partially open without a million everyday regrets,” he writes in Public Enemy. “Once I walked away from a friend in distress; once I accused the innocent; once I bowed to the guilty. I’m sorry for all of it.” ◀
details ▼ Bill Ayers reads from and signs copies of Public Enemy: Confessions of an American Dissident ▼ 6 p.m. Thursday, Jan. 23 ▼ Collected Works Bookstore, 202 Galisteo St. 505-988-4226
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15
PASA TEMPOS
album reviews
BRANDY CLARK DARCY JAMES 12 Stories (Slate Creek ARGUE’S SECRET Records) There has been a fresh SOCIETY Brooklyn Babylon burst of whip-smart, witty storytell(Cercopithecine Music) Composer ing going on in country music, and Brandy Darcy James Argue’s 17-section suite written Clark has been responsible for a lot of it. for an 18-piece ensemble is the soundtrack Along with frequent writing partner Shane to a futuristic story of an “embattled” McAnally, she’s crafted brilliant songs for Brooklyn, where a builder of carousels is Miranda Lambert, The Band Perry, Kacey torn between ambition and community. Part of a multimedia Musgraves, and many more. 12 Stories is her full-length project involving animation and interpretive painting, the debut, and it showcases the best qualities of her writing — an piece premiered at the Brooklyn Academy of Music’s 2011 Next eye for detail, a fresh angle on clichés — along with her rich Wave Festival. The work recalls the borough’s immigrant history, its and lovely singing voice. She visits some standard country tropes, ethnic intermixing, its lively pace, and its existence in the shadow of with cheatin’ hearts getting a lot of time. “What’ll keep me out of its towering neighbor to the northwest. It offers a variety of rhythmic and heaven will take me there tonight,” sings the wandering wife in the orchestral atmospherics, often within a single piece, and many of the seckeenly observed “What’ll Keep Me Out of Heaven,” while the aggrieved tions carry a sense of aspiration. Opening on subway sounds and a plaintive wife in “Stripes” takes out a gun but stays her hand only because she euphonium theme, it turns to brassy European circus music, backed by tuba. doesn’t look good in stripes or orange. “There’s no crime of passion worth That’s followed by a pulsing mix of horns and piano that picks up a backbeat a crime of fashion,” she states. Elsewhere, we see the affectionin time for John Ellis’ tenor sax solo. “The Tallest Tower in the World,” ate critique of everyday working-class life that also marks the construction at the story’s core, stands on firm bass lines and her songs for Musgraves. We see people hooked on lottery rich trombone blends. A trumpet soars overhead. Flutes hint tickets (on “Pray to Jesus,” which doubles as an ode to at carousel music. An intricate tangle of melodica, flutes, On ‘Hydra,’ Ben Monder, faith), hooked on pills (on “Take a Little Pill,” a scathing and keyboards leads to a trombone solo in “Missing Parts.” indictment of modern medicine), and smoking weed Alone or in sum, the compositions here are ambitious Skuli Sverrisson, and Ted Poor and orchestrally rich even as they host fine improvisafor escapism’s sake (“Get High”). As with complicated affairs of the heart, how you get by is your own busitions. Not since Stan Kenton and Bob Graettinger’s City lay out a rich soundscape with ness; that you get by is what’s important. — Robert Ker of Glass has there been such a vision. — Bill Kohlhaase
a complex rhythm, while Theo
BEN MONDER Hydra (Sunnyside) This is guitarist Ben MATTHIAS GOERNE Hanns Eisler: Ernste Gesänge Monder’s sixth album since his 1995 debut, Flux, and his Bleckmann’s otherworldly vocals and Lieder With Piano (Harmonia Mundi) “Many have first in eight years. The opener, “Elysium,” features layered tried in vain to say what is most joyful in joy. Here at last, tinkling sounds and Gian Slater’s soaring, wordless vocals here amid sorrow, I find how to express it.” These lines by expand the sonic palette and — atmospheres reminiscent of ambient-music pioneers Friedrich Hölderlin open the Ernste Gesänge (Serious Songs) the explorational feeling. Brian Eno and Jean Michel Jarre, but this is all acoustic. On for baritone and string ensemble, which Hanns Eisler comthe 24-minute title piece, Monder, bassist Skuli Sverrisson, pleted in 1962, just weeks before his death. His life had been and drummer Ted Poor lay out a rich soundscape with a complex an exercise in questing. An early 12-tone disciple of Schoenberg’s, rhythm, while Theo Bleckmann’s otherworldly vocals expand both Eisler jumped ship when he could no longer square his populist the sonic palette and the explorational feeling. Monder alternates wild communism with Schoenberg’s intellectualizing. He became one of Brecht’s electric guitar excursions and a hypnotic fingerpicking pattern of knotty theater collaborators, fled the Nazis for Hollywood, was expelled by the House arpeggios with double-tracked Bleckmann solos. Is this title about an incomUn-American Activities Committee, and spent his last years in East Berlin, prehensible but beautiful aquatic creature or the many-headed serpent of where he wrote the national anthem for the DDR. Here we find him on mythology? (I tend to think it’s the former; try dancing to this music and death’s door, producing an eight-song cycle of astonishing beauty, gesturyou might agree.) On “39,” the leader’s wonderfully intricate and dense ing appreciatively toward immortal songwriters of the past — Schubert, guitar work underlies Bleckmann’s grand declarations of vocalese. Brahms, Wolf — before ending with a sweeping quotation from Cole At the end, the music crescendos, with great cymbal crashes, and Porter’s “Ev’ry Time We Say Goodbye,” a farewell of Mahler-esque it seems as if we have been listening to epic tales of the universe. exquisiteness. Matthias Goerne, a protégé of both Dietrich FischerAfter the placid “Yugen,” which is full of gorgeously cascadDieskau and Elisabeth Schwarzkopf, needs no introduction to ing guitar tones, comes a heavy named “Tredecadrome.” lieder lovers. His supple, luxurious baritone here illuminates Employing fuzzed-out guitar, Monder Eisler’s surprising cycle (with the excelbuilds pounding cacophonies, includlent Ensemble Resonanz) as well as 17 ing machine-gun electric-guitar charges. settings of Brecht poems. Pianist Thomas For the peaceful closer, he and Bleckmann Larcher assists in the latter and provides create a musical environment for the on his own a dramatic, bracing rendition lullaby at the end of E.B. White’s of Eisler’s op. 1 Piano Sonata, from the Charlotte’s Web. Entrancing. composer’s Schoenberg period. — Paul Weideman — James M. Keller
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PASATIEMPO I January 17-23, 2014
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TERRELL’S TUNE-UP Steve Terrell
People my age/They don’t do the things I do. — Neil Young from “I’m the Ocean” 25 years tuned-up One day I took part in a focus-group exercise for Pasatiempo in a meeting room in a local hotel. People representing various communities of interest told us writers and editors what they thought about the publication, what we were doing right, what we were doing wrong, how we could improve, blah blah blah. A young local musician was among the participants. She seemed a little nervous when she started to speak. “Uh, with all due respect to Steve, I think you should get another music writer, uh, in addition to Steve, who’s, uh, a little bit younger.” That was in the early ’90s, somewhere in the neighborhood of 20 years ago. Actually, I agreed with her that we needed a younger perspective as well as my codgerly insights. And Pasatiempo indeed has had some younger music writers since then. But they’ve yet to put the old one out to pasture. And this month marks the 25th anniversary of this column, first published in these pages on Jan. 6, 1989. OK, I normally hate first-person music articles in which a writer regales readers with fabulous tales of ME. But this is my 25th anniversary, so indulge me a little, and I promise not to do this again until my 50th. Although I was hired at The New Mexican in 1987 to cover City Hall, I wrote an occasional music feature for the paper before “Tune-Up.” After all, I had begun my illustrious journalism career at The Santa Fe Reporter as a music writer. In fact, I decided I wanted to do this for a living after my first interview, when I got roaring drunk with folk monster Dave Van Ronk. I even wrote a few music stories during my three years at The Journal North, the high point of that period being meeting and interviewing Bo Diddley after I arranged for Mayor Louis Montano to make him an honorary Santa Fean. But most important, I’ve been obsessed with rock ’n’ roll ever since I first heard the call of the wild — in my case The Coasters singing “Yakety Yak” — when I was 4 or 5. Normal American guys follow sports and watch games during their leisure hours. I’d rather seek out and listen to weird music. I’ve always been this way. Right before “Tune-Up,” I wrote regular record reviews at this paper during my brief, unhappy stint as assistant city editor in 1988. My duties included
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PASATIEMPO I January 17-23, 2014
putting together a features section and filling it with stories from news wires. We ran several national-wire album reviews, but after a few weeks I decided I could do better myself. (A big part of what I didn’t like about being an editor was that I really missed writing.) So I took it upon myself to write a review of Brian Wilson, the first solo album by the genius behind The Beach Boys, produced by his Svengali/ shaman/shrink Dr. Eugene Landy. (Say what you want about the disgraced doc’s methods and ethics, I still think that was Wilson’s greatest solo work, at least until the re-created Smile album a few years ago.) After I wrote several album reviews for my features section, Denise Kusel, editor of Pasatiempo at the time, asked if I would like my own album-review column in the magazine. Denise convinced me that a lot more people would see my work in Pasa. She was right. My first column was a review of Fisherman’s Blues by a band called The Waterboys. The headline was “A Band to Watch.” (I watched, but The Waterboys didn’t do much remarkable after Fisherman’s Blues.) The next week I reviewed I Am Kurious Oranj by The Fall. Now that’s a band I’m still watching. I’ve spilled a lot of ink over Mark E. Smith and his ever-changing lineup of Fall guys, most recently last July. Technically, “Terrell’s Tune-Up” didn’t debut until a few weeks after I started writing my column for Pasa. Originally the column was called “Pandemonium Jukebox” (also the name of a song I wrote and an album I did in the early ’80s), but for reasons I still don’t understand, the managing editor of The New Mexican hated the name and said it had to change. (Strangely enough, when I first started doing a radio show at KSFR-FM in 1994, I wanted to call it “Pandemonium Jukebox,” but the station manager at the time vetoed that idea. What’s with these guys?) So I came up with “Tune-Up,” and that’s what it’s been ever since. The joke at the time was that if I ever got sick of writing about music, I could make it an automotive-tips column. Fortunately that hasn’t happened yet, which is definitely a good thing, because I know nothing about auto mechanics. Back in ’89, not much of the music I liked was being played on commercial radio and not many of the musicians I liked were ever seen on prime-time television. Of course, that’s all changed after 25 years. Now virtually none of the stuff I like ever gets played there. If I were a politician, my opponent would accuse me of being “out of the mainstream,” and I wouldn’t be able to deny it. While occasionally I’ll review some new work by Bob Dylan, Willie Nelson, or Brian Wilson, I’ve always felt the main purpose of this column was to expose people to music that you don’t get spoon-fed by corporate radio. I often fantasize about a world in which the best-selling, most famous, and most popular musicians are those like Tom Waits, Swamp Dogg, Reverend Beat-Man, Thee Oh Sees, and Southern Culture on the Skids. But then I think, naw ... real art, real music thrives best in the underground. I wish my musical heroes made a little more money. But hell, I wish I made a little more money. It’s good to keep things on a human scale. That’s one reason you don’t read very many negative reviews in “Tune-Up.” I’d much rather turn readers on to music I love than waste precious time and column inches on stuff I can’t stand. The ultimate bad review, I’ve always figured, is no review at all. So for me, this month is a time for joyous celebration. But instead of sending me presents (I’ve been leery of presents from readers ever since someone upset over a bad review of a Stevie Ray Vaughan album sent me a Fleet ready-to-use enema), find a young person in your life and expose himor her to some Howlin’ Wolf or Johnny Cash or The Pixies or Black Joe Lewis or Question Mark & The Mysterians. Or The Fall. Make sure they know the call of the wild. ◀
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Between 1918 and 1934, Georgia O’Keeffe created an extraordinary body of work inspired by annual visits to Lake George, New York. Here, O’Keeffe discovered and refined her ground-breaking approach to nature and abstraction. This exhibition showcases artwork produced during these transformative and prolific years.
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Modern Nature: Georgia O’Keeffe and Lake George was organized by The Hyde Collection in association with the Georgia O’Keeffe Museum. The national presentation of the exhibition and catalogue have been made possible in part with support from The Henry Luce Foundation and the National Endowment for the Arts. Additional support and related programming were made possible in part by a generous grant from The Burnett Foundation, and partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax and Century Bank. Additional support for the catalogue has been provided by Furthermore: a program of the J. M Kaplan Fund.
okeeFFeMuseuM.org PASATIEMPOMAGAZINE.COM
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AP photo
AP photo/Ray Stubblebine
The legendary Kettle of Fish bar in New York; below, from left, Dennis Hopper, Arlo Guthrie, Melvin Van Peebles, Melanie, Bob Dylan, and Dave Van Ronk perform at Madison Square Garden, 1974; Van Ronk (second from right) and his
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PASATIEMPO I ????????? ??-??, 2013
Bill Kohlhaase I The New Mexican
VILLAGE VOICE Fol k i c o n Dave Van Ronk
jug band at New York’s Gaslight Cafe, 1963; Oscar Isaac as Llewyn Davis
here’s a moment in Joel and Ethan Coen’s new film Inside Llewyn Davis in which we glimpse a copy of folksinger Davis’ only solo recording. Davis, as played by Oscar Isaac, is seen on the cover leaning in a doorway. The title of the fictional recording is the same as that of the movie, and the photo is modeled on the one for Dave Van Ronk’s 1963 recording Inside Dave Van Ronk. But Llewyn Davis isn’t Dave Van Ronk. While the movie claims to be loosely adapted from Van Ronk’s memoir, The Mayor of MacDougal Street, what it mostly takes from the book is a feel for the folk music scene in New York’s Greenwich Village in the late 1950s and early 1960s. Van Ronk’s book, recently reissued in time for the film and with the photo from Inside Dave Van Ronk on its cover, has sold better in the last six months than at any other time since its publication in 2005, reported Elijah Wald, who collaborated on the memoir with Van Ronk. Also timed to the film’s release is a three-CD collection of Van Ronk’s music, Down in Washington Square, from Smithsonian Collection, complete with never-before-released material. It seems that Van Ronk — who did not attain the success of Bob Dylan; Peter, Paul and Mary; or other stars of the folk movement — has finally seen his time come, even if it’s a dozen years after his death. At the time of his death in 2002, Van Ronk’s biography existed in just bits and pieces. His longtime friend Wald took on the task of putting the pieces together and filling in the rest. Wald first sought out Van Ronk in 1976 for guitar lessons. “I was a huge fan,” he told Pasatiempo in a phone call from New York City. “When I first saw him I was 12, and I’d never seen anything like it. One guy, one guitar, and what he did was hypnotic. I remember that the show, this was Boston, was poorly attended. I went to see him any time he was in Cambridge, and when I was 17 I moved to New York to study with him.” In Wald’s afterword to the book, he tells how Van Ronk, then past his glory days during the 1960s folk revival, began to schedule Wald as the last lesson of the day. He would stick around while Van Ronk cooked dinner and held court on politics, music, and other subjects. When Van Ronk discovered he had
cancer, he brought Wald in as his co-writer. “I had lived on his couch, and I knew his voice,” Wald said. “I had interviews with him to work in. I did other interviews. He wanted the book to be about time and place. If it was more about music, it would have been more about him. But he wanted it to be a record of those days.” The book is as interesting for its digressions as it is for its personal content. Places famous in folk music history — The Kettle of Fish, The Gaslight, and other Village spots — play roles, as they do in the movie. The book ends in 1968, about the same time the folk revival took its last gasp. Its most interesting sections are about the roots of the folk music movement and how it developed into what Van Ronk called “the great folk music scare.” “I never really thought of myself as a ‘folksinger’ at all,” wrote Van Ronk in notes for a Folkways recording made in 1959 and 1961. “Still don’t. What I did was combine traditional fingerpicking guitar with a repertory of old jazz tunes, many of which I’d been singing for years.” Wald said that Van Ronk’s music was affected at every level by his interest in early jazz. “He was less caught up in rural blues than people think. His reaction to Robert Johnson was to say, yes, but we have Louis Armstrong and Billie Holiday. He couldn’t understand why there were blues singers who had not listened to Billie Holiday. His phrasing was always out of Mississippi John Hurt, but it was more influenced by Armstrong. Also, his attitude toward the way guitar worked with his voice was based on jazz. He was influenced by Jelly Roll Morton and Duke [Ellington]. He employed Ellington’s way of creating a simple arrangement for one of his soloists. Dave did that with his guitar being the band and his voice being the soloist. His solo sound was simple and acoustic, so it was thought of as old blues. But it was more than that. He’d been listening to Jelly Roll Morton. To him, Jelly Roll was god.” Despite his early experience playing traditional and early jazz styles, Van Ronk was firmly anchored in the folk-blues traditions by the time he made his first recordings for Folkways. “When he started out in the continued on Page 22
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Dave Van Ronk, continued from Page 21
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Village, he was catching the tail end of the traditional jazz scene,” explained Jeff Place, archivist for Folkways. Place wrote the liner notes and song annotations for the new release, and he chose and sequenced the music. “He wanted to sing loudly, wanted to do Jelly Roll Morton. That’s the tradition he came from. But that scene was on its way out, so he ended up doing jug band stuff and then got into the blues.” Van Ronk’s voice, heard on a live 1958 performance of “Ain’t No Grave Can Hold My Body Down,” carries some of the characteristic gruffness that would come to define his sound. But it’s his phrasing, here and on all the collection’s material, that is central to his appeal. Wald said that Van Ronk loved Bing Crosby for his “terrific jazz phrasing.” It’s hard not to hear it, even considering the roughness of his tone. Place sees Van Ronk as a “gatekeeper,” someone who introduced a host of important folk musicians to various influences. “He was good at finding material to record that nobody had yet caught on to. He was the first to record anything by Joni Mitchell, doing her ‘Urge for Going’ before anybody knew who she was.” Wald added, “He had terrific taste in material. And he reshaped a lot of tunes in memorable ways. Everybody who has ever played blues guitar can play his arrangement of ‘House of the Rising Sun’ note for note.” In a sense, Inside Llewyn Davis does what The Mayor of MacDougal Street does: paints a picture of the folk music scene in Greenwich Village in what was considered its glory days. If the struggles of Llewyn Davis aren’t exactly those of Dave Van Ronk, they’re certainly reflective of his career lows and highs, modest as they were. One of the movie’s last scenes pictures a silhouetted Bob Dylan, singing in his trademark whine and simply strumming his guitar — not fingerpicking as was Van Ronk’s style — in the embryonic stage of his career. Van Ronk had a strong influence on Dylan. In his memoir Chronicles, Volume 1, Dylan writes, “Later, when I would record my first album, half the cuts on it were renditions of songs that Van Ronk did. It’s not like I planned that, it just happened. Unconsciously I trusted his stuff more than I did mine.” In the long run, few folk singers experienced the kind of success they thought might be coming to them. This is a theme of the film and certainly a factor in Van Ronk’s life. In the book, Van Ronk doesn’t bemoan the fact he didn’t make it big as Dylan did. In fact, just the contrary. In the final chapter of the book, he writes, “Obviously, there are things I am willing to do and things I am not willing to do, but the bottom line is that I have a certain set of skills and I have done the best I can with them, and if the cards had come up differently and I had had more mainstream success, that would have been very nice.” And he is critical of the folk movement in general. “Very little of what got put down had much permanent value. There was a genuine artistic impulse, but the paradigms were flawed, and if you compare it to what was happening on Broadway in the 1930s, that scene was infinitely more creative and important than ours.” Still, listen to the new Folkways collection. Go back to Van Ronk’s 1962 recording Folksinger, with its heart-tugging rendition of the traditional “He Was a Friend of Mine,” a song Dylan later capitalized on; or “Hang Me, Oh Hang Me,” a song Isaac sings to advantage in the film; or even something from Inside Dave Van Ronk, recorded that same year. You can’t help but think that the folk movement did produce something emotionally rich and attractive. ◀
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Sunday, January 19 at 5:30 pm The Power of the Three Sacred Syllables
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PASATIEMPO I January 17 - 23, 2014
ON STAGE Musing on midlife: King Laz
Neither dementia nor depression is exempt from Susana Guillaume’s wit in her new one-woman show, King Laz. The performer and writer combines comedy with despair as she approaches the topic of aging parents and the reversal of family roles. Guillaume describes her newest work as a “midlife report card, recognizing and embracing the influence of my family on my own destiny.” The production is directed by Maura Dhu Studi. King Laz comes to Santa Fe Playhouse (142 E. De Vargas St.) for three shows: at 7:30 p.m. on Friday and Saturday, Jan. 17 and 18, and at 4 p.m. on Sunday, Jan. 19. Tickets cost $20 ($18 for seniors and students). For reservations call 505-988-4262. — L.B.
