Pasatiempo, October 25, 2013 by The New Mexican

The New Mexicanâ&#x20AC;&#x2122;s Weekly Magazine of Arts, Entertainment & Culture

October 25, 2013

L I F E I S W H AT Y O U M A K E I T A Concer t an d Conve rsation with Pe ter Bu ffe tt A multi-media presentation that takes the audience on a journey with Peter from his discovery of the piano, to writing music for commercials and film and then on to how his current philanthropic work with the NoVo Foundation has ultimately influenced his songs and life.

THUR, NOV 7 7:00pm - 8:30pm The Lensic performing Arts Center, Santa Fe Buy Tickets online at ticketssantafe.org A benefit for the Academy’s Institute for Teachers

Learn more about what lives behind

A love of learningSM

REGIS TRATI ON: w w w.aloveo fl earning.org M O R E IN F O : p ro g ra m s@a l ove ofl e a r n in g. o rg

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Our Holiday Hours 2013 Always a la carte! Thanksgiving 2:00 p.m. - 9:00 p.m.

Tuesday - Christmas Eve - Dinner Only: 4:00 p.m. - 10:00 p.m.

Wednesday - Christmas Day - Dinner Only: 3:00 p.m. - 10:00 p.m.

Tuesday - New Year’s Eve - Dinner Only: 5:30 p.m. - Midnight

Wednesday - New Years Day - Dinner Only 4:00 p.m. - 10:00 p.m.

for ‘instant’ gift certificates www.santacafe.com Please visit us on:

reservations: 505 984 1788 231 washington avenue santa fe nm 87501 2

PASATIEMPO I October 25 - 31, 2013

Taking reservations for Holiday Parties NFL Ticket, Half Priced Half Time on Bar Food and Draft Beers

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More than 3,800 Vaccinated Against Flu at CHRISTUS St. Vincent Flu Shot Clinics

CHRISTUS St. Vincent Regional Medical Center would like to thank the residents of Northern New Mexico for their participation in our recent Free Flu Shot Clinic. More than 3,800 people received free flu shots at the main hospital and also at our Camino Entrada and Arroyo Chamiso Pediatric clinic locations. If you missed this free event, you'll have another chance to get a free flu shot on Saturday, November 2nd from 9:00 am to 1:00 pm at CHRISTUS St. Vincent Family Medicine Center, located at 435 St. Michael's Drive, Suite B-104. Call (505) 913-3450 for more information. CHRISTUS St. Vincent would like to thank our nurses, physicians, employees, and Auxilians who volunteer to make these free clinics a great success. These events are part of CHRISTUS St. Vincent's ongoing commitment to investing in services that improve the health and wellness of our community. Invested in YOU.

PASATIEMPO I October 25 - 31, 2013

Lensic Presents • Big Sc reen Classics

Le nsi c Presents

Halloween at The Lensic!

The Man Who F e l l to E a r t h

Oc tober 29 at 7 pm, $ 1 0 – $ 20 Experience Fritz Lang’s silent 1927 sci-fi masterpiece— restored and complete, including the 25 minutes of thought-to-be-lost footage rediscovered in 2008 —with a live soundtrack by Alloy Orchestra!

PHOTO: COURTESY CRITERION COLLECTION

Starring David Bowie

Oc tober 31 7 pm $5

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

Tickets: 505-988-1234 www.TicketsSantaFe.org SERVICE CHARGES APPLY AT ALL POINTS OF PURCHASE

t h e l e n s i c i s a n o n p r o f it, m e m b e r- s u p p o rt e d o rga n i zat i o n

La Cantina Presents spooky songs From Wicked little shop oF horrors rocky horror picture shoW

October 31, 2013 at 5:30pm and 8:00pm november 1st, 2013 at 5:30pm Bella gigante’s Bellatrix and treats

november 1, 2013 at 8:30pm

For reservations please call 505-988-9232

Before

After

costumes encouraged

Breathe new life into your old jewelry by custom designing a new piece to fit your personality.

Open Daily 11:00am until close | 125 East Palace, Santa Fe, NM 87501 (505) 988-9232 | F i N D u S O N Fa c E b O O k

233 Canyon Road, Suite 1 • Santa Fe • new MexiCo • 505.820.6304 PASATIEMPOMAGAZINE.COM

THE SANTA FE NEW MEXICAN

October 25 - 31, 2013

www.pasatiempomagazine.com

On the cOver 36 Museum of horrors Merchant of Menace Vincent Price turns on all jets in his first great horror role in 1953’s House of Wax. He brings dignity and panache to the character of Prof. Henry Jarrod, the owner of a wax museum who is hiding a macabre secret. Jarrod’s descent into madness is compelling and believable thanks to the actor’s chilling performance. House of Wax screens in 3-D on Thursday, Oct. 31, at the Jean Cocteau Cinema. On the cover, a shadowy figure claims a body at the morgue.