THIS WEEK
Frahm on Friday on Fisk
First Presbyterian Church (at 208 Grant St., 505-982-8544, Ext. 16) opens its doors to a devoted audience at 5:30 every Friday, the whole year through, for its TGIF series, short concerts that normally run just over a half hour. On Friday, Jan. 17, the featured musician is Frederick Frahm, an organist and composer who currently serves as principal organist and music director for St. Luke Lutheran Church in Albuquerque as well as dean of the Albuquerque Chapter of the American Guild of Organists. He brings a small handful of his works to play on the church’s much-admired C.B. Fisk organ: two movements from his site-appropriate Fiestas de Santa Fe (2008), his three-movement Concerto for Organ (2011), and his Winter-Moon (2013). There is no charge for the concert, but freewill offerings will be taken. — J.M.K.
Electro-motion: Jaka
Jaka isn’t just another electro-marimba trance dance band — it is Santa Fe’s longest-running and most professional (and probably only) electro-marimba trance dance band. Since Dan Pauli founded the group in the late 1990s, Jaka has experienced a number of transformations but has consistently provided the Southwest with lively Afro-pop and funk fusion. In addition to extensive educational outreach, Pauli and company have released two albums along the way. The current instrumentation features homemade marimbas, mbiras, electric bass, percussion, and vocals. Jaka performs a free show at Second Street Brewery at the Railyard (1607 Paseo De Peralta, 505-989-3278) on Saturday, Jan. 18. The band kicks things off at 7 p.m. Find out more at www.secondstreetbrewery.com. — L.B.
Pass the Bruckner: Bruckner 4 “Romantic”
James Feddeck, who last year received the prestigious Sir Georg Solti Conducting Award, assumes the Santa Fe Symphony’s podium at 4 p.m. on Sunday, Jan. 19, at the Lensic Performing Arts Center (211 W. San Francisco St.) to lead works by Mozart and Bruckner. Mozart’s motet “Exsultate, jubilate,” one of his earliest works to have entered the standard repertoire, will be sung by soprano Rachel Hall, who delighted audiences last summer as Barbarina in Le nozze di Figaro at Santa Fe Opera. Bruckner endowed only one of his symphonies with a nickname: his Fourth, to which he appended the title “Romantic.” The piece is indeed rich in romantic allusions, and some years after composing it Bruckner penned a scenario involving medieval towers, knights on steeds, murmuring forests, festive hunters, and so on — perhaps a retroactive description rather than a narrative that had actually inspired the music. He wrote this symphony in 1874 but revised it repeatedly through 1888; this performance uses a recently published edition by musicologist Benjamin Korstvedt that seems to reflect the final composer-approved score. Tickets ($20 to $70; discounts available) can be purchased from the symphony (505-983-1414; www.santafesymphony.org) and from www.ticketssantafe.org (505-988-1234). A preconcert lecture at 3 p.m. is free to ticket holders. — J.M.K. PASATIEMPOMAGAZINE.COM
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James M. Keller I The New Mexican
WITH POLYGLOT PINK MARTINI 1994 pianist Thomas Lauderdale, just a couple of years out of Harvard, was back in his hometown of Portland, Oregon, immersed in the hubbub of politics. The hot issue at the moment was Measure 13, a ballot proposal he recalls as “a nasty attempt to illegalize homosexuality in the state constitution.” He leaped into the fray with the fervor of someone who took it personally. Indeed, his own father, a pastor in the Church of the Brethren, had come out of the closet as an adult and had served as the minister for his by-then-ex-wife’s wedding. Young Thomas steered clear of the closet himself. His website biography states, “He spent most of his collegiate years … in cocktail dresses, taking on the role of ‘cruise director’ … throwing waltzes with live orchestras and ice sculptures, disco masquerades with gigantic pineapples on wheels, midnight swimming parties, and operating a Tuesday night coffeehouse called Café Mardi.” By the time Oregon’s voters had squelched Measure 13 that November, Lauderdale was thinking he might run for mayor of Portland. But another pressing matter also needed to be dealt with: the quality of the music that wafted around the countless rallies and receptions he had to attend. “I hated the bands at these things,” he said in a recent phone conversation with Pasatiempo from his home in Portland. He suspected he could do better, and then a decisive moment forced him onto the musical stage. “I had just seen the Pee-Wee’s Playhouse Christmas Special,” he explained. “Among the guest stars were the Del Rubio Triplets, three gals — guitarists — who were somewhere between the ages of 70 and 80, wore little miniskirts and booties, and looked exactly alike. They played covers of ‘Whip It’ and 26
PASATIEMPO I January 17-23, 2014
‘Walk Like an Egyptian.’ I brought them to town to do a series of appearances at hospitals and retirement homes and Rotary meetings, in which they would sneak in a ‘Please Vote No on Measure 13’ message at the end of their set. At the end of the week, we had a big concert, and I couldn’t get ahold of the surf band that I wanted to open the show. So I threw on a cocktail dress and started Pink Martini.” That group comes to the Lensic Performing Arts Center on Monday, Jan. 20. Where did the name come from? “It just felt fun,” he said, “and we were in the midst of the political fight over Measure 13. The name seemed sort of fabulous and slightly gay. I’m not sure if I like the name still. We can’t change it now. I don’t know what I would call it instead.” The window for a name-change is closed for sure. Pink Martini, now in its 20th season, has long since evolved into an international phenomenon with a firm identity: a good-sized instrumental ensemble fronted by a singer and directed from the piano by Lauderdale, performing a multilingual mix that focuses on songs of the 1940s and ’50s from pretty much every corner of the earth. “You could call it world music without being rural,” Lauderdale said. “It’s a more urban style.” Pink Martini’s breakthrough arrived in 1997, the year it made its European debut at the Cannes Film Festival. That coincided with the release of its first CD, Sympathique, independently produced on the Heinz label (Heinz being the name of Lauderdale’s dog). Today the ensemble tours throughout the world — it will do about 150 shows this year. Pink Martini has performed with other groups of note, including the Los Angeles Philharmonic at the Hollywood Bowl, the National Symphony at the Kennedy Center, and the BBC Concert Orchestra at Royal Albert Hall in London. This past September the group added the eighth title to its Heinz
discography, and its worldwide CD sales have surpassed the 2.5 million mark. “Our music translates even better in foreign countries than in the United States,” Lauderdale reported, describing Pink Martini as “an almost European band” in its enthusiasm for performing in many languages within a single show. “Because countries are so close together in Europe, people speak multiple languages. There used to be American singers who did that, like Connie Francis, but not much.” Two singers appear with the group. Lauderdale’s Harvard classmate China Forbes was its defining vocal stylist from the outset, but in 2011 she took a leave of absence to undergo surgery on her vocal cords, ceding the microphone to Storm Large. The operation was completely successful, and now the two singers fulfill tours and bookings in rotation. “When China lost her voice, I thought this was going to be a nightmare,” Lauderdale said. “But it has worked out perfectly. This has led to everyone having a double. If something happens to me, there are two pianists who could take over at any moment.” The instrumentalists have also provided consistency in Pink Martini’s refined supper-club style over the years. “Most of the people in this group have been with
the band for at least 15 years. I can’t believe it’s still going. It’s such a preposterous premise, presenting this kind of music with a band of 10 or 12 players.” Apart from Forbes and Large, an unpredictable roster of guest singers shows up to perform with Pink Martini live and on recordings. Some of them testify to Lauderdale’s occasionally camp sensibilities. The group’s new CD, Get Happy, is a typical offering. It ranges through 16 songs (sung in German, French, Chinese, Japanese, Spanish, Farsi, Turkish, and Romanian, in addition to English) featuring not only Forbes and Large but also idiosyncratic cabaret singer Meow Meow, NPR White House correspondent Ari Shapiro (who sizzles in “You te quiero siempre”), singer-composer Rufus Wainwright, French pop singer Philippe Katerine, and several younger members of the von Trapp family. Oh, and the comedian Phyllis Diller. After they were introduced by a friend in common, Lauderdale arranged to record Diller in her Los Angeles living room singing the Charlie Chaplin classic “Smile.” She died at age 95 just before the CD was released, but her last-track performance brings the disc to a moving conclusion: “You’ll find that life is still worthwhile/If you’ll just/Smile.”
Prior to Pink Martini’s show at the Lensic, Pasatiempo posed a few questions to Lauderdale. Pasatiempo: Pink Martini’s style generally evokes the musical moods of the 1940s and ’50s, but you were actually born in 1970. How did you get snagged by this style that was from before your time? Thomas Lauderdale: My parents were really quirky. They grew up on the earnest side of the ’60s. I grew up listening to six things: The New Christy Minstrels, Ray Conniff, Ray Charles, Roger Miller, the Mormon Tabernacle Choir, and the soundtrack to Jesus Christ Superstar. That was my childhood. Then I studied history in college. Plus I grew up loving old films. All of that collided with a gravitating force. I particularly loved films from the ’50s and ’60s, often foreignlanguage films that had a certain kind of atmosphere: Breakfast at Tiffany’s, La dolce vita, Splendor in the Grass. Even if they didn’t involve music much, they have a great style, an attitude. Pasa: One of Pink Martini’s distinguishing features is singers with beautiful voices who display vocal training and classic musical values. Is this rare in the world of pop music?
Thomas Lauderdale (center), with the four von Trapp siblings (greatgrandchildren of Capt. Georg and Maria Von Trapp, of The Sound of Music fame); a collaborative CD by Pink Martini and the von Trapps will be released on March 4.
Lauderdale: In the pop world, a lot of times it’s just about people’s natural abilities. People don’t talk about going to piano lessons or to their vocal coach. I still go to piano lessons with my piano teacher. It’s very helpful to keep up the technique. But there’s nothing inside the culture that shows the importance of working hard on one’s craft. Everybody just wants to become famous overnight, without having to really practice. In terms of music, there are two populations in America who are actually learning classical music: they are Asians and fundamentalist Christians. Also the occasional Jew. Those are the populations who, for whatever reason, have the discipline to study for years and years with apparently few rewards. These are the people who make up youth orchestras, for example. Pasa: Canada, France, Greece, Turkey, Japan — these are some of the special pockets of Pink Martini’s international following. Did your popularity in any of these countries particularly take you by surprise? Lauderdale: I was surprised we did so well in Turkey, but our Turkish promoter turned out to be so inventive. Nobody knew us in Turkey when we first went there. In the Taksim Square area of Istanbul, there are hundreds of shops. He paid off all the store owners to pipe in Pink Martini on their sound systems, so basically if you went to Taksim Square, you heard just Pink Martini. It was pretty brilliant. Pasa: We are embarking on a mayoral race here in Santa Fe. Seeing as how you once had mayoral aspirations yourself, may I ask what musical credentials you think a mayoral candidate ought to have? Lauderdale: A mayoral candidate should be able to play an instrument of some sort or sing or dance — preferably all three. If a mayor can’t dance and look kind of good doing it, how can she or he possibly run a city? For a mayor to have some sort of relationship with the arts is totally pivotal, because the arts is the last big industry in the United States where you can actually be creative and make things. As we move away from manufacturing and farming and these other industries into where the future lies, it will have to do with these creative, artistic things. In a practical way, this could resemble the WPA programs of 1930s. Pink Martini does singalongs in the town square in Portland, and it’s just amazing to have thousands of people coming together singing “Oh My Darling, Clementine” and “She’ll Be Comin’ ’Round the Mountain” and “America the Beautiful.” It’s very unifying, evidence of a shared culture. It used to be that everybody came together and sang; the act of gathering in public squares came about for speeches or political debates or markets or singing. So this idea of a mayor who is familiar with the arts is really important. If the mayor is all about the bottom line of businesses, I think that spells trouble. ◀
details Chris Hornbecker
▼ Pink Martini ▼ 7:30 p.m., Monday, Jan. 20 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $54-$84; 505-988-1234, www.ticketssantafe.org; call for availability
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PASATIEMPO I January 17 - 23, 2014
PASATIEMPOMAGAZINE.COM
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SOUND WAVES Loren Bienvenu
Wendy Young
All the pub’s a stage On the first Monday evening of 2014, James T. Baker was crooning a bluesy original about whiskey, wine, and women at Duel Brewing. The capacity audience did not seem to mind that beer was not on Baker’s lyrical list — there was plenty of that arrayed on the tables and bar in the taproom, which opened last summer. Duel’s Belgian-style beers pack a punch. A number of them are named after painters (Goya, Titian, Duchamp, Grünewald), which speaks to owner Trent Edwards’ career as an artist. Given how extensive Duel’s live music offerings are, one might be surprised to learn that Edwards’ initial artistic program was limited to a weekly life drawing group. That group continues to bring in a live model every Sunday at 11 a.m., but now Duel’s calendar includes music an average of five nights a week. Reflecting on how his vision for the burgeoning business has solidified, Edwards said, “I want this to be a great venue for the arts, music being one of them.” The owner (who is prone to the well-placed aphorism, such as “Art is supposed to open your mind, not your wallet”) spoke at length about the importance of being flexible when creating both art and a business model. Pointing out that he started hosting music on a whim, in response to a pair of touring singers from Austin who asked at the bar if they could perform the following night, he said that the variety of genres represented is now integral to the series. Besides Baker’s weekly “Blue Monday” residency at Duel, the venue’s lineup for the next few weeks includes a number of diverse acts, including Müshi (groove jazz, Saturday, Jan. 18), Edmund Gorman (Celtic/ folk, Jan. 25), and Rumelia (Balkan/world, Feb. 1). “I don’t like boundaries. They don’t really help creativity. If somebody is honest and passionate about what they’re doing and they convey that to me, I’ll say, Let’s give it a whirl and see how the people respond to it,” Edwards said. “We had belly dancing New Year’s Day when Müshi was playing. It was fantastic!” Müshi is a good example of a band that steers clear of boundaries. Composed of bassist Ross Hamlin, keyboardist Robert Muller, and drummer Dave Wayne, Müshi plays all originals instead of the standards common to many small jazz improv groups. “We’re definitely jazzy, but not too heady and not too exclusive,” Hamlin said. “A lot of people have a problem with jazz where the musicians go off and foster these musical inside jokes and leave the audience 10 years behind.” Hamlin emphasized that his group always receives a warm reception at Duel. Joking about the sometimes limited imaginations of those who are intimidated by the sight of his upright bass, he added, “It’s amazing how many people have used the word actually when they say they like us.”
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Müshi
PASATIEMPO I January 17-23, 2014
Though the brewery’s serving area was not designed with music in mind, the acoustics are surprisingly tolerable for two converted live-work spaces with concrete floors and high ceilings. Belying Duel’s warehouse-like exterior, the inside is warmly decorated. A mix of Edwards’ large canvases adorn the high walls of the pub, and the walls and woodwork reflect the deep ambers, golds, and blacks of the beers on tap. Television sets are nowhere to be seen, and advertising is limited. “I don’t like a lot of signs — I don’t want to blast people with advertisements,” Edwards said. The understated tranquility thus created transfers over to the musical performances, during which audiences tend to actually listen to the music (as was the case during Baker’s set). Edwards said that one singer-songwriter confided after his performance that he had been unusually nervous, not being in the habit of playing in front of people who were really paying attention. Now that music has become a central part of Duel’s future, Edwards plans to build a proper stage in an adjacent building. The hope is that a designated performance space with good lighting and acoustics will create “a little mystery and a lot more excitement.” It will also allow for more complex shows and theatrical productions. He said the nearby Teatro Paraguas Studio has expressed interest in staging previews at Duel. One man approached him about using the space for performances by his Shakespeare group. “My mind is quite open about what’s possible in this space. When the guy mentioned Shakespeare, it made me think that originally during Shakespeare’s time, people were probably drinking beer during the plays. It just makes my DNA kind of shake — it’s very fundamental.” In fact, Shakespeare’s Globe Theatre did supply audiences with ale, mead, and wine. When the original structure burned down in 1613, an eye-witness account reported no casualties: “Only one man had his breeches set on fire, that would perhaps have broyled him if he had not, by the benefit of a provident wit, put it out with bottle-ale.” Whether Duel establishes itself as “the Globe of Santa Fe” remains to be seen. But it seems safe to assume that Duel’s ale is superior in taste to the kind that saved the life of one quick-witted 17th-century Englishman. At the very least, it’s more likely to serve as an extinguisher of anxiety (with musical accompaniment) than an extinguisher of flaming breeches. ◀ Duel Brewing is at 1228 Parkway Drive; 505-474-5301. Visit www.duelbrewing.com for details on upcoming events. There’s no cover for live music; Sunday life-drawing sessions cost $25, which includes a beer, a waffle, and two hours of drawing with a live model.
Confused About Health Care? Get Answers That Make Sense! Dr. Lawrence Lazarus shares his 40 years of clinical experience helping patients to better understand Santa Fe and America’s complicated health care system during a talk and Q&A. He’s the author of “Getting the Health Care You Deserve in America’s Broken Health Care System.” Join him and learn how to reduce health care costs, get quality health care & more! Jan. 18 at Santa Fe Public Jan. 25 at Santa Fe Public Library’s Main Library Library’s Southside Branch 145 Washington Ave. 6599 Jaguar Dr. 11 a.m. to noon 11 a.m. to noon
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Santa Fe Pro MuSica orcheStra Thomas o’Connor, conductor Cármelo de los sanTos, violin
Saturday, January 25 at 6PM Sunday, January 26 at 3PM* *5pm Post-concert reception — Meet the Musicians, Lensic Lobby LenSic PerForMing artS center
Vaughan Williams Fantasia on a Theme of Thomas Tallis BarBer Concerto for Violin and orchestra, op. 14 BeethoVen symphony no. 1 in C major, op. 21 Meet the Music one hour before each concert with Thomas O’Connor and special guest John Clubbe. TiCkeTs $20, $35, $45, $65, students and Teachers $10 santa Fe Pro Musica Box Office: 505.988.4640 Tickets santa Fe at the lensic: 505.988.1234 www.santafepromusica.com
Platinum Lodging Partner: The 2013-2014 Season is partially funded by New Mexico Arts (a Division of the Department of Cultural Affairs) and the National Endowment for the Arts.
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Paul Weideman I The New Mexican
centuries-old automaton comes to life
ore than two centuries ago, audiences in Europe were astounded to witness a 2-foothigh mechanical boy writing poetry and drawing detailed pictures. The automaton, created by Swiss watchmaker Henri Maillardet (1745-1830), was the inspiration for the 2007 children’s book The Invention of Hugo Cabret by Brian Selznick and the 2011 Martin Scorsese film Hugo. A Sunday, Jan. 19, afternoon program celebrating the life of Benjamin Franklin offers a screening of Hugo and a talk by Santa Fe’s Andrew Baron, who brought the automaton back to life for the Franklin Institute in Philadelphia in 2007. Tom Leech, director of the Palace Press, conceived the event. “I’m working on a book with Tom Chávez, former director of the Palace of the Governors, who has been researching the correspondence between Benjamin Franklin and the Spanish court during the American Revolution,” Leech said. “It’s a little-known story and an important one. Franklin was wooing the Spanish court to get support for the American Revolution, and the way to do that diplomatically was through the French.” The Palace Press, which produces limited-edition books on vintage printing presses, will give the Chávez manuscript special treatment. “For a printer, getting to print anything about Ben is a godsend, and this is original scholarship. “Last year we had Tom and his wife, Célia LópezChávez, give lectures on the Franklin research. Right after that we were contacted by Andy Baron, and he and I had a long talk about this event. We thought we’d really put it in context if we could show Hugo,, which is a delightful movie. When we watch it, we’re going to be sitting in an auditorium using the miracle of electricity that also goes back to Franklin. There are so many things that trace back to him and to that sort of creative thinking. That’s what we’re celebrating: imagination, creative thinking, and looking at history differently. History is more than a lot of dusty old dates.” The work of pioneering French filmmaker Georges Méliès (1861-1938), who was a collector of automatons,
figures into the film’s story about the adventures of a boy living in a French train station. The automaton in the film is a computer-operated prop, but it’s based on the real thing. The Maillardet automaton remains an astounding contraption; even young people who have grown up in an age dominated by computer-generated special effects will find its operation entrancing. The automatic boy writes three poems — two in French and one in English — and makes four drawings. It is all done by means of 72 slowly rotating brass disks with high and low points engineered into their edges. Cams, levers, and rods transmit the encoded movement from the disks to the figure’s hand, head, and eyes. It is believed that Maillardet began working on his “draftsman-writer” device in 1790, the year of Franklin’s death. It was exhibited in Europe and perhaps the United States for about 50 years. By the time of its donation to the Franklin Institute in 1928, it was in pieces. Years later, when Selznick saw it there during research for a new book, the automaton was hidden away and not working, but he was fascinated by it. “I imagined a kid climbing through the garbage and finding one of those broken machines and trying
to fix it, and that boy became Hugo,” he said in a 2012 CBS Sunday Morning segment. He helped convince the institute to bring in Baron, who said this automaton is the best of its type. “There had been a writer and a draftsman built by the firm that Maillardet was employed by in the 1770s and 1780s, but one distinction is that this one combines both. I believe it was the first to do so. The earlier ones might have been able to write letters in a word or words in a line at most, but not this elaborate poetry, line after line, and going back to dot the i’s and cross the t’s.” One of the drawings the boy makes is of a tall-masted British warship with sails billowing, little figures on the deck, cannons in the ports, and waves on the ocean. “When I started working on the automaton in 2007, it could not draw legibly,” Baron said. “It had a prominent tremor in the drawing hand. In addition to that, the perspective was badly skewed.” Baron said past repairers had reshaped a brass link in an apparently logical manner, but it proved to be a mistake. A moment from his verbal description of his repairs (detailed in his project report at continued on Page 34
Right, the Maillardet automaton, completed circa 1805; top, the mechanical eyes removed during repairs; photos courtesy Andrew Baron; opposite page, a detail from the Hugo poster Background drawings created by automaton
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The “brain” of the automatic boy: a stack of brass disks, rotated by spring motors, that tell the hand, head, and eyes what to do; right, Andrew Baron engaged in his repairs; photos courtesy Andrew Baron
Benjamin Franklin Fiesta,
continued from Page 33
www.popyrus.com/hugo) points to the intricacy of the problem: “One of the conditions that I was asked to look at was that you could put these links in place behind the neck and it was seemingly obvious where they go, so why are these parts not working together? You could snap this into there and put that there and it seemed to make sense, yet the moment you set the machine in motion, it would begin its routine, the head would begin to turn, but it would only go a few degrees and pop, these pieces would fly apart. “The assumption was that something may have been worn out. After long studies of the mechanism, I actually woke up at about 4 a.m. in my hotel room with a very clear vision of what it should be.” Based on the elegant solution that rose from his subconscious state, Baron reshaped one piece and restored the “lovely, graceful movement of the head,” as he put it. The sophistication of the automaton shows in the pauses that occur two or three times during its operation, when it shifts to different sets of cams. “Maillardet wasn’t content to just have the boy pause, so in these intervals he has him look up and his eyes move to gaze out, so it looks like he’s thinking about what he’s going to do next.” Baron is a paper engineer, responsible for the movements in a series of pop-up books, and has repaired and restored old clocks, music boxes, radios, and 34
PASATIEMPO I January 17-23, 2014
typewriters since he was a kid. Today he calls himself “a skilled intuitive mechanician.” His latest work is an engineered cover for the best-selling book The Art of Rube Goldberg. His repairs to the Maillardet automaton amounted to about 70 hours of work. One remarkable story hinges on one of the pictures the automaton draws: a Chinese temple complete with swimming swans and a tiny figure in a pagoda. In a high-resolution scan of the drawing from a collection of original drawings at the Westminster Library in England, Baron noticed that the head of the figure is less than 2 millimeters in diameter but includes eyes, nose, and mouth. Those features are no longer visible in modern drawings because wear and tear over 200 years has reduced some of the detail of the automaton’s movements. But it is amazing that such fine marks could even be made in ink at that time. “I sent the scan to a pen historian,” Baron said. “History tells us that the stylographic pen was invented in 1875, but here we have what appears to have been a stylographic pen existing three-quarters of a century before history records such a thing as existing. It’s my supposition that it required something with a needle point, and to be able to go for four minutes would require a self-feeding reservoir.” The ink supply was probably in the top of the pen. The stylus body still exists, but no one knows what the original tip was like. It has long since been replaced with a ballpoint pen tip.
Baron said the Westminster Library trove was discovered in 2011. “Also in that year, an 1802 letter emerged from a woman who described seeing the automaton at an exhibition. She says what’s most remarkable is that it does these things without human intervention. When I first read that, I thought she was commenting on the fact that it does all these complex motions over the span of three or four minutes for one drawing, which is a long duration. Then it occurred to me that what she probably meant was that it would spend that long writing a poem or drawing a picture without dipping the pen in an inkwell. “The forebear of this automaton, made by JaquetDroz, which resides in Switzerland, dips its pen in a well, shakes it twice, then writes. I think the woman writing in 1802 is commenting on the fact that the Maillardet automaton does something she’s never even seen a human do.” ◀
details ▼ Benjamin Franklin Fiesta ▼ 1 p.m. Hugo screening, 3:30 p.m. Andrew Baron talk “Art and Engineering in the World of Benjamin Franklin,” Sunday, Jan. 19 ▼ New Mexico History Museum auditorium, 113 Lincoln Ave., 505-476-5200 ▼ By museum admission; no charge for New Mexico residents
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Michael Abatemarco I The New Mexican
or the past year and a half, Diné photographer Will Wilson has run the Critical Indigenous Photographic Exchange, or CIPX, a venture originally conceived as a response to, and a continuation of, the portrait documentation made by photographer Edward S. Curtis in the early 20th century. Wilson is not interested in critiquing Curtis’ images, which often depict Native peoples as a vanishing race or as “noble savages” who have not adapted to Western culture. Instead, he seeks to establish a comparable body of work of contemporary portraits from the standpoint of a 21st-century indigenous observer. The project has taken Wilson to several institutions in the Southwest, including the Santa Fe Art Institute and the New Mexico Museum of Art, where members of the public sat while he shot their portraits. This month he brings the project to SITE Santa Fe as part of SITElab 4, SITE’s ongoing series of shows mounted in a gallery off the main lobby and meant to fill the gap between major exhibits.
students from New Mexico School for the Arts engage photographic history For the SITElab installation, Wilson collaborated with seven students from the New Mexico School for the Arts: Sachiko Cooper da Silva, Sarah Jones, Devin Maes, Ben Rosen-Hatcher, Emily Stearns, Emma Steinman, and Alma Valdez-Garcia. In a yearlong photographic project, Wilson introduced them to the wet-plate collodion process used for the CIPX. “We were initially responding to the More Real? exhibition at SITE,” Wilson told Pasatiempo. “After a couple of sessions with the students, talking about my work, looking at the ideas behind the More Real? exhibit, I decided to teach them this cool old process. They liked that idea.” More Real? Art in the Age of Truthiness opened at SITE in July 2012. The exhibit explored themes such as deception, memory, and play in contemporary art. “The students were coming up with their own ideas of how they might represent themselves and thinking about that in terms of the mythic West. For the last year and a half, I’ve really been investigating what it means to have your portrait made. I’m doing it in this slow way, using this old technology, to bring the magic back into that exchange,” Wilson said. The wet-plate collodion process gets its name from the liquid solution used to coat metal plates placed in the camera before an exposure is taken. “You have about a 10-minute window to get back into the darkroom and develop the plate,” Wilson said. It has to stay wet through the whole process. If it dries out you 36
PASATIEMPO I January 17-23, 2014
Will Wilson: Self-Portrait, 2013; opposite page, Sarah Jones: Self-Portrait, 2013; digital scans from contemporary tintypes
won’t get an image.” The resulting photograph is called a tintype because the positive image is developed on a thin sheet of metal. “There’s been a big explosion of this process. It’s enjoying a renaissance. There’s a company called Bostick & Sullivan, and they’re based here in Santa Fe. They make these kits that make it easy for a photographer like me to mix these chemicals, but they themselves do hard chemistry, like boiling down silver in nitric acid to create silver
nitrate. They’ve been amazingly generous with their knowledge, and my studio happens to be right around the corner from them, so it makes it super-convenient. They got me addicted to the process.” Most of the students created their tintypes as selfportraits. The images have an old-fashioned feel because of the antiquated process, and traces of emulsion can continued on Page 38
Will Wilson, continued from Page 36
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Sachiko Cooper da Silva: La Malinché, 2013, digital scan from contemporary tintype
be seen at the edges of the photographs, similar to some historic prints from the late 19th and early 20th centuries. “I’ve heard people describe it as a time machine,” Wilson said. Several students added to the effect by dressing in vintage fashions for their self-portraits or using props that suggested a bygone era. “Some of the students decided to be more directorial when they were behind the camera. They got friends to dress up for them, like in Devin Maes’ La Llorona images.” La Llorona is a frightening figure from folk legends of the Americas. In some versions of the legend, she cries for her lost children, who were drowned by her own hand. Maes’ take on the legend is a somber, unsettling image of La Llorona cradling a drowned child in her arms. A 140-year-old lens used for shooting the images enhanced the haunting, surreal quality of much of the student work. “Each historic lens has its own characteristic, almost like fingerprints. A lot of those early lenses have a sweet spot of really sharp focus and very quickly blur out toward the edges. If you get the focus right, you can see every little vein in someone’s eyeball.” Although the student work remains on view for the duration of the show, the CIPX project takes place for five days, from Tuesday, Jan. 21, to Saturday, Jan. 25. People can sign up for portrait sittings during the exhibit’s opening reception on Friday, Jan. 17. “We’ll be taking people’s portraits and then running to develop them and inviting people in to watch that,” Wilson said. “Usually I ask the person to bring something significant with them to be photographed with. They walk away with the tintype in exchange for a high-resolution scan. I have them sign a nonexclusive photo release so that I can use the scan in my growing body of portraiture. The students will be participating, too, and I have a couple of interns from Oberlin College, where I went to school, who will also be facilitating that. The students from the New Mexico School for the Arts are amazing to work with. They’re doing some great stuff at that school.” ◀
details ▼ SITElab 4: Will Wilson with students from the New Mexico School for the Arts ▼ Reception 5:30 p.m. Friday, Jan. 17; through Sunday, Jan. 26; CIPX sittings 11 a.m.-4 p.m. Tuesday, Jan. 21, to Saturday, Jan. 25; sign up at the reception ▼ SITE Santa Fe, 1606 Paseo de Peralta, 505-989-1199 ▼ No charge for exhibition; no charge for tintypes
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PASATIEMPO I January 17-23, 2014
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MOVING IMAGES pasa pics
— compiled by Robert B. Ker
JOE PAPP IN FIVE ACTS Joe Papp was a visionary whose dream of bringing Shakespeare to a wide audience improbably grew into the phenomenon that is New York’s Public Theater. A rebel who took on Parks Commissioner Robert Moses and beat him, Papp was also a communist who defied the House Un-American Activities Committee and lived to tell the tale. Even his closest friends didn’t know he was a Jewish kid from Brooklyn whose immigrant parents could barely speak English. He was a Shakespearean figure himself, with titanic flaws as well as strengths. Filmmakers Tracie Holder and Karen Thorsen peel away the layers in their absorbing collection of film clips and talking heads. Screens as part of the Santa Fe Jewish Film Festival, 11:30 a.m. Sunday, Jan. 19, only. Not rated. 82 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards)
Where’s Spock when you need him? Chris Pine in Jack Ryan: Shadow Recruit, at Regal Stadium 14 in Santa Fe
opening this week AT MIDDLETON The New York Film Critics series continues with this comedy, in which Vera Farmiga and Andy Garcia play parents who meet while on a college campus tour with their teenagers. Following the film, director Adam Rodgers joins the two actors in a simulcast Q & A session hosted by critic Peter Travers. 6 p.m. Tuesday, Jan. 21, only. Rated R. 100 minutes. The Screen, Santa Fe. (Not reviewed) BATTLE ROYALE Before The Hunger Games ever hit bookstores, this 2000 film from Japan earned a cult following through bootleg DVDs and internet buzz. The premise will be familiar to Hunger Games fans: the Japanese government sends a group of teens to an island, where they must fight one another to the death. The parable is heavy and is handled with irreverence and gore. Battle Royale remains twisted fun and is much craftier than its B-movie reputation might suggest. Not rated. 114 minutes. In Japanese with subtitles. Jean Cocteau Cinema, Santa Fe. (Robert Ker) CONTRACTED One is always cautioned to practice safe sex to avoid unwanted pregnancy and sexually transmitted disease. This gore-fest suggests there is a third reason: you might get turned into a zombie! After a carefree night out, one woman (Najarra Townsend) finds this out the hard way. Not rated. 78 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) 40
PASATIEMPO I January 17-23, 2014
DEVIL’S DUE The title of this film refers to a due date, and the protagonist, named Samantha (Allison Miller), would have a lot to talk about with a woman from the 1960s named Rosemary. Alas, horror movies have changed since then, and this pregnancy-gone-evil movie features a lot of people getting loudly slammed around. Rated R. 89 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) GAME OF THRONES MARATHON The Jean Cocteau Cinema shows the first three seasons of the HBO series Game of Thrones, based on the Song of Ice and Fire book series by George R.R. Martin. Two or three episodes are screened per week until March 24. Occasionally, Martin will drop by or a cast or crew member will appear in person or via Skype. Season 1 episodes 6 and 7 screen at 7 p.m. Monday, Jan. 20. Not rated, but not suitable for children. Each episode runs roughly 55 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) JACK RYAN: SHADOW RECRUIT Kenneth Branagh — who, despite his background in Shakespeare and the British stage, is now billed as “the director of Thor” — is the director (and co-star) of the latest film starring Tom Clancy’s Jack Ryan. This is a prequel, with Chris Pine doing the whole international espionage thing in the title role. Kevin Costner and Keira Knightley play Ryan’s boss and wife. Rated PG-13. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)
THE NUT JOB Bug-eyed rodents rule the day in this cartoon about a squirrel (voiced by Will Arnett) and a rat (Robert Tinkler) who attempt to break into a nut store. Kids might like this movie, but parents deserve a prize just for making it through the loud, obnoxious trailer. Not rated. 85 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) OLD YELLER Nearly everyone who saw this 1957 Disney movie as a kid remembers it and was probably a little traumatized by it — but it’s difficult to tell if it’s actually a good movie or just an emotionally manipulative one. The answer may lie in the fact that the film is well known for its ending and little else. (The first two acts are charming, if standard, midcentury live-action Disney.) Some people call it the “best dog movie ever,” and while we’d substitute “most famous” for “best,” they may have a point. Not rated. 83 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with a showing of Jewels, a full-length plotless ballet choreographed by George Balanchine with music by Stravinsky, Fauré, and Tchaikovsky and danced by members of the Bolshoi Ballet. 1 p.m. Sunday, Jan. 19, only. Not rated. 150 minutes. The Screen, Santa Fe. (Not reviewed) RIDE ALONG It’s the kind of movie you feel like you’ve already watched 100 times: the suddenly ubiquitous Kevin Hart plays a wise-cracking young punk who joins an older, hard-case cop on a basic ride-along. And then things get crazy for this odd couple. Rated PG-13. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE SELFISH GIANT This sure-footed modern-day entry in Great Britain’s social realism subgenre is a movie about two
boys (Conner Chapman and Shaun Thomas) who live in a working-class northern England town so miserable that sunlight never seems to shine there. Throughout this captivating world — part agrarian, part industrial — they lead a horse about town, collecting copper wire for a little money. It’s the kind of film where you just know something bad will happen. And then it does. Rated PG-13. 93 minutes. In heavily accented English with subtitles. The Screen, Santa Fe. (Robert Ker) See review, Page 44. A TOUCH OF SIN Director Zhangke Jia’s depiction of changing economic realities in China, where a culture of materialism leads to sudden and brutal acts of violence, is a bleak vision. The film follows the lives and fates of four protagonists — a worker in a mining village, a sociopathic migrant, a receptionist in a massage parlor, and a rootless young man — as they’re driven to act in increasingly desperate ways to cope with the exploitation and inhumanity they routinely encounter. Stark, poetic images linger in the mind but offer no comfort from the ensuing carnage. Jia turns an unflinching and unrelenting eye toward the protagonists’ fates as each sequence builds to a shattering and bloody climax. Not rated. 125 minutes. In Mandarin with English subtitles. The Screen, Santa Fe. (Michael Abatemarco) See review, Page 46.