BOOKS

MOvIng IMAgeS

16 In Other Words Jim Henson biography 40 A personal story Horror-Gami

54 Abbott and Costello Meet Frankenstein 56 The Summit 58 Pasa Pics

A lAnnAn event 20 Mission invisible Jeremy Scahill

cAlendAr

MUSIc And PerFOrMAnce 22 24 26 28 30 32 35 50

Play it on the mountain Apollo’s Fire Worldy wise Leni Stern Sound Waves ZZ Top Pasa reviews Serenata of Santa Fe terrell’s tune-Up Shock rock Pasa tempos CD Reviews Onstage Julie Brette Adams Striking a note for Metropolis Alloy Orchestra

65 Pasa Week

And 13 Mixed Media 15 Star codes 62 restaurant review: Steaksmith

Art And hIStOry 42 creep show Museum curators confess 46 history’s hoard New Mexico Archives Month

AdvertISIng: 505-995-3819 santafenewmexican.com Ad deadline 5 p.m. Monday

Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 e. Marcy St. Santa Fe, nM 87501. editorial: 505-986-3019. Fax: 505-820-0803. e-mail: pasa@sfnewmexican.com PASAtIeMPO edItOr — KrIStInA Melcher 986-3044, kmelcher@sfnewmexican.com

Scene from Metropolis; all film stills courtesy the Museum of Modern Art, new york

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Art director — Marcella Sandoval 986-3025, msandoval@sfnewmexican.com

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Assistant editor — Madeleine nicklin 986-3096, mnicklin@sfnewmexican.com

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chief copy editor/Website editor — Jeff Acker 986-3014, jcacker@sfnewmexican.com

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Associate Art director — lori Johnson 986-3046, ljohnson@sfnewmexican.com

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calendar editor — Pamela Beach 986-3019, pambeach@sfnewmexican.com

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StAFF WrIterS Michael Abatemarco 986-3048, mabatemarco@sfnewmexican.com James M. Keller 986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 986-3039, billk@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com

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cOntrIBUtOrS loren Bienvenu, laurel gladden, Peg goldstein, robert Ker, Jennifer levin, robert nott, Adele Oliveira, Jonathan richards, heather roan-robbins, casey Sanchez, roger Snodgrass, Steve terrell, Khristaan d. villela

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PrOdUctIOn dan gomez Pre-Press Manager

The Santa Fe New Mexican

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Robin Martin Owner

www.pasatiempomagazine.com

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Ginny Sohn Publisher

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AdvertISIng dIrectOr Tamara Hand 986-3007

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MArKetIng dIrectOr Monica Taylor 995-3824

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grAPhIc deSIgnerS Rick Artiaga, Dale Deforest, Elspeth Hilbert

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AdvertISIng SAleS Julee clear 995-3825 Mike Flores 995-3840 laura harding 995-3841 Wendy Ortega 995-3892 vince torres 995-3830 Art trujillo 995-3852

Ray Rivera editor

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PAYNE’S Fall is for Planting Sale NURSERIES

Payne’s South 715 St. Michael’s 988-9626 Payne’s North 304 Camino Alire 988-8011 Fall Hours Mon - Sat 9 to 5 Closed Sunday

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Sale ends 11/2/13 and limited to stock on hand, while supplies last.

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tonight 25,2013 2013 . 5-7pm tonight. oCtoBEr . april 26, . 5-7pm

l as t Fr i day a r t wal k In Santa Fe’s Vibrant Railyard Arts District LAST fRiDAy EvERy MonTh

zane bennett contemPorary art Emily Cheng, WholeInOne Roger Atkins, In Case of Emergency

tai gallery Honma Hideaki, Rolling Shape

david richard gallery Life Support: Art <-> Design, Sustenance

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james kelly contemPorary Ron nagle, Sculpture in Small Scale, Group Show

william james david kelly richard siegal charlotte jackson

zane bennett

Sorry, but we are closed for installation today, but visit us next Saturday, Nov. 2, 5-7 pm, for the opening of DesignLab: Next Nest, a juried exhibition featuring inspiring new domestic forms and concepts that merge artistic visions with 21st century sustainable objects and spaces for living.

READ ST.

WAREHouSE 21

william siegal gallery Paolo Cavinato & Peter Ogilvie

cAmIno DE lA FAmIlIA

El muSEo culTuRAl

mAnHATTAn

cAmIno DE lA FAmIlIA

charlotte jackson Fine art Tony DeLap, Paintings & Drawings

The Railyard Arts District (RAD) is comprised of seven prominent Railyard area galleries and SITE Santa Fe, a leading contemporary arts venue. RAD seeks to add to the excitement of the new Railyard area through coordinated events like this monthly Art Walk and Free Fridays at SITE, made possible by the Brown Foundation, Inc., of Houston. We invite you to come and experience all we have to offer. 8

PASATIEMPO I October 25 - 31, 2013

Lensic Presents

Broadcast in Hd

An electrifying new production of Shakespeare’s tragic tale, starring Kenneth Branagh as Macbeth and Alex Kingston (Doctor Who, ER) as Lady Macbeth.

November 5, 7 pm

$22/$15 students

Tis’ The Season To Start Planning Your Holiday Party! Book Your Party at Rio Chama

Our private dining rooms can accommodate from 15 to over 100 guests. for party reservations please call 505-955-0765.

Macbeth Discounts for Lensic members

by William Shakespeare Coming Soon, Broadcast in HD

November 12 National Theatre: 50 Years on Stage SponSored by

An evening featuring the best of the National’s first 50 years, with Judi Dench, Ralph Fiennes, Derek Jacobi, Maggie Smith, and more.

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

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food & drink

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TRADITIONAL & CONTempORARy meXICAN CuIsINe To r e c e i ve t h is of f er, visit S plu rgeTaos.com bef ore mi dni ght O ctober 30 and purchas e t h e S plu rge cert if icat e, wh ich can be redeemed for the abov e offer. T h i s ad v er t i s emen t i s n ot a Sp l urg e ce rtif ica te .