now in theaters ALL IS LOST In this often-enthralling drama from writer and director J.C. Chandor, a man (Robert Redford) is stranded on a crippled vessel somewhere in the Indian Ocean. All Is Lost is basically Redford against the sea, and it relies on good old-fashioned storytelling to keep you involved. It’s a gutsy project that trusts its audience to trust it back, but be warned: the final third of the film is a bit repetitious and soggy. Rated PG-13. 106 minutes. The Screen, Santa Fe. (Robert Nott) AMERICAN HUSTLE Irving Rosenfeld (Christian Bale) and Sydney Prosser (Amy Adams) bond over Duke Ellington at a party. This is appropriate, because David O. Russell has orchestrated his wild and wonderful riff on the 1978 Abscam sting operation like an Ellington suite. The film is an extended cinematic jazz composition, weaving themes and rhythms with tight ensemble work and electrifying solos and building to a footstomping climax. The performances are terrific, including Golden Globe winner Jennifer Lawrence’s as Irving’s cagey, dumb-smart wife. Rated R. 138 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards)
ANCHORMAN 2: THE LEGEND CONTINUES This sequel to the muchloved 2004 comedy finds the Channel 4 news team (Will Ferrell, Paul Rudd, Steve Carell, David Koechner, and Christina Applegate) headed to cable news and the 1980s. It avoids the trap that sinks many comedy sequels by not getting too plot-heavy and not simply repeating the best bits from the first film. Some commentary about modern news networks slows the pace, but the crew’s Monty Python-esque approach to delivering humor in offbeat, unexpected ways carries the day, and a shark named Doby nearly steals the show. Rated PG-13. 119 minutes. Regal Stadium 14, Santa Fe. (Robert Ker) AUGUST: OSAGE COUNTY Tracy Letts adapts his Pulitzer Prize-winning play for the screen, with an embarrassment of riches led by Meryl Streep as the poisonous matriarch of one of the most dysfunctional families you’ll ever meet as they gather to cope with the suicide of the patriarch (Sam Shepard). Streep is joined but not matched by a generally strong cast, with particular kudos to Julia Roberts and Chris Cooper. But director John Wells, a TV producer and director with one mediocre film credit (The Company Men), isn’t up to the job, and the result is an uneven movie at once too dispersed and too intimate to capture the theatrical lightning. Rated R. 119 minutes. Regal DeVargas, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) BETTIE PAGE REVEALS ALL Documentary filmmaker Mark Mori uses audio interviews with the late-1950s pinup star — who died in 2008 — to anchor this compelling biography, which is chock-full of talking heads, amusing anecdotes, historical footage of bondage films, and Bettie revealing all. But the film wears out its welcome near the end by letting a bunch of people who were influenced by Bettie gab on. Still, it’s a must-see for Page fans. Rated R. 101 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Nott) DALLAS BUYERS CLUB In 1985, a time when AIDS was known almost exclusively as a gay disease, a cocky, homophobic sex-, booze-, and drug-addicted Texas redneck named Ron Woodroof was diagnosed as HIV-positive. His reaction to the diagnosis, and his battle against the big-hospital/big-pharma/ FDA cartel that put profit ahead of patients, is the basis for this remarkable story. Taking it to the next level are the terrific performances of Golden Globe winners Matthew McConaughey (as Woodroof) and Jared Leto (as his sweet but steely transvestite sidekick Rayon). Rated R. 117 minutes. Center for Contemporary Arts and Regal Stadium 14, Santa Fe. ( Jonathan Richards)
FROZEN Disney’s latest animated fable is a strange one: it is a tale of misunderstanding with a complicated setup but no real villain or central conflict. Two princess sisters in a fantasy kingdom are separated when one is revealed to have magical powers to summon cold, snow, and ice. With the help of a big lug (Jonathan Groff), the younger woman (Kristen Bell) must pull her older sis out of her wintery withdrawal from society. The film is a breeze, despite the awkward first act. Rated PG. 108 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) THE GREAT BEAUTY Director Paolo Sorrentino’s breathtaking excursion through Roman high life is a funny, sexy, and heartbreaking look at a society dancing as fast as it can to keep up with a past that can’t be caught or even quite remembered. Our guide through this funhouse labyrinth of beauty, debauchery, pretension, and yearning is Jep Gambardella (Toni Servillo), an aging writer and bon vivant who made a literary splash with a slim novel 40 years ago and hasn’t been able to think of anything worth writing about since. The Great Beauty is a conscious and masterful updating of Fellini. Not rated. 142 minutes. In Italian with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) HER The best romance and sci-fi film of 2013 could be writer and director Spike Jonze’s futuristic fable about a melancholy, mustached man ( Joaquin Phoenix) and his sexy-sounding computer operating system (voiced by Scarlett Johansson). The unlikely couple passes through all the normal phases of a relationship — as well as some very abnormal phases. Everything from the fashion to the architecture builds a believable depiction of a utopian near-future, and the breadth of the themes makes Her a Rorschach test for viewers: one could see it as a movie about the definition of love, our reliance on technology, the shifting of gender roles, the possibility of the singularity, or the merits of Buddhist philosophy. Phoenix does a lot of solo talking, but Jonze’s assured and imaginative filmmaking carries the film. Rated R. 119 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE HOBBIT: DESOLATION OF SMAUG As if in reaction to criticism that the first Hobbit flick was too slow, director Peter Jackson keeps the action pumping in this sequel. Given that the film is nearly three hours long, it gets exhausting. It also feels shorter than many 90-minute films, thanks to its attention to detail, swashbuckling action, its operatic drama, and a jimdandy of a dragon (voiced by Benedict Cumberbatch). Rated PG-13. 160 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. (Robert Ker) continued on Page 42 PASATIEMPOMAGAZINE.COM
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THE HUNGER GAMES: CATCHING FIRE This is a rare case of a movie that’s just as good as — if not better than — the book on which it’s based. Defiant Katniss ( Jennifer Lawrence) has inspired unrest in Panem, a dystopian nation where a totalitarian government punishes its citizens for their rebellion by forcing children to compete in an annual televised battle. To dampen Katniss’ fire, sinister President Snow (Donald Sutherland) and a new Head Gamemaker (Philip Seymour Hoffman) force her back into the arena. Rated PG-13. 146 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Laurel Gladden) INSIDE LLEWYN DAVIS The Coen brothers have made a richly textured, visually gorgeous film set during the Greenwich Village folk scene at the start of the ’60s. The title character (Oscar Isaac) is loosely inspired by Dave Van Ronk, one of the core figures of the folk revival, but Llewyn Davis doesn’t achieve similar stature. The Coens handle the music with respect and treat the life of a marginal artist with humor, sympathy, and a nice streak of cynicism. The film is about opportunities missed, lost, and squandered; about doors opening and closing; about failure, redemption, second chances, and the Möbius strip of a life that keeps folding back in on itself. Rated R. 105 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) LONE SURVIVOR A movie based on a memoir of a combat mission and titled Lone Survivor has to find its strengths in something other than suspense. Peter Berg’s bloodand-guts tale is based on Marcus Luttrell’s (Mark Wahlberg) account of an ill-fated 2005 attempt by four Navy SEALs to take out a murderous warlord in the mountains of Afghanistan. The acting is solid, the action is tough, and the real-life consequences were tragic. But the movie comes across as a twohour hybrid of a video game and a recruitment film. Rated R. 121 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) NEBRASKA Woody Grant (Bruce Dern) has won a million dollars, or so his letter from Publishers Clearing House says, and he’s determined to go to Lincoln, Nebraska, to claim
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PASATIEMPO I January 17-23, 2014
his prize. His son David (Will Forte) agrees to drive him. This is the slender setup for Alexander Payne’s sweet, biting, funny comedy-drama of a receding American Midwest. As important as the characters is the black-and-white photography, which renders the landscape in muted, evocative charcoal washes and brings out the lonely feeling of an era and a generation disappearing into the past. Rated R. 115 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) PARANORMAL ACTIVITY: THE MARKED ONES The Paranormal Activity franchise started with a haunted house and a hidden camera. Now it has expanded to be whatever it wants — in this case, a story of a young man (Andrew Jacobs) who acquires powers and finds himself pursued by supernatural scaremongers. Rated R. 84 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) PHILOMENA Steve Coogan plays a down-on-his-luck journalist who takes on a human-interest story by bringing an Irishwoman ( Judi Dench) to America to find her long-estranged son. The film is marketed as a lighthearted odd-couple comedy — and there are laughs — but the material runs much deeper and darker than that. Before director Stephen Frears is done taking us on all of his unpredictable and oftenrewarding turns, we’ve pondered aging, forgiveness, the existence of God, and how different perspectives paint a distorted picture of one’s life. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. (Robert Ker) SAVING MR. BANKS Fans of Mary Poppins will probably find this biopic depicting the struggle between Walt Disney and author P.L. Travers fascinating, if disturbing. But the screenplay’s arc just isn’t strong enough to carry the film as it moves back and forth between the harsh reality of Travers’ childhood in the Australian outback and the fairy-tale environment of Disney’s studio. Still, Emma Thompson gives a beautiful turn as the strong-willed Travers, while Tom Hanks is all easygoing charm as Disney. Rated PG-13. 125 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Nott) THE SECRET LIFE OF WALTER MITTY James Thurber’s 1939 short story about an unimportant man who daydreams big is brought to life as a feel-good (if flimsy) midwinter film directed by and starring Ben Stiller. He plays Mitty as a meek man who works at Life magazine and embarks on a real-life adventure to track down a reclusive photographer (Sean Penn). The film is charming (how could it not be with Stiller and Kristen Wiig as the central couple?), but it’s not as life-affirming as it wants to be. Rated PG. 114 minutes. Regal Stadium 14, Santa Fe. (Robert Ker)
SWEET DREAMS Produced and directed by siblings Lisa and Rob Fruchtman, Sweet Dreams follows Ingoma Nshya, Rwanda’s first female drumming group, as they work to open Rwanda’s first ice cream shop, Inzozi Nziza (Sweet Dreams). The film also tells the story of the country’s recovery from the devastating 1994 genocide. The movie offers the women’s stories without self-congratulation on the part of the filmmakers. Not rated. 89 minutes. The Screen, Santa Fe. ( Jennifer Levin) 12 YEARS A SLAVE Director Steve McQueen takes us into America’s slave trade with the same clinical observation and exquisite composition that he used in his previous features, Hunger and Shame. Alas, he tarnishes his adaptation of Solomon Northup’s 1853 autobiography — about the free-born man’s stint as a slave after being captured and shipped south — with too many movie moments, blunting the impact and calling his intentions into question. There’s fine acting all around, though. Rated R. 133 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE WOLF OF WALL STREET Martin Scorsese’s celebration of chicanery and gluttony in the world of finance is based on the true story of Jordan Belfort (Golden Globe winner Leonardo DiCaprio), who fleeced his way to the top selling penny stocks and then did time in a federal prison for fraud. Scorsese has turned his story into a dazzling but repetitious movie that halfheartedly masquerades as a cautionary tale laced with dwarf-tossing contests, exotic cars, yachts, helicopters, and acres of naked women who serve, among other things, as surfaces off of which to snort cocaine. Rated R. 179 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards)
other screenings Center for Contemporary Arts 7 p.m. Tuesday, Jan. 21: The Road. Introduced by Ole Peters as part of the Santa Fe Institute’s Science on Screen series. Desert Academy 7300 Old Santa Fe Trail; 505-992-8284 7 p.m. Friday, Jan. 14: Chasing Ice. With Mayor David Coss. Regal DeVargas The Book Thief, Captain Phillips, Gravity (2-D only). Regal Stadium 14 The Legend of Hercules. Screens in 3-D and 2-D. 2 p.m. Sunday, Jan. 19; 2 & 7 p.m. Wednesday, Jan. 22: Fast Times at Ridgemont High. 10 p.m. Thursday, Jan. 23: I, Frankenstein. ◀
What’s shoWing Call theaters or check websites to confirm screening times. CCA CinemAtheque And SCreening room
1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Dallas Buyers Club (R) Fri. 2:30 p.m., 3:15 p.m., 5 p.m., 7:30 p.m., 8:15 p.m. Sat. 12 p.m., 2:30 p.m., 3:15 p.m., 5 p.m., 7:30 p.m., 8:15 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m., 8:15 p.m. Mon. 12 p.m., 2:30 p.m., 3:15 p.m., 5 p.m., 7:30 p.m., 8:15 p.m. Tue. 12:30 p.m., 1:15 p.m., 3 p.m., 5:30 p.m., 8:15 p.m. Wed. and Thurs. 12 p.m., 2:30 p.m., 3:15 p.m., 5 p.m., 7:30 p.m., 8:15 p.m. The Great Beauty (NR) Fri. and Sat. 12:30 p.m., 5:30 p.m. Sun. 2:45 p.m., 5:30 p.m. Mon. 12:30 p.m., 5:30 p.m. Tue. 3:45 p.m. Wed. and Thurs. 12:30 p.m., 5:30 p.m. Joe Papp in Five Acts (NR) Sun. 12 p.m. The Road (R) Tue. 7 p.m. JeAn CoCteAu CinemA
418 Montezuma, 505-466-5528 Battle Royale (NR) Fri. and Sat. 2 p.m., 6:20 p.m. Sun. 6:20 p.m. Tue. 8:30 p.m. Wed. and Thurs. 6:20 p.m. Bettie Page Reveals All (R) Fri. 4:15 p.m., 8:30 p.m. Sat. 8:30 p.m. Sun. 4:15 p.m., 8:30 p.m. Wed. and Thurs. 2 p.m. Contracted (NR) Fri. and Sat. 11 p.m. Wed. and Thurs. 8:30 p.m. Game of Thrones (NR) Mon. 7 p.m. Old Yeller (G) Sat. 12 p.m., 4:15 p.m. Sun. 2 p.m. Tue. 6:20 p.m. Wed. and Thurs. 4:15 p.m. regAl deVArgAS
562 N. Guadalupe St., 505-988-2775, www. fandango.com 12 Years a Slave (R) Fri. to Thurs. 3:55 p.m., 6:50 p.m. August: Osage County (R) Fri. and Sat. 1:10 p.m., 4 p.m., 7 p.m., 9:50 p.m. Sun. to Thurs. 1:10 p.m., 4 p.m., 7 p.m. The BookThief (PG-13) Fri. to Thurs. 1:50 p.m. Captain Phillips (PG-13) Fri. and Sat. 1 p.m., 9:45 p.m. Sun. to Thurs. 1 p.m. Gravity (PG-13) Fri. to Thurs. 4:10 p.m., 7:10 p.m. Her (R) Fri. and Sat. 1:30 p.m., 4:20 p.m., 7:20 p.m., 10:10 p.m. Sun. to Thurs. 1:30 p.m., 4:20 p.m., 7:20 p.m. Inside Llewyn Davis (R) Fri. and Sat. 1:40 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m. Sun. to Thurs. 1:40 p.m., 4:30 p.m., 7:30 p.m. Nebraska (R) Fri. and Sat. 1:20 p.m., 9:40 p.m. Sun. to Thurs. 1:20 p.m. Philomena (PG-13) Fri. and Sat. 4:45 p.m., 7:40 p.m., 10 p.m. Sun. to Thurs. 4:45 p.m., 7:40 p.m. regAl StAdium 14
3474 Zafarano Drive, 505-424-6296, www.fandango.com American Hustle (R) Fri. to Thurs. 12:55 p.m., 4:15 p.m., 7:25 p.m., 10:30 p.m. Anchorman 2:The Legend Continues (PG-13) Fri. to Tue. 4:25 p.m., 10:10 p.m. Wed. 9:30 p.m. Thurs. 4:25 p.m., 10:10 p.m. Dallas Buyers Club (R) Fri. to Thurs. 1:10 p.m., 10 p.m. Devil’s Due (R) Fri. to Thurs. 12:15 p.m., 2:35 p.m., 4:55 p.m., 7:15 p.m., 9:35 p.m. Fast Times at Ridgemont High (R) Sun. 2 p.m. Wed. 2 p.m., 7 p.m. Frozen (PG) Fri. to Thurs. 12:05 p.m., 2:40 p.m., 5:15 p.m., 7:50 p.m., 10:30 p.m. The Hobbit:The Desolation of Smaug 3D (PG-13) Fri. to Thurs. 4:15 p.m. The Hobbit:The Desolation of Smaug (PG-13) Fri. to Thurs. 12:15 p.m., 8 p.m. The Hunger Games: Catching Fire (PG-13) Fri. to Thurs. 12:10 p.m., 3:45 p.m., 7:05 p.m., 10:20 p.m. I, Frankenstein 3D (PG-13) Thurs. 10 p.m. Jack Ryan: Shadow Recruit (PG-13) Fri. to Thurs. 12:05 p.m., 2:40 p.m., 5:15 p.m., 7:50 p.m., 10:25 p.m. The Legend of Hercules 3D (PG-13) Fri. to Thurs. 12:20 p.m., 7:40 p.m. The Legend of Hercules (PG-13) Fri. to Thurs.
2:50 p.m., 5:15 p.m., 10:10 p.m.
Lone Survivor (R) Fri. to Thurs. 1 p.m., 4 p.m.,
7:10 p.m., 10 p.m. The Nut Job 3D (PG) Fri. to Thurs. 12:20 p.m., 5:05 p.m. The Nut Job (PG) Fri. to Thurs. 2:45 p.m., 7:20 p.m., 9:40 p.m. Paranormal Activity:The Marked Ones (R) Fri. to Thurs. 12:50 p.m., 3:10 p.m., 5:30 p.m., 8 p.m., 10:20 p.m. Ride Along (PG-13) Fri. to Thurs. 12 p.m., 2:30 p.m., 5 p.m., 7:30 p.m., 10 p.m. Saving Mr. Banks (PG-13) Fri. to Thurs. 4:05 p.m., 7 p.m. The Secret Life of Walter Mitty (PG) Fri. and Sat. 1:15 p.m., 7:25 p.m. Sun. 7:25 p.m. Mon. and Tue. 1:15 p.m., 7:25 p.m. Wed. 4:15 p.m. Thurs. 1:15 p.m., 7:25 p.m. The Wolf of Wall Street (R) Fri. to Thurs. 12 p.m., 4:10 p.m., 8:10 p.m.
Fri at 5:35 • Sat at 1:15 and 5:35 Sun and Tues at 4:00 Mon, Wed and Fri at 5:35
“The Selfish Giant is a film of such power and beauty that there will be no escaping it -- so long as you go to see it in the first place.” David Thomson, The New Republic
the SCreen
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com All Is Lost (PG-13) Sat. 3:20 p.m. Mon. 3:20 p.m. Wed. and Thurs. 3:20 p.m. Bolshoi Ballet: Jewels (NR) Sun. 1 p.m. New York Film Critics Series:At Middleton (R) Tue. 6 p.m. The Selfish Giant (NR) Fri. 5:35 p.m. Sat. 1:15 p.m., 5:35 p.m. Sun. 4 p.m. Mon. 5:35 p.m. Tue. 4 p.m. Wed. and Thurs. 5:35 p.m. Sweet Dreams (NR) Fri. 3:30 Sat. 11:15 a.m. Sun. 11:15 a.m. Mon. 1:15 p.m. Wed. and Thurs. 1:15 p.m. ATouch Of Sin (NR) Fri. and Sat. 7:30 p.m. Sun. 6 p.m. Mon. 7:30 p.m. Tue. 1:15 p.m. Wed. and Thurs. 7:30 p.m. mitChell dreAmCAtCher CinemA (eSpAñolA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com August: Osage County (R) Fri. 4:30 p.m., 7:10 p.m., 9:45 p.m. Sat. 1:55 p.m., 4:30 p.m., 7:10 p.m., 9:45 p.m. Sun. 1:55 p.m., 4:30 p.m., 7:10 p.m. Mon. to Thurs. 4:30 p.m., 7:10 p.m. Devil’s Due (R) Fri. 4:55 p.m., 7:30 p.m., 9:55 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:30 p.m., 9:55 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. Frozen (PG) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. The Hunger Games: Catching Fire (PG-13) Fri. 6:50 p.m., 9:50 p.m. Sat. 2:30 p.m., 6:50 p.m., 9:50 p.m. Sun. 2:30 p.m., 6:50 p.m. Mon. to Thurs. 6:50 p.m. Jack Ryan: Shadow Recruit (PG-13) Fri. 4:45 p.m., 7:15 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:15 p.m., 9:50 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:15 p.m. Mon. to Thurs. 4:45 p.m., 7:15 p.m. Lone Survivor (R) Fri. 4:25 p.m., 7 p.m., 9:40 p.m. Sat. 1:50 p.m., 4:25 p.m., 7 p.m., 9:40 p.m. Sun. 1:50 p.m., 4:25 p.m., 7 p.m. Mon. to Thurs. 4:25 p.m., 7 p.m. The Nut Job (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Paranormal Activity:The Marked Ones (R) Fri. 4:40 p.m., 7:35 p.m., 9:45 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:35 p.m., 9:45 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:35 p.m. Mon. to Thurs. 4:40 p.m., 7:35 p.m. Ride Along (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. Saving Mr. Banks (PG-13) Fri. 4:35 p.m., 7:15 p.m., 10 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:15 p.m., 10 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:15 p.m. Mon. to Thurs. 4:35 p.m., 7:15 p.m.
E BEST 10 ON MOR AN ANY H T S LIST M IN 2013 IL F R OTHE
“JIA IS SIMPLY ONE OF THE BEST AND MOST IMPORTANT DIRECTORS IN THE WORLD.” ~ Richard Brody, The New Yorker
Fri and Sat at 7:30 Sun at 6:00 • Mon at 7:30 Tues at 1:15 Wed and Thurs at 7:30
SWEET
DREAMS
Performance: JEWELS Live from the Bolshoi Ballet
a film by Rob and liSa fRuchTman
Sat at 3:20 Mon, Wed and and Thurs at 3:20
AT
Fri at 3:30 • Sat and Sun at 11:15am Mon, Wed and Thurs at 1:15
Special Event!!! New York Film Critics’ Screening MIDDLETON with Live Simulcast QandA with stars Andy Garcia and Vera Farmiga • Tuesday at 6:00
Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®
D I G I T A L
S U R R O U N D •E X
“A REMARKABLE tale of resilience. JOYOUS and especially potent. RESONATES Sun at 1:00DEEPLY.” – ~Kenneth Turan, Los Angeles Times
SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com
Bargain Matinees Monday through Friday (First Show ONLY) All Seats $8.00 PASATIEMPOMAGAZINE.COM
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movIng Images film reviews
Dark ages Robert Ker I For the New Mexican The Selfish Giant, drama, in regional English with subtitles, rated PG-13, The Screen, 3 chiles Have you noticed that there appears to be an explosion of Anglophiles in America of late? The telly is the culprit. The entertainment world has shrunk (thanks to the internet, cable, and globalization), and television shows are more accessible than ever (thanks to streaming services and DVRs) — all of which allows American viewers to discover British programs and enjoy them at more or less the same time as their British counterparts. It’s a climate that has allowed a show like Doctor Who — which was never more than a cult in the U.S. for most of its existence — to become a stateside phenomenon. What we’re seeing in these recent shows — at least the ones that have gained footholds in America — is an idealized representation of Britain, in the same way Hollywood movies portray an America that bears little resemblance to the one in which we reside. Even when telling tales of tragedy, these TV programs often present the United Kingdom as an upbeat, dignified, and (strangely) optimistic and wonderful. On the other end of the spectrum is a view of Britain that has traditionally made few waves
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PASATIEMPO I January 17-23, 2014
Brit grit: Conner Chapman
beyond art-house theaters in the United States. This view took hold with social realist films of the late 1950s and early 1960s, such as Tony Richardson’s The Loneliness of the Long Distance Runner and Lindsay Anderson’s This Sporting Life, and continued with films by artists including Ken Loach and Lynne Ramsay. Clio Barnard’s The Selfish Giant is the latest film in this tradition. It is utterly miserable but often mesmerizing. The story centers on a working-class boy named Arbor (Conner Chapman), who lives in the city of Bradford in northern England. Arbor isn’t a particularly pleasant lad to be around. He’s hyperactive and highly resistant to authority. He can’t fit himself within the confines of school, and home holds its own share of oppression. The only dream he harbors is to collect copper wire around town and sell it to a local junkyard run by a no-nonsense bloke named Kitten (Sean Gilder). That Arbor looks to the uncouth men who scavenge for a “living” as role models or considers such a life preferable to schooling may tell you all you need to know about his circumstances. There is spirit, beauty, and kindness in Arbor’s life, particularly the parts that pertain to his best friend, Swifty (Shaun Thomas), a large, gentle boy who has affection for and an easy way with animals, prompting Kitten to have him steer a cart in the town’s illegal harness races. Swifty and Arbor display a tender loyalty to each other, even though Swifty’s a good kid and Arbor is a bad influence. (Siobhan Finneran, famous as Downton’s wicked Sarah O’Brien, plays Swifty’s disapproving mum.) While The Selfish Giant is loosely based on an Oscar Wilde short story, the friendship may remind viewers
of the central relationship in John Steinbeck’s Of Mice and Men. The boys do exceptional acting jobs, with Chapman all awkward angst and Thomas all softspoken frustration, but the environment that birthed these slightly Dickensian characters is the film’s draw. Bradford is a town that sunlight seemingly cannot reach. The sky is pallid and overcast, and the ground is perpetually pockmarked with puddles. Many of the citizens in the working-class neighborhoods wear dumpy clothes that are smeared here and there with mud. They live in shabby-looking houses, lined in rows and remarkable only for how plain they appear. They don’t talk to so much as snip and curse at one another, speaking in an accent so thick that subtitles were added for the U.S. audience. And yet it is difficult to look away from this town. Barnard presents the community as a mixture of agrarian and industrial, where horses and fields exist next to power lines, cooling towers, and generators. The boys use a horse and cart to strip — and occasionally steal — the copper and cable, and it’s effortless to let yourself sink into the rhythms of this lifestyle. While there, you may find yourself wallowing a bit too much. The Selfish Giant is captivating, but it maintains a gloomy tone throughout and fetishizes its misery a bit too much. There is no potential for upward mobility here — only lateral movements and tumbles downward. Therefore, it’s not too hard to see where the film is heading. The finale might be harder to accept if we hadn’t been carefully prepared the entire time for it. It’s the opposite of nostalgia or idealism: it embodies the life philosophy of hoping for the best while preparing for the worst. ◀
w i nn e r !
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EUROPEAN FILM AWARDS NOMINATIONS BEST BEST DIRECTOR BEST WRITER BEST ACTOR PAOLO SORRENTINO PAOLO SORRENTINO • UMBERTO CONTARELLO TONI SERVILLO PICTURE
BRITISH INDEPENDENT FILM AWARDS NOMINATIONS
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“MIGHT JUST BE “ARADIANTWORK. “OUTLANDISHLY THE MOST DROP-DEADGORGEOUS. ENTERTAINING UNFORGETTABLE Moves to the insistent Luxuriously, seductively, stunningly cinematic.” FILM OF THE YEAR.” beat of life.” BilgeEbiri,NEWYORKMAGAZINE
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“A MASTERPIECE, a grand swooning epic, lush to the point of insanity.”
“NOTHING SHORT OF SUBLIME.”
7:00p Tues, January 21
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Catherine Shoard, THE GUARDIAN
Introduced by Dr. Ole Peters, Santa Fe Institute Fellow and Fellow at the London Mathematical Lab, who will discuss issues of time, possibility and alternate realities. • $10 / $8 for CCA & SFI Members, advance tickets recommended
A FILM BY
PAOLO SORRENTINO
Joe Papp in Five Acts Presented by Santa Fe Jewish Film Festival • 11:30a Sun Jan 19 Complementary coffee & copy of NYT crossword, optional lox & bagels nosh • SPECIAL GUEST Award-winning Costume Designer Particia McGourty • Advance tickets through www.santafejff.org/tickets or call 216-0672
in theatres and
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OFFICIAL ITALIAN ENTRY FOR THE 86TH ACADEMY AWARDS ®
Fri Jan 17
Sat Jan 18
Sun Jan 19
Mon Jan 20
Tues Jan 21
12:30p - Great Beauty 2:30p - Dallas Buyers* 3:15p - Dallas Buyers 5:00p - Dallas Buyers* 5:30p - Great Beauty 7:30p - Dallas Buyers* 8:15p - Dallas Buyers
12:00p - Dallas Buyers* 12:30p - Great Beauty 2:30p - Dallas Buyers* 3:15p - Dallas Buyers 5:00p - Dallas Buyers* 5:30p - Great Beauty 7:30p - Dallas Buyers* 8:15p - Dallas Buyers
11:30a - SFJFF: Joe Papp in 5 Acts 2:00p - Dallas Buyers* 2:45p - Great Beauty 4:30p - Dallas Buyers* 5:30p - Great Beauty 7:00p - Dallas Buyers* 8:15p - Dallas Buyers
12:00p - Dallas Buyers* 12:30p - Great Beauty 2:30p - Dallas Buyers* 3:15p - Dallas Buyers 5:00p - Dallas Buyers* 5:30p - Great Beauty 7:30p - Dallas Buyers* 8:15p - Dallas Buyers
12:30p - Dallas Buyers* 1:15p - Dallas Buyers 3:00p - Dallas Buyers* 3:45p - Great Beauty 5:30p - Dallas Buyers* 7:00p - SOS: The Road with Ole Peters 8:15p - Dallas Buyers*
Wed-Thurs Jan 22-23 12:00p - Dallas Buyers* 12:30p - Great Beauty 2:30p - Dallas Buyers* 3:15p - Dallas Buyers 5:00p - Dallas Buyers* 5:30p - Great Beauty 7:30p - Dallas Buyers* 8:15p - Dallas Buyers
* indicates shows will be in The
`Studio, our new screening room
for $8.00, or $6.00 CCA Members!