PASATIEMPO I October 25 - 31, 2013

Warehouse Sale Pojoaque Visitor’s Center

Pat Malone Jazz Duo Oct. 25, 5-7pm

Friday, October 25th-Sunday, October 27th

Trifecta Snout to Tail

DEPARTMENT STORE RETURNS - Bowls - Serving Trays - Barware

Featuring Wine, Beer & Mixology Thursday, November 14, 2013

OVERSTOCKS & SELECT CLEARANCE - Wine Chillers - Vases - Classic Copper Collection

Overstocks and SNEAK HOLIDAY clearance pricing offered PREVIEW at Santa FeOCT. Locations THURS., 24TH

6:30 Reception & Dinner

$99 per couple all inclusive

Pojoaque 96 Cities of Gold Road, Santa Fe, NM 87506 P. 505-455-2731

Friday-Saturday, 10 a.m.-6 p.m.; Sunday, 10 a.m.-4 p.m.

Tickets $15, or $10 for students for reservations: 505-471-1799 or pmolson@cybermesa.com tickets available at the door!

Reservations Required 505.995.4530 Located at Eldorado Hotel & Spa 309 W. San Francisco Street EldoradoHotel.com

October 25 and 26 at 7:00 pm October 27 at 2:00 pm Santa Fe Woman’s Club

1616 Old Pecos Trail Santa Fe, NM

by Brian Friel

An unforgettable play by Ireland’s greatest living playwright. Made possible in part by The McCune Charitible Foundation; New Mexico Arts, a division of the Department of Cultural Affairs, the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax; the National Endowment for the Arts and Friends of Theaterwork.

PASATIEMPOMAGAZINE.COM

Let La Casa Sena And La Cantina Be Part Of Your Holiday Tradition!

HALLOWEEN CELEBRATION!

Taos Retirement Village will host a Halloween Celebration October 31st. Please join our “groovy” staff and residents for good food, good friends, and great silliness! All are welcome.

October 31st 2pm-3pm Costume Contest 3-5pm Community Trick-or-Treat

NO LARGE BUY-IN FEES!

Book Your Holiday Party With Us!

Open Thanksgiving Day, Christmas Eve And Christmas Day.

Book Your Party In La Cantina and Enjoy Holiday Music By Our Singing Waitstaff

Visit Our Website For Special Holiday Menus

We Offer Several Private Rooms To Accommodate All Party Sizes. For Holiday Reservations Please Call 505-988-9232

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Open Daily 11:00am until close 125 East Palace, Santa Fe, New Mexico 87501 | (505) 988-9232

How will you Last year, New Mexico Educators Federal Credit Union returned 4 million dollars to members in loan rebates and bonus dividends. Members earned not just for checking accounts and auto loans, but mortgages, credit cards, and equity loans too. Did you earn your return? How will you earn your return this year? Go to NMEFCU.org and calculate just how much you can earn. That’s New Mexico Educators.

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PASATIEMPO I October 25 - 31, 2013

al i c Spe ent ev

MIXED MEDIA

The Santa Fe Gallery Association will sponsor over 27 artist & panel discussions as well as lectures hosted in more than 17 galleries & museums during the 1st Annual “Art Matters | Santa Fe” to be held on the weekends of October 18-20 and 25-27, 2013.

OCTOBER 25TH FRIDAY Pippin Contemporary | Artist talk: Cody Hooper. 4:30pm Adobe Gallery | Gallery conversation: Hopi & Zuni early 20th century Katsina dolls. 4pm – 6pm Zane Bennett Contemporary Art | Artist talk: Roger Atkins: In Case of an Emergency. 5pm – 7pm Charlotte Jackson Fine Art | Artist talk: Tony DeLap: Limited Edition Prints. 5pm – 7pm The Matthews Gallery | Salon 669: Art on Paper gallery talks: Jordan Eddy & Lawrence Matthews. 5pm - 7pm

TV’s Mr Wizard, circa 1960

A Gallery | Artist talks: Carol Ware, David Forlano, Nathaniel Hesse. 6pm - 7pm

Frightfully fun

OCTOBER 26TH SATURDAY

Papier-mâché eyeballs, screaming pumpkins, and apple shrunken heads — not scary at all! These are all part of a special celebration for small children. It’s the 2nd Annual Weird Science Carnival, held from 4 to 7 p.m. on Halloween Thursday, Oct. 31, at the Santa Fe Children’s Museum. “Our take on this is that a lot of the little bitty kids that come here find Halloween things a little scary, so our activities in the carnival are less scary and there’s a fun science aspect,” said the museum’s Julie DeFeo. “One example is that we have educators from the Santa Fe Alliance for Science with wind-up zombies, and the kids have to create a structure using marshmallows and toothpicks, so it’s a lesson in engineering. “Another is called ‘The Growing Hand.’ It’s basically baking soda in a container with a glove over the top, and the kids see the gas go up, and the glove grows, and they just think that’s awesome. It’s very simple science done in a playful way.” Students from the New Mexico School for the Arts will perform Michael Jackson’s “Thriller” at 5 p.m. They may even be dressed like zombies. Another activity is a collaboration with students from the Santa Fe Preparatory School photography club. “They’re doing a portrait booth. They’ll be taking pictures of families in costume. We will be projecting on the wall and use the Photo Booth app for various fun effects, so the kids can see themselves like in a big fun-house mirror.” Weather permitting, there will be a bouncy house outside. Everything else is happening inside the museum. Carnival tickets are $1. The museum is at 1050 Old Pecos Trail; call 505-989-8359. Come in costume — they’re dying to see you! — Paul Weideman

Jane Sauer Gallery | Artist Geoffrey Gorman. 11am – 12pm Ellsworth Gallery | Gallery talk: The Age of Warriors: Art of the Samurai. Light refreshments. 1pm – 2pm David Richard Gallery | Discussion: Derek Porter, Ted Larsen, Thomas Lehn, Almy & Yarbrow. 2pm – 4pm Zane Bennett Contemporary | Artist talk: Roger Atkins. 2:30pm - 3pm Zane Bennett Contemporary | Artist talk: Emily Cheng. 3pm – 3:30pm Evoke Contemporary | Panel Discussion: Art, Celebrity and Appropriation. 4pm - 5pm Casweck Gallery | Artist talk: Brant Kingman. 5:30 – 7:30 pm

sponsored by:

for more details & a schedule of all events:

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November 5 see & 6examples of their work at theESPAÑOLA Meet the artists and Collected st 9am-5pm Works Show, Friday, November 1 from 5:30 - 7:30 SANTA FE at the Toolshed (½ mile from the Hwy 68/75 turnoff). Show continues through the weekend.