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45
movIng Images film reviews
Desperate measures Michael Abatemarco I The New Mexican A Touch of Sin, drama, not rated, in Mandarin with English subtitles, The Screen, 3 chiles In 2009 a mine blast in the Shanxi province of northern China killed more than 70 people. The mine, in the city of Gujiao, was run by the Shanxi Coking Coal Group, which owns several operations in China. The explosion was not the first in the region. Two years before, another mining accident claimed the lives of more than 100 Shanxi mine workers. China has a history of unsafe mining conditions. According to Chinese officials, up to 80 percent of the nation’s 16,000 mining operations are run illegally. Director Zhangke Jia’s A Touch of Sin takes the mining accident as the starting point for a reflection on self-perpetuating violence, loosely weaving together the stories of four people caught in a cycle of desperation and despair. Each of the film’s four segments leads inexorably to eruptions of sudden and brutal violence but does so amid poetic imagery that lingers in the mind — desolate cities where modern and ancient architecture commingle, buffeted by driving wind and snow; a cloth depicting a tiger wrapped around the barrel of a gun; an array of colorful fireworks over the city of Chongqing. From its opening sequence, in which a migrant drives his motorcycle through a grim stretch of highway toward a mining village in Shanxi, A Touch of Sin sets a bleak tone. A failed attempt by a gang of young men to rob the motorcyclist results in their execution-style murder at his hands. He calmly drives off after the slaying, just moments before the
46
PASATIEMPO I January 17-23, 2014
Back off, Jack: Tao Zhao
mining explosion rocks the nearby village. From there, the film follows a man named Dahai, a disgruntled employee of a corrupt mining company that underpays local villagers and migrant workers, while company owners fly on private planes. Dahai embarks on a campaign to end the widespread mistreatment of employees, but his frustrations lead him to violence when he has appeared to exhaust all other options. Dahai is played with rabid intensity by Wu Jiang as a man whose seething anger and resentment boil to the surface to consume him from the inside out. From there, the film returns to the character of Zhou San (Baoqiang Wang), the motorcycle rider from the opening sequence, arriving in Chongqing to see his family for a New Year’s celebration. There’s little celebratory feeling or warmth among San’s family, however. He is established early on as a sociopath who kills indiscriminately. A disturbing sequence shows him following a middle-aged woman down a
busy street and gunning her down, and then stealing her purse. The theft strikes the viewer as no more than a pretext to commit murder, and San confesses to his sister at one point that shooting guns is what he likes best. Whatever conditions have driven him to act so violently are hinted at but never explained. As a migrant worker he travels from city to city, sending money home to his family. One suspects that San has given up legitimate work in favor of killing and robbing. His inhumanity is the outcome of a world that has become a slave to material culture. In him we see the erasure of empathy, compassion, and concern. He is a man for whom life holds no value, a foregone but horrifying conclusion. The third segment tells the story of Xiao Yu, a receptionist at a massage parlor, driven to violence in self-defense after a customer demands sexual favors from her and puts her in a humiliating situation when she refuses. It is the one segment of the film that feels out of place, particularly when Yu, played by Tao Zhao, begins slicing and dicing, warrior style, like a character from a martial arts film. She too is stuck in a profession rife with mistreatment. Her tale is followed by that of Xiao Hui (Lanshan Luo), a kind but penniless young man who moves from city to city taking factory and service jobs. He’s continually subjugated to the whims of belittling superiors and eventually turns to desperate acts to escape. His is the most poignant segment of the film, and Jia turns an unflinching camera on Hui’s anguished fate. Particularly pervasive is the film’s Buddhist imagery. It stands as a stark contrast to the cold reality of the protagonists’ lives and offers no comfort, even for Hui, who maintains at best a cursory relationship with Buddhist teachings. A Touch of Sin depicts a world wracked with violence, and violence begets violence like a snake eating its own tail. Later in the film, when Yu finds herself in Dahai’s Shanxi village in the hope beginning a new life, we are back where we started, and the taste, visually poetic and enraptured as it is, is bitter. ◀
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EVERY FAMILY HAS ITS SECRETS. NONE AS
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FROM ACADEMY AWARD® WINNING PRODUCERS GEORGE CLOONEY AND GRANT HESLOV
August: Osage County DIRECTED BY JOHN WELLS
SCREENPLAY BY TRACY LETTS *Roger Friedman, SHOWBIZ411 AugustOsageCountyFilm.com
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NOW PLAYING AT THEATERS EVERYWHERE! CHECK DIRECTORIES FOR SHOWTIMES • NO PASSES ACCEPTED
Cowboys and Androids Cowboy Movie Night: City Slickers
Friday, January 17, 5:30 pm
Santa Fe author Johnny Boggs introduces a showing of the 1991 comedy starring Billy Crystal and Jack Palance. Part of the exhibit Cowboys Real and Imagined, closing March 16. Program funding from the New Mexico Humanities Council. Free. Franklin Fiesta Lecture and Hugo Sunday, January 19, 1 pm
Celebrate Benjamin Franklin’s birthday with Hugo, the Academy Award-winning movie, and an illustrated lecture by Andrew Baron, who restored the automaton that helped inspire the book, The Invention of Hugo Cabret. Free with admission; Sundays free to NM residents.
PASATIEMPOMAGAZINE.COM
47
RESTAURANT REVIEW Laurel Gladden I For The New Mexican
Buzz feed
The Beestro 101 W. Marcy St., 505-629-8786 Breakfast & lunch 7:30 a.m.-4 p.m. Mondays-Fridays, 10 a.m.-4 p.m. Saturdays, closed Sundays Counter service Takeout, including curbside service, available Vegetarian options Sidewalk dining in season Noise level: quiet chatter No alcohol Credit cards & checks
•
The Short Order The Beestro, a cute café tucked into an alcove on Marcy Street, is a charming sun-drenched little space — a particularly welcome escape on a blustery winter day. Staff members are cheerful and friendly, and they will chat enthusiastically about the daily menu offerings. The farmers market salads are always alluringly fresh looking, but soup and sandwiches are the workhorses, and they deserve your attention. The Beestro does brisk to-go business, but you can also enjoy your meal in an upper-level dining room with a view of the street or at a sidewalk table. If you’re on the move, call ahead and The Beestro will deliver your order to your car, curbside. Recommended: breakfast burrito, sweet potato-tamarind soup, achiote chicken sandwich, roasted veggie wrap, and “the Brookie.”
Ratings range from 0 to 4 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.
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PASATIEMPO I January 17-23, 2014
According to history books, some 250 years ago, John Montagu, the fourth Earl of Sandwich, requested some beef served between two slices of bread so that he could continue playing cards, and the sandwich was born. While I certainly appreciate the earl’s need to multitask, some sandwiches deserve our undivided attention. That’s generally the case at The Beestro, a cute café tucked into an alcove off Marcy Street. It’s a charming little space. A wall of glass and decorative wrought iron faces south onto the street, which means the place is nearly always sun-drenched and warm — particularly welcome on a blustery winter day. Staff members offer a friendly greeting when you step in the door, and they will chat enthusiastically about the day’s choices. The Beestro does brisk to-go business, while in the upperlevel dining room you can survey downtown through a wide rectangular window or one shaped like a decorative fourpointed star. The ambience is a bit sterile and cafeteria-like there, but the chairs are comfy and colorful, and hardwood floors are reportedly coming soon. In warmer months, you can carry your lunch to a sidewalk table and watch locals and tourists stroll by. If you’re on the move, call ahead and The Beestro will deliver your order to your car, curbside. In the mornings, petite pastries are perched on top of the refrigerated glass-front sandwich case. They’re adorably sensible: who really needs a croissant the size of a dinner plate? If your mornings require something heartier though, order a breakfast burrito from the case; a staff member will warm it in the sandwich press. This gives the tortilla an interesting nutty crunch. Inside are fluffy, buttery-yellow scrambled eggs, just a touch of cheese, a sprinkling of starchy grated potato, a slathering of mildly bitter red chile, and the occasional nugget of spicy green chile. If your burrito contains bacon, you might especially enjoy pockets where salty pork and red chile collect. Meaty or not, the burrito is rich, savory, and filling, and a tingle of heat will linger on your lips. The Beestro is a member of Santa Fe’s Farm to Restaurant program, which connects local restaurants and regional food producers. Every day, the menu includes a handful of farmers market salads, some vegetarian, some meaty, but all alluringly colorful and fresh looking. Soups and sandwiches are The Beestro’s workhorses. With its broccoli, toasted cauliflower, fried eggplant, and roasted mushrooms, the distinctly flavored veggie wrap (served on thin but functionally sturdy lavash) is a far cry from the token vegetarian sandwich. The nut-free goat cheese pesto had an unusual mealy quality to it, but the robust overall flavor, including a pleasant goaty tang, made up for that. Many sandwiches here are served on baguettes that, while skinny, are easily a foot long. Even my hungriest dining companion was satisfied with half an achiote chicken sandwich. The breast meat is marinated in cinnamon, garlic, and slightly bitter and earthy achiote (made from annatto seeds) and is tumbled with chunky, tangy pineapple-cilantro slaw.
Balancing the fruit are the richness and spice of green chile, blackened-jalapeño aioli, and pepper-jack cheese. My friend confessed that she liked her sandwich so much that she was tempted to eat the paper it was wrapped in. The kitchen concocts at least two soups every day. If you can’t choose, a staff member will eagerly offer you samples of both. The cream of asparagus had a pleasantly funky vegetal flavor and wasn’t overly heavy or creamy, though the finish had a peculiar, somewhat off-putting graininess. One creative soup floated sweet potato dice in a broth with the pronounced fruity tang of tamarind. It was shockingly addictive and felt nourishing and healing. A small ciabatta roll seemed ideal for dunking, but its delicate insides dissolved like cotton candy upon hitting the broth. The macaroon, a classic French sweet, can be the perfect tiny treat, just a mouthful of mild airy sweetness with a slight chew and a dollop of rich filling. My mocha version had a delicate crust and an exciting balance of chocolate and coffee, but was a bit too gummy and chewy. Better was “the Brookie” — a cookie in shape but brownie-like in its intoxicatingly sweet milk-chocolate flavor. Best of all was its hint of that magical crackly, crinkly brownie crust. The café’s name might clue you into the fact that chef Greg Menke has something of an obsession with bees. The Beestro stocks its shelves with a variety of honeys and with products from the Bee Project of the Bower Studio, which reminds us that these insects “are an important part of our ecosystem and directly affect all of our lives.” In addition to carrying on the venerable tradition of the sandwich, Menke’s doing his part to make sure that, two centuries down the line, bees aren’t just something we read about in history books. ◀
Check, please
Lunch for two at The Beestro: Cup, cream of asparagus soup ................................ $ 3.50 Bowl, sweet potato-tamarind soup ......................... $ 5.95 Roasted veggie wrap ............................................... $ 7.95 Mocha macaroon .................................................... $ 1.25 TOTAL .................................................................... $ 18.65 (before tax and tip) Brunch for three, another visit: Breakfast burrito with bacon .................................. $ 6.25 Breakfast burrito without bacon ............................. $ 4.95 Achiote chicken sandwich ...................................... $ 7.95 “Brookie” ................................................................ $ 1.00 TOTAL .................................................................... $ 20.15 (before tax and tip)
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Winners will be announced in The New Mexican’s Valentine’s Gift Guide, Sunday, February 9.
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pasa week Friday, Jan. 17
and European music; featuring violinist Ellen Chávez de Leitner and guitarists Lynn McGrath and Genevieve Leitner, 4 p.m., Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $25; seniors $20; students $15; chavezdeleitner.com. Sing for Joy! Local choir; featuring poet Timothy P. McLaughlin and folk-rock duo Round Mountain, 4 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, donations appreciated, 505-983-5022.
GALLERY/MUSEUM OPENINGS
Back Street Bistro 513 Camino de los Marquez, 505-982-3500. Work by photographer Ken Wilson; paintings by Sonni Cooper, reception 5:30-7:30 p.m., through March 1. SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. SITElab 4, interactive project by photographer Will Wilson in collaboration with New Mexico School for the Arts students, reception 5:30-7p.m., through Jan. 26. (See story, Page 36). Studio Broyles 821 Canyon Rd., second floor, 505-699-9689. Cross Roads, figurative work by Andrea Broyles, closing reception 5-7 p.m.
THEATER/DANCE
CLASSICAL MUSIC
TGIF recital Composer and organist Frederick Frahm, 5:30 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations accepted, 505-982-8544, Ext. 16.
IN CONCERT
Music Café series Jazz trumpeter Bobby Shew, with Jim Ahrend on piano, Colin Deuble on bass, and John Trentacosta on drums, 7 p.m., Museum Hill Cafe, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.org.
David Hoptman leads an iPhone-photography workshop, Saturday, Jan. 18, Santa Fe Public Library, Main Branch, 145 Washington Ave.
THEATER/DANCE
King Laz Susana Guillaume’s one-woman show about aging parents and family role reversals, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20, discounts available, santafeplayhouse.org, 505-988-4262, through Sunday. Salt and Pepper Teatro Paraguas presents Los Alamos playwright Robert Benjamin’s comedy, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $18, seniors and students $15, 505-424-1601, through Sunday. Santa Famous Variety show with Zircus Erotique Burlesque Company, Las Brujas Dance Project, Angi Keen, and Sista Petalaine, 9 p.m., doors open at 8 p.m., The Lodge at Santa Fe, 750 St. Francis Dr., $15 in advance, VIP seating $20, zeburlesque.com. Winter Dances 2014 New Mexico School for the Arts student showcase, 7 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10 in advance, seniors and students $5, nmschoolforthearts.org.
EVENTS
Cowboy Movie Night: Johnny Boggs and City Slickers The local author discusses the 1991 filmed-in-New-Mexico comedy in conjunction with the exhibit Cowboys Real and Imagined, 5:30 p.m., New Mexico History Museum Auditorium, 113 Lincoln Ave., no charge, 505-476-5200.
Pasa’s Little Black Book......... 51 Elsewhere............................ 52 People Who Need People..... 52 Under 21............................. 52 Pasa Kids............................ 52
50
compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
Movie Night With the Mayor Public forum on global climate change with Mayor David Coss; Q & A session and screening of the 2012 documentary Chasing Ice follows, 7-10 p.m., Desert Academy, 7300 Old Santa Fe Trail, $5 suggested donation, 505-992-8284.
NIGHTLIFE
(See Page 51 for addresses) ¡Chispa! at El Mesón Three Faces of Jazz, revolving piano trio, 7:30-10:30 p.m., no cover. Cowgirl BBQ Singer/songwriter Kathleen Haskard, 5-7:30 p.m.; Felix y Los Gatos, zydeco/Tejano/juke-swing, 8 p.m., no cover. Duel Brewing Anthony Leon and Paige Barton, folk-rock, 7-10 p.m., no cover. El Farol The Gruve, classic soul and R & B, 9 p.m., call for cover. La Fiesta Lounge at La Fonda Latin-groove band Nosotros, 8-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Nacha Mendez Trio, pan-Latin rhythms, 6:30-9:30 p.m., no cover. Low ’n’ Slow Lowrider Bar at Hotel Chimayó Jazz off the Plaza with The Revolver Trio, Robin Holloway on piano, Justin Bransford on bass, and Loren Bienvenu on drums, 9:30 p.m.-12:30 a.m., no cover.
In the Wings....................... 53 At the Galleries.................... 54 Libraries...............................54 Museums & Art Spaces........ 54 Exhibitionism...................... 55
PASATIEMPO I January 17-23, 2014
Mine Shaft Tavern DJs Mesa Punk and Icky Mac, 7 p.m., call for cover. Palace Restaurant & Saloon Rock cover band Chango, 10 p.m., call for cover. Pranzo Italian Grill Geist Cabaret with pianist David Geist, 6-9 p.m., call for cover. Second Street Brewery Bill Hearne Trio, classic country, 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. Tiny’s Guitarist Chris Abeyta, 5:30-8 p.m.; classic-rock band The Jakes, 8:30 p.m.-close, no cover. Vanessie Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.
King Laz Susana Guillaume’s one-woman show about aging parents and family role reversals, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20, discounts available, santafeplayhouse.org, 505-988-4262. Salt and Pepper Teatro Paraguas presents Los Alamos playwright Robert Benjamin’s comedy, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $18, seniors and students $15, 505-424-1601. Winter Dances 2014 encore New Mexico School for the Arts student showcase, 7 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10 in advance, seniors and students $5, nmschoolforthearts.org.
BOOKS/TALKS
Writing workshop Led by Kyle Hertz, Santa Fe Writer’s Workshop director, spanning poetry, fiction, and nonfiction, 2 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.
OUTDOORS
18 Saturday
Sierra Club hike Easy to moderate 6-mile trail at the Eldorado Preserve; call 505-466-4063 for details; January schedule of events available online at riograndesierraclub.org/outings. Solar sunspots and prominences Learn about Cerrillos Hills State Park’s analemma kiosk and view the sun through solar telescopes, 1 p.m., Cerrillos Hills State Park, 16 miles south of Santa Fe off NM 14, $5 per vehicle, 505-474-0196, cerrilloshills.org.
GALLERY/MUSEUM OPENINGS
EVENTS
Than Povi Fine Art Gallery 6 Banana Lane, 10 miles north of Santa Fe off US 84/285, 505-301-3956. First-anniversary celebration, 10 a.m.-8 p.m., through Sunday.
IN CONCERT
Mardi Gras/Carnival Concert Enchantment Chamber Music performs traditional New Mexican, Latin American,
iPhone images workshop Led by Santa Fe photographer David Hoptman; includes a slide show and demonstrations on apps, filters, and lenses, 3-5 p.m., Santa Fe Public Library, Main Branch, 145 Washington Ave., no charge, phonagraphy.com. Santa Fe Farmers Market 8 a.m.-1 p.m., Railyard Plaza and Farmers Market Pavilion, 1607 Paseo de Peralta, santafefarmersmarket.com.
calendar guidelines Please submit information and listings for Pasa Week
no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter.
Trader Walt’s Southwestern & International Marketplace More than 100 vendor booths with antiques, folk and fine art, books, jewelry, and snacks, 8 a.m.-3 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, no charge. Winter Storms and Stories Art and storytelling program for families, 9:30-11:30 a.m., Georgia O’Keeffe Museum, 217 Johnson St., no charge, 505-946-1039, okeeffemuseum.org.