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PASATIEMPO I October 25 - 31, 2013

FREEACROSS FITNESSTHE CLASSES FROM 1:30 - 3:00PM!! COURTYARD FROM • Zumba with Jackie Camborde from 1:30 - 2:00pm OHORI’S COFFEE AND TALIN WORLD FOOD MARKET! • Dance Conditioning Plus! with Kate Eberle from 2:00 - 2:30pm • Yoga with Deanna Evans from 2:30 - 3:00 pm • Sale 10 - 25% oﬀ on select and Zobha Fitness Attire (please bringLUCY your yoga mat) • See our Fall 2013 New Arrivals! • Refreshments, Prize Giveaways & Big Sales on Select Summer Inventory! • Stay tuned infoforon our GRAND OPENING PARTY! • Fitnessfor Attire Women & Men • Locally Owned • Bring your friends and family!

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The past walks with us this week. Halloween is a true Scorpio holiday; it lets us explore our hopes and fears, and the masks give us a chance to be sociable and private at the same time. We may even see a few ghosts as the veils thin and Mercury, the sun, and Saturn hover close together in mysterious Scorpio. But it’s more likely that our ghosts will be personal and from this lifetime — memories of old friends or things we’ve left unsaid or undone. Mental Mercury is retrograde now through Nov. 11, and it is conjunct thoughtful, rigorous Saturn. Mercury retrograde brings lost people, ideas, and items close to the surface. We may have to complete some unfinished tasks. With Mercury now retrograde and conjunct slow-moving taskmaster Saturn, it may not be business as usual for any of our tech toys or modes of transportation, but we can respond to this challenge by chipping away at our practical and emotional backlogs. We can look for a silver lining in strange mishaps. Maybe the wind blows a paycheck over the back of the dresser; move it and find three missing earrings and grandmother’s photo. When Facebook goes down, find people and talk in person. As the weekend begins, the mood is private. Through next week, our imaginations may dance on our worries as Mercury conjuncts Saturn. Don’t borrow trouble from the future — just make it through the week with as much grace and progress as possible and wait a few weeks to look ahead. A sociable Libra moon brings a friendly, forgiving vibe to an otherwise brusque and busy Halloween.

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Friday, Oct. 25: The mood is sensitive and intuitive, if guarded, under a self-protective Cancer moon. We may be called upon to protect the vulnerable. Needed information comes sideways. Reach out to the introverts and shy ones and watch the conversation expand. Saturday, Oct. 26: Enthusiasm returns and contradictions abound as the moon enters outgoing Leo. Don’t overshoot the mark; watch out for overextension. Thoughts can get squirrelly and plans glitchy around dinnertime as the sun and moon square off. Tonight, our private self can hide behind a costume or public persona.

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Sunday, Oct. 27: This morning we ruminate over unfinished business. We need attention without investigation; be present without words. If midday seems strangely cluttered with inconsequentialities, don’t let them distract you from what’s important. Tonight can be achy and cranky as the moon squares Mercury, so be soft with one another.

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Monday, Oct. 28: We see the past in a different light and, after morning glitches, can cooperate to heal or resolve the situation as the moon trines Venus. The late evening grows edgy if we’re tired as the moon enters Virgo. Tuesday, Oct. 29: Unusual mental focus can constrain our imaginations. Work on plans already in motion or refine technique rather than look ahead. Give the mind something to work on. Conversation is satisfying tonight as the moon sextiles Mercury and Saturn. Wednesday, Oct. 30: We have an urge to clean house as Mars trines Pluto under an organized Virgo moon. If we are more overwhelmed than productive this afternoon, slow down and ask what would actually help. Offer kind acceptance tonight. Thursday, Oct. 31: People and spirits are more sociable as the moon enters friendly Libra, but some tricky Mars transits complicate things. Some people walk so deeply with memories that they don’t seem present. Be kind to self-conscious trick-or-treaters around 6 p.m. Party safely tonight as the moon opposes wild Uranus and squares broody Pluto. ◀ www.roanrobbins.com

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In Other wOrds book reviews Jim Henson: The Biography by Brian Jay Jones, Ballantine Books/Random House, 585 pages Here are five things you probably didn’t know about the life and work of Jim Henson, creator of the Muppets: 1.) Henson did not grow up wanting to be a puppeteer. He fell into it in his late teens, because he responded to an open call for puppeteers for a local morning show. His dream was to work in television. 2.) All five seasons of The Muppet Show were filmed in England, with English studio backing, because despite years of trying, Henson couldn’t get American television bigwigs to see the promise in a full-length weekly prime-time show starring puppets. 3.) Unless he was performing, Henson’s speaking voice was soft, almost a whisper. He didn’t do this to save his voice; this was just the way he sounded. He was known for being even-tempered. 4.) The Muppets got their start in the 1950s. They were advertising staples and frequent variety-show guests for decades before they had their own show. 5.) Henson made experimental films in the 1960s, inspired by technology and the counterculture, but he didn’t experiment with hallucinogenic drugs. Based on the information provided by Brian Jay Jones in the minutely researched Jim Henson: The Biography, there is no truth to the urban legend that Sesame Street’s characters had their origins in LSD trips. Jones, author of a biography of Washington Irving and vice president of Biographers International Order, reveals Henson as the hardest working man in show business — a man for whom work, which he considered joyous fun, came first, and to whom new ideas came endlessly. The ins and outs of Henson’s career, his creative influences and impulses, his business interactions, and how and when he met his closest collaborators, are competently worded into prose that mostly manages to resist sluggishness — no easy feat given the amount of detail Jones provides. Henson is obviously a hero to Jones, which gives the book a fawning quality that can grow wearying in certain passages. But given that Henson is the person who created the Muppets — introducing many phrases into popular culture (”It’s not easy being green,” and “Oh, Kermie,” for example), influencing countless 16