NIGHTLIFE
(See addresses below) Anasazi Restaurant & Bar Guitarist Jesus Bas, 7-10 p.m., no cover. ¡Chispa! at El Mesón Tom Rheam Jazz Trio, 7:30-10:30 p.m., no cover. Cowgirl BBQ Railyard Reunion Bluegrass Band, 2-5 p.m.; dance band The Dusty 45’s, 8:30 p.m., no cover. Duel Brewing Groove-jazz trio Müshi, 7-10 p.m., no cover. El Farol C.S. Rock Show, with Don Curry, Pete Springer, and Andy Primm, 9 p.m., call for cover. Iconik Coffee Roasters The Cats, Gypsy jazz, 11 a.m., no cover. La Fiesta Lounge at La Fonda Latin-groove band Nosotros, 8-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, featuring vocalist Whitney Carroll Malone, 6-9 p.m., no cover. Mine Shaft Tavern Reggae and soul band Iyah, 8 p.m., call for cover. Pranzo Italian Grill Pianist David Geist and vocalist Julie Trujillo, 6-9 p.m., call for cover.
317 Aztec 20-0150 317 Aztec St., 505-8 the Inn Agoyo Lounge at E. Alameda St., 3 30 a ed on the Alam 21 -21 84 5-9 50 nt & Bar Anasazi Restaura Anasazi, the of Inn d oo Rosew e., 505-988-3030 113 Washington Av Betterday Coffee 5-555-1234 50 905 W. Alameda St., nch Resort Ra e Bishop’s Lodg Lodge Rd., ps ho Bis 97 12 a & Sp 77 505-983-63 Café Café 5-466-1391 500 Sandoval St., 50 ó ay Casa Chim 5-428-0391 409 W. Water St., 50 ón es M ¡Chispa! at El 505-983-6756 e., Av ton ing ash 213 W Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. fé Den at Coyote Ca 5-983-1615 132 W. Water St., 50 Duel Brewing 5-474-5301 1228 Parkway Dr., 50 lton Hi e El Cañon at th 88-2811 5-9 50 , St. al ov nd Sa 100
Second Street Brewery Pollo Frito, New Orleans-style jazz and funk, 6-9 p.m., no cover. Second Street Brewery at the Railyard Electro-marimba trance dance band Jaka, 7-10 p.m., no cover. Sweetwater Harvest Kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover. Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m., no cover. Vanessie Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.
19 Sunday GALLERY/MUSEUM OPENINGS
Than Povi Fine Art Gallery 6 Banana Lane, 10 miles north of Santa Fe off US 84/285, 505-301-3956. First-anniversary celebration, 10 a.m.-8 p.m.
CLASSICAL MUSIC
Santa Fe Symphony Music of Bruckner and Mozart, featuring soprano Rachel Hall, 4 p.m., lecture 3 p.m., the Lensic, $20-$70, discounts available, 505-988-1234, ticketssantafe.org.
IN CONCERT
Melanie Monsour A piano recital series with bassist Paul Brown; jazz, Middle Eastern, and Latin music, noon2 p.m., Museum Hill Cafe, 710 Camino Lejo, no charge, melaniemonsour.com. New Mexico Women’s Chorus Those Were the Days … Don’t Touch That Dial, 4 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $10 in advance, discounts available, 505-983-5022, $15 at the door.
Pasa’s little black book Spa Eldorado Hotel & St., 505-988-4455 o isc nc Fra 309 W. San El Farol 5-983-9912 808 Canyon Rd., 50 ill Gr & El Paseo Bar 92-2848 5-9 50 , St. teo lis Ga 208 Evangelo’s o St., 505-982-9014 200 W. San Francisc erging Arts High Mayhem Em -2047 38 5-4 50 ., 2811 Siler Ln Hotel Santa Fe ta, 505-982-1200 1501 Paseo de Peral asters Iconik Coffee Ro -0996 28 5-4 50 , St. na Le 00 16 La Boca 5-982-3433 72 W. Marcy St., 50 ina La Casa Sena Cant 5-988-9232 50 e., Av e 125 E. Palac at La Fonda La Fiesta Lounge , 505-982-5511 St. o isc 100 E. San Franc a Fe Resort nt Sa de La Posada Ave., 505-986-0000 e lac and Spa 330 E. Pa g Arts Center Lensic Performin St., 505-988-1234 o 211 W. San Francisc e Lodge Th at ge un Lo e Lodg Francis Dr., St. N. 0 75 Fe at Santa 505-992-5800
THEATER/DANCE
King Laz Susana Guillaume’s one-woman show about aging parents and family role reversals, 4 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20, discounts available, santafeplayhouse.org, 505-988-4262. Performance at The Screen George Balanchine’s Jewels, live broadcast from Moscow’s Bolshoi Theatre, 1 p.m., SFUA&D, 1600 St. Michael’s Dr., $20, discounts available, vendini.com, 800-901-7173. Salt and Pepper Teatro Paraguas presents Los Alamos playwright Robert Benjamin’s comedy, 2 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $18, seniors and students $15, 505-424-1601. Winter Dances 2014 encore New Mexico School for the Arts student showcase, 2 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10 in advance, seniors and students $5, nmschoolforthearts.org.
BOOKS/TALKS
Alvaro Cardona-Hine The author reads from and signs copies of Phantom Buddha, 3 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. (See Subtexts, Page 12). The Power of the Three Sacred Syllables A presentation by Latri Khenpo Nyima Dakpa Rinpoche, 5:30 p.m., Ark Bookstore, 133 Romero St., 505-988-3709. Shining a Light on PNM and New Mexico’s Energy Future Journey Santa Fe presents a talk with Mariel Nanasi, New Energy Economy president, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.
EVENTS
2014 Franklin Fiesta Art and Engineering in the World of Benjamin Franklin, a lecture by Andrew Baron on his
Low ’n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe 125 Washington Ave., 505-988-4900 The Matador 116 W. San Francisco St. Mine Shaft Tavern 2846 NM 14, Madrid, 505-473-0743 Molly’s Kitchen & Lounge 1611 Calle Lorca, 505-983-7577 Museum Hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Trail, 505-982-1851 Palace Restaurant & Saloon 142 W. Palace Ave., 505-428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 505-986-0022 Pranzo Italian Grill 540 Montezuma Ave., 505-984-2645 Rouge Cat 101 W. Marcy St., 505-983-6603 San Francisco Street Bar & Grill 50 E. San Francisco St., 505-982-2044 Santa Fe Community Convention Center 201 W. Marcy St., 505-955-6705
restoration of an 18th-century Maillardet automaton, 3:30 p.m.; screening of Martin Scorsese’s 2011 movie Hugo 1 p.m., New Mexico History Museum Auditorium, 113 Lincoln Ave., by museum admission, 505-476-5200. (See story, Page 32). Martin Luther King tribute A screening of the 1986 documentary In Remembrance of Martin and a Q & A with director Kell Kearns, 7 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, donations accepted, 505-983-5022. Railyard Artisan Market Sundays from 10 a.m.-4 p.m., live music with Lucy Barna, James Westbay, and Lisette de la Paz; Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, no charge. Santa Fe Jewish Film Festival Lox and bagel nosh 11:30 a.m., screening of the 2010 documentary Joe Papp in Five Acts noon; a discussion with costume designer Patricia McGourty follows, Center for Contemporary Arts Cinematheque, 1050 Old Pecos Trail, $10-$17 in advance online at santafejff.org.
NIGHTLIFE
(See addresses below) Cowgirl BBQ Santa Fe Revue, bluegrass and R & B, noon-3 p.m.; one-man rock band Keith Kenny, 8 p.m., no cover. El Farol Pan-Latin chanteuse Nacha Mendez, 7-10 p.m., no cover. Rouge Cat Mass wedding performed by Judge Ann Yalman followed by a reception, doors open at 4 p.m.; music with DJ Oona 9 p.m., call for cover. Vanessie Pianist Doug Montgomery, 6:30-10:30 p.m., no cover. ▶▶▶▶▶▶▶▶
Second Street Brewer y 1814 Second St., 505-982-3030 Second Street Brewery at the Railyard 1607 Paseo de Peralta, 505-989-3278 Steaksmith at El Gancho 104-B Old Las Vegas Highway, 505-988-3333 Sweetwater Harvest Kitchen 1512-B Pacheco St., 505-795-7383 Taberna La Boca 125 Lincoln Ave., 505-988-7102 Thunderbird Bar & Grill 50 Lincoln Ave., 505-490-6550 Tiny’s 1005 St. Francis Dr., 505-983-9817 The Underground at Evangelo’s 200 W. San Francisco St., 505-819-1597 Upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000 Vanessie 427 W. Water St., 505-982-9966 Warehouse 21 1614 Paseo de Peralta, 505-989-4423 Zia Diner 326 S. Guadalupe St., 505-988-7008
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20 Monday
Taos
Telemark Festival 9 a.m.-4 p.m. Saturday, Jan. 18; downhill skiing clinics and personal instruction available all day. Meet at the base area after the lifts close at 4:30 p.m. and join the Freeheel Fray race, no charge, sipapunm.com, 800-587-2240. Harwood Museum of Art 238 Ledoux St., 575-758-9826. Ninetieth-anniversary exhibits: The Paintings of Burt Harwood • Single Lens Reflex: The Photographs of Burt Harwood • Peter Parks: New Works, all through Jan. 26 • The Taos Municipal Schools Historic Art Collection, through Feb. 2. 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.
IN CONCERT
Pink Martini Latin, jazz, and classic-pop orchestra, with singer Storm Large, 7:30 p.m., the Lensic, $54-$84, call for availability, 505-988-1234, ticketssantafe.org. (See story, page 26).
BOOKS/TALKS
Why Santa Fe? Location, Location, Location A Southwest Seminars lecture with archaeologist and author Jason S. Shapiro, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12, 505-466-2775, southwestseminars.org.
EVENTS
Game of Thrones Free screenings of the HBO series every Monday at 7 p.m. through March 24; special guest this week: Maisie Williams (Arya Stark), Jean Cocteau Cinema, 418 Montezuma Ave., jeancocteaucinema.com.
▶ People who need people Artists
NIGHTLIFE
(See Page 51 for addresses) Duel Brewing Blue Monday with James T. Baker, Delta blues, 6-8 p.m., no cover. El Farol Monday night jazz with saxophonist Trey Keepin, 7 p.m., call for cover. La Fiesta Lounge at La Fonda C.S. Rockshow, Don Curry, Pete Springer, and Andy Primm, 8-11 p.m., no cover. Vanessie Pianist Doug Montgomery, 6:30-10:30 p.m., no cover.
21 Tuesday BOOKS/TALKS
Jimmy Santiago Baca The New Mexico poet reads from and signs copies of Singing at the Gates: Selected Poems, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.
EVENTS
International folk dances Weekly on Tuesdays, dance 8 p.m., lessons 7 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5 donation at the door, 505-501-5081 or 505-466-2920.
NIGHTLIFE
(See Page 51 for addresses) Cowgirl BBQ Singer/songwriter Eryn Bent, 8 p.m., no cover. El Farol Canyon Road Blues Jam with Tone and Company, 8:30 p.m., no cover. La Fiesta Lounge at La Fonda C.S. Rockshow, Don Curry, Pete Springer, and Andy Primm, 8-11 p.m., no cover. Tiny’s Open mic acoustic jam with John Rives, 7:30-10:30 p.m., no cover. Vanessie Pianist/vocalist Bob Finnie, 6:30-10:30 p.m., no cover. Zia Diner Santa Fe bluegrass jam, 6-8 p.m., no cover.
22 Wednesday OuTDOORS
Gentle walk Los Alamos’ Pajarito Environmental Education Center hosts a free one- to two-mile walk, 9:15-11:45 a.m. Meet at PEEC, 3540 Orange St., pajaritoeec.org, 505-662-0460. 52
PASATIEMPO I January 17-23, 2014
Santa Fe Society of Artists spring jury New Mexico artisans are invited to apply for weekly outdoor art shows located downtown; jury held on Feb. 22; application forms available online at santafesocietyofartists.com; 505-455-3496.
Filmmakers/Performers/Writers
Marji Gallery, 453 Cerrillos Rd., shows new work by Peter Harrington.
NIGHTLIFE
(See Page 51 for addresses) ¡Chispa! at El Mesón Flamenco guitarist Joaquin Gallegos, 7-9 p.m., no cover. Cowgirl BBQ Singer/songwriters Jess Klein and Mike June, 8 p.m., no cover. Duel Brewing Country-folk singers Art & Lisa, 6 p.m., no cover. El Farol Nacha Mendez with Santastico, 8 p.m., no cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country tunes, 7:30 p.m., no cover. Tiny’s 505 electric-blues jam with Nick Wymett and M.C. Clymer, 9-11 p.m., no cover. Vanessie Pianist/vocalist Bob Finnie, 6:30-10:30 p.m., no cover.
23 Thursday THEATER/DANCE
Anna in the Tropics opening night New Mexico School for the Arts Theater presents Nilo Cruz’s Pulitzer Prize-winning play set in a 1929 Florida Cuban-American cigar factory, 7 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, discounts available, nmschoolforthearts.org, continues Jan. 24-25.
BOOKS/TALKS
Bill Ayers The author reads from and signs copies of his biography Public Enemy: Confessions of an American Dissident, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. (See story, Page 14).
NIGHTLIFE
(See Page 51 for addresses) ¡Chispa! at El Mesón Jazz pianist John Rangel, 7-9 p.m., no cover.
Cowgirl BBQ Lara Ruggles, soul and pop, 8 p.m., no cover. Duel Brewing Stephanie Hatfield and Bill Palmer, rock ’n’ roll, 7-10 p.m., no cover. Evangelo’s Rolling Stones tribute band Little Leroy and His Pack of Lies, 9 p.m., call for cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country tunes, 7:30 p.m., no cover. La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 6-9 p.m., no cover. Low ’n’ Slow Lowrider Bar at Hotel Chimayó Tenor guitarist and flutist Gerry Carthy, 9 p.m., no cover. Tiny’s Americana band Santa Fe Revue, 8 p.m.-closing, no cover. Vanessie Pianist/vocalist Bob Finnie, 6:30-10:30 p.m., no cover. Zia Diner Gypsy-jazz ensemble Swing Soleil, 6:30-8:30 p.m., no cover.
▶ Elsewhere Chama
41st Chama Chile Ski Classic & Winter Fiesta Cross-country ski and snowshoe races, live music, and beer and wine tastings, FridaySunday, Jan. 17-19, event details and charges available online at chamaski.com.
Los aLamos
Johnny D. Boggs The Santa Fe author discusses his new books Greasy Grass: A Story of the Little Bighorn and Billy the Kid on Film 1911-2012, 7 p.m. Thursday, Jan. 23, reception follows, upstairs rotunda, Mesa Public Library, 2400 Central Ave., no charge, 505-662-8247.
Teatro Paraguas auditions Seeking men and women ranging in age from 25 to 55 for a production of Quiara Alegria Hudes’ play Water by the Spoonful; 6:30 p.m. Monday, Jan. 20; 3205 Calle Marie; 505-424-1601.
Volunteers
Center for Contemporary Arts Help with the opening reception for the exhibit Icepop, 4:30-8:30 p.m. Friday, Jan. 24; volunteers receive free film passes; visit ccasantafe.org for details. Also, assist with public events held Sunday and Thursday evenings throughout February and March; contact Naomi, naomi@ccasantafe.org.
▶ Under 21 Sacred Sounds of the Southwest A concert presented by Sees the Day Sound Healing, 7-8:30 p.m. Friday, Jan. 17, Warehouse 21, 1614 Paseo de Peralta, $12, 12 and under no charge, 505-989-4423.
▶ Pasa Kids Mysto the Magi: magic shows at Santa Fe Public Libraries 4 p.m. Friday, Jan. 17, 1730 Llano St., 505-955-4863; 10:30 a.m. Saturday, Jan. 18, 145 Washington Ave., 505-955-6783; 2:30 p.m. Saturday, Jan. 18, 6599 Jaguar Dr., 505-955-2828; no charge. Bee Hive Story Time Jesse Wood spins tales for all ages, 11 a.m. Saturday, Jan. 18, Bee Hive Kids Books, 328 Montezuma Ave., no charge, 505-780-8051. Taylor’s Ocean Adventure Learn about marine biology and make model marine animals, 10:30 a.m.-11:30 a.m. Tuesday, Jan. 21, Santa Fe Children’s Museum, 1050 Old Pecos Trail, by museum admission, 505-989-8359. Santa Fe Science Café for Young Thinkers Bionic Hearing: The Science and the Experience, a talk geared toward ages 13-19, by Oxford University particle physicist Ian Shipsey, 6-7:30 p.m. Thursday, Jan. 23, refreshments served, Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., no charge, 505-603-7468. ◀
In the wings MUSIC
Joshua Roman Cello recital with pianist Andrius Zlabys; 4 p.m. Friday, Jan. 24, presented by the Los Alamos Concert Association, Los Alamos High School campus, 1300 Diamond Dr., $30, 505-988-1234, ticketssantafe.org. Santa Fe Pro Musica Classical weekend with music of Vaughan Williams, Barber, and Beethoven, featuring violinist Cármelo de los Santos, 6 p.m. Saturday, 3 p.m. Sunday, Jan. 25-26, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$65, 505-988-1234, ticketssantafe.org. Music on the Hill Elevated St. John’s College hosts its annual jazz series beginning Jan. 25 and running monthly through March 29; performers include Kathy Kosins, Alan Pasqua, and Chase Baird, concerts begin at 7:30 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, $25, 505-984-6000. Guitar Shorty Veteran bluesman, 8 p.m. Friday, Jan. 24, Garrett’s Desert Inn, 311 Old Santa Fe Trail, $25 in advance, brownpapertickets.com; Shorty’s guitar workshop 1-4 p.m. Saturday, Jan. 25, $79, call 505-982-1851 for workshop reservations. Zia Singers The chorus in And Ain’t I a Woman, 3 p.m. Saturday and Sunday, Jan. 25-26, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20, students no charge, 225-571-6352. Ray Wylie Hubbard Country, folk, and blues artist, 7:30 p.m. Sunday, Jan. 26, St. Francis Auditorium, New Mexico Museum of Art, $25 in advance, brownpapertickets.com, $29 at the door. Santa Fe Concert Association Family Concert Series Mozart and Mendelssohn violin concertos with soloists Ezra Shcolnik and Phoenix Avalon, 4 p.m. Sunday, Jan. 26, United Church of Santa Fe, 1804 Arroyo Chamiso, $10, 505-984-8759 or 505-988-1234, ticketssantafe.org. Those Were the Days Classic-songs medley with vocalist Marvelous Maggie B, pianist Robin Holloway, bassist Andy Zadronzy, and percussionist Gerald Rodriguez, 2 p.m. Sunday, Jan. 26, Teatro Paraguas Studio, 3205 Calle Marie, $15, 505-424-1601. Ralph Stanley and the Clinch Mountain Boys The bluegrass legend’s farewell tour, 7:30 p.m. Thursday, Jan. 30, Lensic Performing Arts Center, 211 W. San Francisco St., $29-$79, 505-988-1234, ticketssantafe.org. Canticum Novum winter concerts The chorus and orchestra perform works by Mozart, Schubert, Cimarosa, Hovhaness, and Holst; lecture by Oliver Prezant one hour ahead of show, 7 p.m. Saturday, 3 p.m. Sunday, Feb. 1-2, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $25 and $35, ticketssantafe.org, 505-988-1234, discounts available. George Winston R & B pianist, 7:30 p.m. Saturday, Feb. 1, Lensic Performing Arts Center, 211 W. San Francisco St., $28-$52, 505-988-1234, ticketssantafe.org.