PASATIEMPO I October 25-31, 2013

aspiring entertainers, and warming the hearts of people everywhere — Jones’ willingness to quickly summarize and glide past the ways in which Henson might have been less than pleasant once in a while seems forgivable. Henson had five children and, by the end of his life, five homes — in New York, Connecticut, California, New Mexico, and England. He was a devoted father even though his schedule was erratic. He sought his children’s feedback on his ideas; they were the ones who told him whether certain jokes were too sophisticated for kids to understand, and his son, Brian, grew up to be a puppeteer. Henson met Jane, his wife of 30 years from whom he was eventually legally separated but never divorced, in a college course in puppetry, which was offered through the home-economics department. The instructor was admittedly unqualified, so Henson stepped in even though his experience was limited to a few weeks working with puppets on the Junior Morning Show on WTOP in Washington D.C., and then for spots on various NBC news and variety shows. Jane was an artist and, like Jim, naturally talented with puppets. They co-founded Muppets Inc. in 1958, though she drew back from performing in the 1970s. Ultimately, their marriage fell apart because they’d been on divergent paths for years. Jim’s work always came first. In the mid-1980s, between his many travels and projects, he found he no longer wanted to come home to her in Connecticut. They remained friends, and she was with him when he died, in 1990, at age 53, of septic shock due to an advanced streptococcus infection. In the last year of his life, Henson was in negotiations to sell the Muppets to Disney — a deal he thought would buy him the greatest creative freedom with the lowest financial risk. (Henson preferred the creative aspect of his work to the legal and financial sides.) But the negotiations were acrimonious; Disney was a giant corporate entity haggling over every aspect of Henson’s small company. Henson didn’t like confrontation, and he didn’t want to be tied into a deal in which everything he did going forward would entail a fight. Right in the middle of all this, Henson got sick. Jones writes of his last days, of Henson’s worsening symptoms, with the same level of detail he gives to the rest of the book, and it is quite painful and sad to read. Suddenly, this vibrant person who had more ideas — some just OK and some fantastic — than he could ever hope to see come to fruition, was gone. The public memorial service for Henson in New York was a festive affair with singing, Dixieland jazz, and tearful tributes by Muppet performers Frank Oz, Jerry Nelson, Dave Goelz, Richard Hunt, Steve Whitmire, and Kevin Clash. Two years later, Henson’s family scattered his ashes in the Sangre de Cristo foothills near Taos. — Jennifer Levin Brian Jay Jones reads from his biography of Jim Henson at Collected Works Bookstore (202 Galisteo St., 505-988-4226) at 6 p.m. on Monday, Oct. 28.

SubtextS State of the state New Mexico: A History is the no-nonsense title of a book just published by ... what’s this? ... the University of Oklahoma Press. (Thanks, neighbor.) Maybe there’s a story behind that story, and maybe co-authors Art Gómez and Robert L. Spude will reveal it when they appear in a reading and conversation (without their third co-author, Joseph P. Sánchez) at Collected Works Bookstore (202 Galisteo St.) at 6 p.m. on Tuesday, Oct. 29. Although New Mexico was officially demarcated as a state just over a century ago, the land it occupies had been inhabited for thousands of years before that, and its history was at least somewhat, if not unequivocally, documented for the better part of a millennium. The authors hit their stride with the mid-16th century, when they begin to detail the peregrinations of generations of Spaniards who crisscrossed the land, sometimes finding harmony with the Native American residents, sometimes not. They document the region’s burgeoning economy in the 19th century, enlivened by accounts of mining, ranches, and railroads. They lay out the political haggling that led to statehood, chart the rise of the tourist industry, consider the state’s contributions to the defense industry, provide a dispassionate look at water rights, and bring readers up to how things stand at the present moment. (Or almost; they stop short of Breaking Bad.) It’s a lot to pack into 341 pages (not counting the bibliography and index), but the authors accomplish their task efficiently, packing every sentence with enough facts to make your head spin. Call 505-988-4226. — James M. Keller

Scissors by Stéphane Michaka, translated from the French by John Cullen, Nan A. Talese/Doubleday, 202 pages Raymond Carver’s charged relationships with his editor, two wives, short stories, and alcohol unravel simultaneously in Stéphane Michaka’s fictionalized look at the minimalist short-story writer. Michaka is a French author who has published two previous novels; his work also includes children’s literature, theater, and television scripts. Relying on free, indirect discourse and sparse prose, he succeeds at evoking Carver’s own oft-imitated style (credit for this feat is also due to translator John Cullen). His portrait of Carver (1938-1988), fictionalized simply as “Raymond,” focuses most closely on the author’s later life, when he rocketed from obscure aspirant to sensationalized literary figure, in part thanks to his editor Gordon Lish. Renamed “Douglas” in the book and nicknamed “Scissors,” Lish approached his job with a heavy hand, straining the profitable creative relationship between the two men. Michaka also fleshes out the complexities of Raymond’s marriages — the first fueled and frustrated by alcohol and the second characterized by renewed hope and sobriety — by hopping between the major characters’ perspectives. Each chapter gets its title from the person who provides the firsthand perspective, meaning emotions and outlooks clash from one chapter to the next. Such an approach is nothing new, but Michaka proves more inventive (and bold) than most by incorporating Carver-like short stories throughout the text. These usually appear in two incarnations — Raymond’s draft, then Douglas’ revised version — thus showing the author’s and his editor’s stylistic signatures along with their personal narratives. Exemplifying the give-and-take relationship between the two, Raymond becomes frustrated when Douglas revises all of his stories in a recent collection, with the exception — or so he thinks — of one called “Mine.” “That story he didn’t touch,” Raymond says. “At least I don’t think he did.” The very next words appear in a section devoted to Douglas: “I touched ‘Mine.’ The last sentence went, ‘This was how they resolved the question.’ They resolved the question … that declaration bothered me for an entire day. ‘This was how the question was resolved.’ After I wrote that, I felt better.” Such glimpses into the minds of both characters show their attachment to the shared work and ask the reader to ponder the impact of such a seemingly minor change to a text and to wonder: Is it an improvement? Though it has proved controversial for fiction writers who borrow from historical figures, Michaka shows little hesitation to bend real figures to fit his narrative. Douglas seems overly maligned, while Raymond is mostly spared authorial judgment, seemingly thanks to the canonical status of his real-life model. On occasion, however, Michaka shows self-awareness about the touchy subject of incorporating actual people into a literary context. His character Marianne, based on Carver’s surviving first wife, Maryann, thinks to herself: “I read Ray’s stories and I realize he’s never stopped writing about us, about him and me. He reopens our wounds. He displays them to the whole world, and the whole world applauds. That’s what’s called fiction, but readers forget there are people behind it.” Whether or not imitation is the sincerest form of flattery, Michaka seems driven by both. The author notes in a preface, “Although I have used some publicly known facts from Raymond Carver’s life and from his relationship with his editor, Gordon Lish, the characters in this novel are loosely based, rather than closely modeled, on real-life figures.” While he acknowledges that the work is not one of biography, Michaka seems more interested in the historical figures than the work. As a result, the reader is asked to reflect on the relationship between an author’s life and intentions and his or her work. By questioning the notion that all that matters in a book is what’s on the page, Scissors highlights the importance of what’s left off. — Loren Bienvenu

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In Other wOrds book reviews

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PASATIEMPO I October 25-31, 2013

The much-hyped great cicada invasion of 2013 didn’t materialize quite as expected (or feared) by many along the Eastern Seaboard, but anticipation of the 17-year Magicicada Brood II reemergence did yield a fascinating book about that species and other insect noisemakers — Bug Music: How Insects Gave Us Rhythm and Noise. Along with its companion CD, this is the third (after Why Birds Sing: A Journey Into the Mystery of Birdsong and Thousand Mile Song: Whale Music in a Sea of Sound) in a trilogy of explorations into nonhuman sound by David Rothenberg, a jazz musician and professor of music and philosophy at the New Jersey Institute of Technology who has written six other books and released a dozen CDs. Bug Music looks at (and listens to) the Earth’s insect population, including cicadas, crickets, katydids, treehoppers, beetles, and bees. Rothenberg, who is a relentless researcher, is not content to simply catalog or describe the panoply of creepy-crawly sounds, though; his passion runs far deeper. He wants to know why bugs sing, how cicadas know to resurface en masse after so many years underground, and, most of all, how these critters have influenced our concepts of rhythm and song. “They may be the very source of our interest in rhythm, the beat, the regular thrum,” he writes.” At times, though, he stretches this premise a bit thin: “Thus the path of the whole twentieth century in art begins by taking the noises of bugs most seriously.” Really? His goal, for himself and for the rest of us, is nothing less than “to listen wider, to expand your sense of music to more than human sounds, and to thereby take in a world of greater beauty and of greater meaning.” Why? Because “all of human social interaction can be seen as a swirling journey through overlapping senses of rhythm.” His theory is supported by an esoteric hoard of cultural and historic references — from anthropological research to ethnomusicological studies, from electronic compositions to nature poetry. As Japanese poet Wâfu wrote in 1866, “Some hear bug music/Some hear people music/All depends on your ears.” Rothenberg also waxes poetic himself (“The best science opens up clues to deeper mysteries, and the world gets ever more wonderful as we go”), although he can at times descend into a quagmire of scientific complexities. Some of this minutiae can be exasperating. The book’s dozens of sonograms, schematic diagrams, graphic scores, rhythmic glyphs, and sound transcriptions may provide clarity for some readers, but many will find them abstruse and convoluted. Rothenberg may be forgiven for his obsession, though, particularly as regards the Magicicada. He is a self-described “cicada boy,” born in 1962, a month after one of the 17-year swarms. Much of the book focuses on these symbols of love and music and their “white noise of memory and time,” citing examples from around the world and through the millennia of recorded history, quoting everyone from Homer to John Cage, Socrates to Bob Dylan. Rothenberg is clearly on a mission, “ever on the lookout for parallels between music and science,” an evangelist for the creature musicians all around us. “I want you all to consider insect sound as music, the arrangement of tones and rests into patterns that must be repeated endlessly to get its message across.” True to his subjects, the author tends to endlessly repeat this theme, to the point where he sometimes pleads, preaches, or apologizes for his fixation: “Don’t blame me, but swat at the insects. They’ve done this. They changed me.” — Wayne Lee

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Casey Sanchez I For The New Mexican