The Met Live in HD Dvorak’s Rusalka, 11 a.m. and 6 p.m. Saturday, Feb. 8, Lensic Performing Arts Center, 211 W. San Francisco St., $22-$28, 505-988-1234, ticketssantafe.org. Serenata of Santa Fe Twists and Turns, music of Brahms, Herrmann, and Tower, 3 p.m. Sunday, Feb. 9, Scottish Rite Center, 463 Paseo de Peralta, $25, 505-988-1234, ticketssantafe.org. Zappa Plays Zappa Guitarist Dweezil Zappa’s band, 7:30 p.m. Wednesday, Feb. 12 ($32-$75); Dweezilla on the Road, Zappa’s master class ($75), precedes the concert at 3 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., 505-988-1234, ticketssantafe.org. Santa Fe Symphony: In Honor of Lincoln Presentation of Copland’s Lincoln Portrait with narration by N. Scott Momaday, and Fanfare for the Common Man, 4 p.m. Sunday, Feb. 16, preconcert lecture at 3 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 505-988-1234, ticketssantafe.org. Legends of the Celtic Harp Acoustic trio, 7:30 p.m. Friday, Feb. 28, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.
Upcoming events Jonathan Wilson Psychedelic-folk singer/songwriter, 7:30 p.m. Friday, Feb. 28, the Lensic, $12 in advance, 505-988-1234, ticketssantafe.org, $15 at the door. David Russell Classical guitarist, 7:30 p.m. Friday, March 7, Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, $40 at the door, 505-984-6000. Sharon Jones and the Dap-Kings Soul and funk; Valerie June opens, 7:30 p.m. Tuesday, March 18, Lensic Performing Arts Center, 211 W. San Francisco St., $34-$54, 505-988-1234, ticketssantafe.org. An Evening with Joyce DiDonato Mezzo-soprano, 6:30 p.m. Monday, March 31, the Lensic, concert only $25-$95, 505-988-1234, ticketssantafe.org; premium seats and dinner $325, tickets available through the Santa Fe Concert Association, 505-984-8759.
THEATER/DANCE
The Jewel in the Manuscript Rosemary Zibart’s play about Fyodor Dostoevsky, 7:30 p.m. Thursday and Saturday, 2 p.m. Sunday, Jan. 30-Feb. 16, New Mexico History Museum Auditorium, 113 Lincoln Ave., $20 for Saturday and Sunday performances, $12 or two for $20 on Thursdays, 505-989-4423. National Theatre Live in HD Coriolanus, Donmar Warehouse’s adaptation of Shakespeare’s tragedy, 7 p.m. Friday, Jan. 31; War Horse, based on Michael Morpurgo’s novel set in France during WWI, 7 p.m. Friday, Feb. 27, the Lensic, $22, student discounts available, 505-988-1234, ticketssantafe.org. Don’t Panic: It’s Only Finnegans Wake Solo performance by Adam Harvey, 7 p.m. Friday and Saturday, 2 p.m. Sunday, Jan. 31-Feb. 2, Teatro Paraguas Studio, 3205 Calle Marie, $12, 505-424-1601.
guitar shorty in concert Jan. 24 at garrett’s Desert inn.
Benchwarmers 13 Festival of eight 15-minute playlets by local playwrights, Feb. 6-March 2, Santa Fe Playhouse, 142 E. De Vargas St., santafeplayhouse.org. Colin Quinn The comic shares his political views in Unconstitutional, 7 p.m. Friday, Feb. 7, Lensic Performing Arts Center, 211 W. San Francisco St., $15-$35, 505-988-1234, ticketssantafe.org. Tao Phoenix Rising Contemporary dance and taiko drum troupe, 7:30 p.m. Saturday, Feb. 22, the Lensic, $25-$45, ticketssantafe.org, 505-988-1234. Les Liaisons Dangereuses Playwright Christopher Hampton’s adaptation of the novel about seduction and revenge, 7 p.m. Friday and Saturday and 2 p.m. Sunday, March 7-16, Greer Garson Theatre, 1600 St. Michael’s Dr., $12-$15, discounts available, ticketsantafe.org, 505-988-1234. The Queen of Madison Avenue A reading of Ron Bloomberg’s new play, 7 p.m. Thursday, March 13, the Lensic, $10, 505-988-1234, ticketssantafe.org. Aspen Santa Fe Ballet Choreography by Nicolo Fonte, Cayetano Soto, and Norbert de la Cruz, 7:30 p.m. Friday and Saturday, March 21-22, the Lensic, $25-$72, 505-988-1234, ticketssantafe.org.
HAPPENINGS
Armistead Maupin The author reads from his new book The Days of Anna Madrigal, 7 p.m. Friday, Jan. 24, Lensic Performing Arts Center, 211 W. San Francisco St., $10-$15, 505-988-1234, ticketssantafe.org. Peter S. Beagle The Last Unicorn, a two-day exhibit of works by the screenwriter, includes a reading and screenings of the film at noon, 6:30, and 9 p.m. Saturday, Jan. 25, conversation with Beagle and George R.R. Martin 5 p.m., Jean Cocteau Cinema, 418 Montezuma Ave., $12 for each event, $20 for screening and conversation, 505-466-5528. The Breakfast of Champions Planned Parenthood of New Mexico’s 40th-anniversary celebration of Roe v. Wade; guest speaker Martha Burk, Ms. magazine money editor and Equal Time KSFR radio show host, 7:30-9:30 a.m. Thursday, Jan. 30, Hotel Santa Fe, 1501 Paseo de Peralta, $50 in advance online at bit.ly/1c5v5sy, 505-944-2027. Souper Bowl XX Annual fundraiser for the Food Depot; local-chef-prepared soups and recipes, noon-2 p.m. Saturday, Feb. 1, Santa Fe Community Convention Center, 201 W. Marcy St., $30 in advance, $35 at the door; children ages 6-12 $10, 505-471-1633. Telluride Mountainfilm Festival Environmental-themed films, 7 p.m. Wednesday, Feb. 5, the Lensic, $15, 505-988-1234, ticketssantafe.org. 35mm Archival Film Series The 1942 drama Casablanca, 7 p.m. Friday, Feb. 14, $5; the 1939 musical The Wizard of Oz, 7 p.m. Saturday, Feb. 15, $7; the Lensic, 505-988-1234, ticketssantafe.org. Let’s Dance Santa Fe Community Orchestra’s annual swing and ballroom dance event, 7-10 p.m. Saturday, Feb. 15, Santa Fe Community Gallery, Santa Fe Convention Center, donations appreciated; table reservations 505-466-4879, sfcoinfo@gmail.com.
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AT THE GALLERIES David Richard Gallery 544 S. Guadalupe St., 505-983-9555. Unity, paintings by Leon Berkowitz, through Jan. 25. El Museo Culural de Santa Fe 555 Camino de la Familia, 505-992-0591. La Blanca Ciudad: The White City, contemporary works by 11 artists of Arequipa, Peru, through March. LewAllen Galleries at the Railyard 1613 Paseo de Peralta, 505-988-3250. Now and Then, group exhibition of contemporary and historic artists, through Jan. 26. Monroe Gallery of Photography 112 Don Gaspar Ave., 505-992-0800. The Life Photographers, through Jan. 24. Peyton Wright Gallery 237 E. Palace Ave., 505-989-9888. Art of Devotion, historic art of the Americas, through March 9. Photo-eye Gallery 370-A Garcia St., 505-988-5159. Photo Objects & Small Prints, group show; REDD, jewelry designs by Rachelle Thiewes and Julia M. Barello, through Feb. 1. Red Dot Gallery 826 Canyon Rd., 505-820-7338. Third annual show featuring work by IAIA and SFCC students and faculty, through Feb. 15. Santa Fe Clay 545 Camino de la Familia, 505-984-1122. In House II, group show, through Feb. 22. Santa Fe Community Gallery Santa Fe Community Convention Center, 201 W. Marcy St., 505-955-6705. In/Visible Borders: New Mexico Photographers, including works by Carlan Tapp, Patrick Nagatani, and Norman Mauskopf, through Feb. 21. Santa Fe Prep 1101 Camino de Cruz Blanca, 505-982-1829. Works by alumni, including Peter Sarkisian, Ted Larsen, and Eliot Fisher, through January. Scheinbaum & Russek 812 Camino Acoma, 505-988-5116. Santa Fe Legacy, prints and photographs by Gustave Baumann, Gerald Cassidy, Louie Ewing, Laura Gilpin, Kate Krasin, Eliot Porter, and Todd Webb, through January. Sugarman-Peterson Gallery 130 W. Palace Ave, 505-982-0340. New multimedia work by Michael Protiva, through January. Tansey Contemporary 652 Canyon Rd., 505-995-8513. Devocionales: Neo-Colonial Retablos From an Archetypal Perspective, paintings by Patrick McGrath Muñiz, through January. Turner Carroll Gallery 725 Canyon Rd., 505-986-9800. New works by Rex Ray and Hung Liu, through March 15. Vivo Contemporary 725 Canyon Rd., 505-982-1320. As Though Ice Burned, group show of works by gallery artists, through Jan. 28. Wade Wilson Art 217 W. Water St., 505-660-4393. Review: A Gallery Revisited, group show, through Saturday, Jan. 18.
LIbRARIES Beaumont and Nancy Newhall Library Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 505-474-5052. Open by appointment.
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PASATIEMPO I January 17-23, 2014
Turner carroll Gallery, 725 canyon Rd., shows work by Hung Liu.
Catherine McElvain Library School for Advanced Research, 660 Garcia St., 505-954-7205. Open Monday-Friday, call for hours. Chase Art History Library Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 505-473-6569. Open Monday-Friday, call for hours. Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 505-984-6041. Visit stjohnscollege.edu for hours of operation, $40 fee to nonstudents and nonfaculty. Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 505-476-5090. Open 1-5 p.m. Tuesday-Friday. Laboratory of Anthropology Library Museum of Indian Arts & Culture, 505-476-1264. Open 1-5 p.m. Monday-Friday, by museum admission. New Mexico State Library 1209 Camino Carlos Rey, 505-476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. MondayFriday. Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 505-467-6825. Rare books and collections of metaphysical materials. Open Monday-Saturday, call for hours. Santa Fe Community College Library 6401 Richards Ave., 505-428-1352. Open Monday-Saturday, call for hours. Santa Fe Institute 1399 Hyde Park Rd., 505-984-8800. Open 1-5 p.m. Monday-Friday. Visit santafe.edu/library for online catalog.
Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 505-955-4860. Open 10 a.m.-8 p.m. Monday-Wednesday, 10 a.m.6 p.m. Thursday-Saturday. Closed Sunday. Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 505-955-2810. Open 10 a.m.8 p.m. Monday-Thursday, 10 a.m.-6 p.m. FridaySaturday. Closed Sunday. Supreme Court Law Library 237 Don Gaspar Ave., 505-827-4850. Online catalog available at supremecourtlawlibrary.org. Open 8 a.m.-5 p.m. Monday-Friday.
MuSEuMS & ART SpAcES Georgia O’Keeffe Museum 217 Johnson St., 505-946-1039. Modern Nature: Georgia O’Keeffe and Lake George, through Jan. 26. Open 10 a.m.5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Friday; $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; no charge for NM residents first Friday of each month. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 505-476-1200. Tako Kichi: Kite Crazy in Japan, exhibition of Japanese kites, through March • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art • Brasil and Arte Popular, pieces from the museum’s Brazilian collection, through Aug. 10. Open 10 a.m.-5 p.m. TuesdaySunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; no charge for NM residents over 60 on Wednesdays; no charge for NM residents on Sundays; school groups no charge.
Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 505-982-2226. Filigree & Finery: The Art of Adornment in New Mexico, through spring 2014 • BeltránKropp 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, through May 27 • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19thcentury 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. TuesdaySunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays. New Mexico History Museum/ Palace of the Governors 113 Lincoln Ave., 505-476-5200. Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9 • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe. Open 10 a.m.5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge on Wednesdays for NM residents over 60; NM residents no charge on Sundays; 5-8 p.m. Fridays, free admission. New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, through Sunday, Jan. 19 • Collecting Is Curiosity/Inquiry, through Feb. 2 • A Life in Pictures: Four Photography Collections, through Feb. 2 • Renaissance to Goya: Prints and Drawings from Spain, through March 9 • 50 Works for 50 States: New Mexico, through April 13 • It’s About Time: 14,000 Years of Art in New Mexico, through January. Open 10 a.m.5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents free on Sundays. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Place, 505-988-8900. Gathering of Dolls: A History of Native Dolls, through April 27. Open 10 a.m.5 p.m. Tuesday-Sunday. $10 admission. Poeh Museum 78 Cities of Gold Rd., 505-455-3334. Doing Being Sharing Laughing, group show, through January. 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, 505-989-1199. SITElab 4, interactive project by photographer Will Wilson in collaboration with New Mexico School for the Arts students, reception 5:30-7p.m. Friday, Jan. 17, through Jan. 26, no charge (see story, Page 36). Open Thursday and Saturday 10 a.m.-5 p.m., Friday 10 a.m.-7 p.m., and Sunday noon-5 p.m. $10; seniors and students $5; no charge 10 a.m.-noon Saturday; no charge Friday. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13. Open 10 a.m.5 p.m. daily; donations accepted.
exhibitioniSm
A peek at what’s showing around town
Joy Campbell: Ancient Ice Comes Alive, 2013, mixed media. As Though Ice Burned continues at Vivo Contemporary (725 Canyon Road, 505-982-1320). The exhibit includes pieces by Paul Biagi, Ilse Bolle, Barrie Brown, and others working in a variety of mediums such as calligraphy, collage, glass, painting, and mixed media. The exhibition’s title is derived from a line from the poem “The Cold Heaven” by William Butler Yeats: “Suddenly I saw the cold and rook-delighting heaven that seemed as though ice burned.” The show is on view through Jan. 28.
Ken Wilson: Night Trees 3, 2011, archival pigment ink print. Back Street Bistro (513 Camino de los Marquez) presents two bodies of work by New Mexico artists: photographer Ken Wilson’s Night Trees and painter Sonni Cooper’s Colorful Acrylics. Wilson’s images are luminous nighttime portraits of trees, and Cooper’s vibrant paintings include landscapes of the Southwest and animal imagery. There is a 5:30 p.m. reception .
Lynden St. Victor: The Watcher, 2013, oil over acrylic. Pop Gallery (142 Lincoln Ave., Suite 102) celebrates its seventh anniversary with an exhibition of work by gallery artists including David Ho, Lynden St. Victor, and Daniel Martin Diaz. The work ranges from surreal to whimsical and is executed in a variety of contemporary pop styles. The 2014 Gallery Showcase is on view through March. Call 505-820-0788.
Anonymous after Francisco de Goya: The True Portrait of a She Ant-bear (anteater), 1776, etching and letterpress. Renaissance to Goya: Prints and Drawings From Spain continues at the New Mexico Museum of Art (107 W. Palace Ave.) through March 9. The museum is the only U.S. venue for the exhibition of more than 130 works from the historic Spanish print and drawing collection of London’s British Museum. Entrance to the show is by museum admission. Call 505-476-5072.
tamara Zibners: Backyard Archery, 2013, silver gelatin print. The exhibit In/Visible Borders: New Mexico Photographers continues at Santa Fe Community Gallery (201 W. Marcy St., in the convention center) through Feb. 21. The show is a complementary exhibit to the Santa Fe University of Art and Design’s recent exhibition of the same title and includes work by Delilah Montoya, Carlan Tapp, and Karen Kuehn, among others. The exhibit was curated by Mary Anne Redding, chair of the photography department at the university. Call 505-955-6705.
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PASATIEMPO I January 17 - 23, 2014
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