JEREMY SCAHILL PROBES THE DARK CORNERS OF U.S. MILITARY OPERATIONS rone strikes in Pakistan. Air attacks in Yemen. Night raids in Somalia. Most of these covert acts of war — in peacetime and in countries with which the U.S. is not at war — are the work of the Joint Special Operations Command. A collection of ultra-elite military forces — Delta Force, the Navy’s Special Warfare Development Group, and the Air Force’s 24th Special Tactics Squadron — JSOC, often working in tandem with the paramilitary end of the CIA, carries out covert, global anti-terror operations while inevitably drawing the U.S. into further conflict with countries in the Middle East and Africa. That’s the thrust of Dirty Wars: The World Is a Battlefield, a new book and film by investigative journalist Jeremy Scahill. “My book and film take folks on a 10-year tour of the global war on terror,” Scahill said. Both focus largely on JSOC, which, according to Scahill, “hits harder, faster and quicker under Obama than it ever did under [George W.] Bush.” As Scahill writes in the book, the rise of JSOC represents a fundamental break in the way Americans conduct wars. “Unlike the Green Berets, JSOC was not in the country to win any hearts and minds,” he writes. “Once JSOC took charge, the mission would no longer resemble anthropology. It was to be a manhunt, 20

PASATIEMPO I October 25-31, 2013

at times an assassination machine.” JSOC, for example, tracked and killed Osama bin Laden. Scahill, a correspondent for the radio news program Democracy Now!, speaks on Wednesday, Oct. 30, at the Lensic Performing Arts Center. The event is part of the Lannan Foundation’s In Pursuit of Cultural Freedom series. His talk and presentations are followed by a conversation with journalist Tom Engelhardt, a fellow at The Nation Institute. For much of the past two decades, Scahill has been a war reporter, sending dispatches from the former Yugoslavia, Iraq, and Afghanistan, among other global hot spots. His extreme investigative bent, willingness to venture far from protected or “embedded” territory, and skill in unearthing documents and sources that reveal the inner workings of U.S. national security are what set him apart from many other war journalists. Many may know Scahill’s byline from his 2007 book Blackwater: The Rise of the World’s Most Powerful Mercenary Army, about the private security contractor Blackwater. Renamed Academi, that contractor came to function like a private army in Iraq and Afghanistan, operating outside formal rules of engagement, Scahill claims. Despite his background in investigating the shadow world of private military contractors, Scahill knew little about JSOC before interviewing an Afghan man

who survived a nighttime attack — conducted, he said, by American soldiers — that killed five of his relatives, including three women and a senior Afghan police commander who had been trained by U.S. forces. A report on the attack issued by NATO concluded that two of the three women killed in the Gardez raid — both pregnant — were “victims of a Taliban honor killing, bound and gagged by their own murderous family,” according to Scahill’s voice-over in the film. Scahill attempts to reconstruct the killings, which took place during a late-night family party to celebrate a new birth. Surviving family members testify that U.S. soldiers arrived at their house after the attack to dig bullets from the victims with knives. “I believe the family, but that wasn’t enough for me or anyone else,” Scahill said. “Who were these men that stormed into [police commander Mohammed] Daoud’s home? Why did they go to such horrifying lengths to cover up their actions?” It might be impossible to independently verify details of the killings, but the response of one family member who lost his wife and other relatives in the raid demonstrates what Scahill fears most about covert U.S. anti-terror operations. To avenge the deaths, the bereaved man aspires to blow himself up in an attack on U.S. troops; his calmer elders have thus far prevented

him from doing so. “It’s a huge diplomatic scandal,” Scahill said. “When you kill several civilians in pursuit of one or two terrorists, my sense is that we are actually creating more enemies.” Despite being discreetly filmed in war zones, the cinematography of this documentary is unusually rich and gripping, with camera work reminiscent of Kathryn Bigelow’s 2008 film The Hurt Locker. The camera spends time on its subjects and captures the dreadful experience of living in an ancient land whose tranquility is randomly ripped apart by attacks that come without warning. Beyond the suffering of unintentional targets — what the U.S. military calls the “collateral damage” of war — Scahill seeks to explain why this method of warfare remains so alluring to American military and political leaders. “From a conventional perspective, JSOC is beneficial to U.S. security. Both Republican and Democratic leaders have embraced this idea that they can kill their way to victory,” he said. “It’s asymmetric warfare, where you have wide latitude to operate and a willingness to break international laws.”

WE’VE CREATED ONE HELL OF A HAMMER, AND FOR THE REST OF ITS LIFE IT WILL BE SEARCHING FOR A NAIL. — from “Dirty Wars”

The unit has been around since the Iran hostage affair of 1980. “It was a small force that would be used in deniable operations — for instance, if there was a discreet operation where they wanted to take out a foreign drug kingpin,” Scahill said. It was also the group responsible for the botched operation in Somalia in 1993 that was immortalized in the book and film Black Hawk Down. “After that, Clinton put them on a leash. He saw them as out of control,” Scahill said. “It [ JSOC] was not a place to go if you wanted to make general. There was a glass ceiling.” After the Sept. 11 attacks, under the direction of Defense Secretary Donald Rumsfeld and Vice President Dick Cheney, JSOC grew to employ as many as 25,000 troops, according to The Washington Post, and expanded its presence across the globe. As Scahill hopes to make clear, the power of the secretive military force has only expanded under President Barack Obama. “We’re in this moment now where we have a popular president who has won the Nobel Peace Prize and is a constitutional lawyer by training,” Scahill said. “Yet he has consolidated some of the most dangerous aspects of the Bush-Cheney era.” Scahill’s investigations into JSOC black ops in Pakistan, Yemen, and Somalia also raise the question: Why do people in these countries put up with deadly attacks from U.S. forces? Sometimes, they don’t. “In Yemen in 2012, there was pretty much a major insurrection in response to U.S. drone strikes.” The other element inevitably brought up by Scahill’s reporting is what the U.S. long-term goal is in retaining a secretive covert-ops military force. Throughout world history, nations have waged war to secure territory, resources, or transportation hubs, and to defend themselves. It’s uncertain how this method of weeding out terrorist Al Qaeda leaders figures into this equation. Scahill said his own research has led him to a more unseemly analysis. “I’ve come to the conclusion that this thing has taken on a life of its own,” he said. “As one of my JSOC sources says in the film, We’ve created one hell of a hammer, and for the rest of its life it will be searching for a nail.” ◀

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details ▼ Jeremy Scahill in conversation with Tom Engelhardt, a presentation of the Lannan Foundation’s In Pursuit of Cultural Freedom series ▼ 7 p.m. Wednesday, Oct. 30 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $6, $3 students & seniors; 505-988-1234, www.ticketssantafe.org ▼ Screening of Dirty Wars with Scahill in attendance 6 p.m. Thursday, Oct. 31; Center for Contemporary Arts, 1050 Old Pecos Trail; $5 suggested donation; 505-982-1338, www.ccasantafe.org

Photo of Jeremy Scahill by Victoria Will/Invision/AP Photo; photo of drone by Steve Helber/AP Photo

PASATIEMPOMAGAZINE.COM

Play it on the mountain

Photos Roger Mastroianni

Apollo’s Fire

PASATIEMPO I October 25-31, 2013

Jeannette Sorrell, director of Apollo’s Fire

James M. Keller I The New Mexican

he early-music group Apollo’s Fire: The Cleveland Baroque Orchestra is no stranger to these parts. A memorable highlight of the 2010 season was the period-instrument ensemble’s performance of Monteverdi’s Vespers of 1610 at the Cathedral Basilica of St. Francis of Assisi, and in 2012 they were back, this time at the Lensic Performing Arts Center, for an invigorating program that explored the intersection of art music and folk music during the late-Renaissance and Baroque periods. On Sunday afternoon, Oct. 27, Apollo’s Fire will again touch down in the area, this time courtesy of the Los Alamos Concert Association. The musicians will turn their attention to one of the irreplaceable monuments of Baroque music, Bach’s Brandenburg Concertos — or, to put a finer point on it, five of Bach’s six Brandenburg Concertos. When we caught up with the group’s director, Jeannette Sorrell, we asked her what happened to the other one. “If we played all six of the concertos,” she explained, “it would be a pretty long concert. The Brandenburg Concerto No. 1 is a long piece, and it uses quite a few wind instruments that aren’t required elsewhere in the set; so for purposes of touring, it’s a lot more practical to present just the Concertos Nos. 2 through 6.” Pasatiempo had further questions. Pasatiempo: When performing instrumental music, the musicians of Apollo’s Fire sometimes gather in a rather tight semicircle around the harpsichord rather than spread out in a more luxurious “orchestra” setup. Should we expect that with your Brandenburgs concert? Does that approach have a musical effect? Jeanette Sorrell: The setup is a little different for each of the concertos, because each one has a unique instrumentation. That means the audience gets a different-looking stage picture for each piece, but always with the harpsichord in the middle. We like to be cozy onstage, and this does become reflected in the music-making. The Brandenburg Concertos are basically closer to chamber music than to symphonic music. In a symphony orchestra, musicians are selected for their technical and musical ability, but they are supposed to be kind of anonymous in their personality. We’re looking for something different from that. With us, each of the musicians is handpicked for the expressive qualities they add as individuals onstage. Pasa: Do these expressive qualities sometimes lead to surprises for listeners or for the other players? Sorrell: Indeed, surprises! There’s definitely improvisation that happens in the course of a performance. One place where we can count on it is the second movement of the Third Concerto, which is supposed to be improvised. Bach only indicated two chords to represent that movement, with the expectation that somebody from the ensemble would do something there — and we do. Usually it’s mostly me improvising on the harpsichord at that point, but others may join in. One never knows. There’s a lot of interaction onstage at our concerts, lots of exchanging of smiles, facial expression. Audience members often tell us they love to watch as well as listen. Pasa: Musicians always seem to light up at the idea of playing the Brandenburg Concertos, even to a degree that they don’t at the prospect of performing other great collections of the late Baroque,

like the Bach Overtures or the Handel Concerti Grossi. What is it about the Brandenburgs that sets them so much apart? Sorrell: A couple of things. The level of virtuosity in the solo parts is exhilarating in an almost athletic way. You have to train as if for an athletic event. A few of the parts are exceptional in that sense: the solo trumpet in the Second Concerto, the solo violin in the Fourth, and the solo harpsichord in the Fifth. For each of these, it’s like a mountaintop experience each time you play the piece. And then there’s a kind of spirituality that rings through Bach’s music — even though the Brandenburg Concertos are not sacred music, I feel that they harbor a universal healing quality. Quite a few years ago, we played the Brandenburg Concertos on tour in Washington, D.C., and the musicians went out to dinner beforehand. They all misunderstood the parking signs, and they got expensive parking tickets while they were eating. Everyone arrived at the concert in a terrible mood, arguing, pointing fingers at each other. And then they played the Brandenburg Concertos, and it was as if God had come down with a healing hand, and everybody was happy again. Pasa: You are the group’s director and also its harpsichordist. Does directing from the harpsichord lend a different outlook from, say, leading from the violin or from the cello? Sorrell: It makes a big difference. As a harpsichordist in Baroque ensemble music, I am first and foremost a continuo player. That means I’m focused on the harmonies, on which have greater weight and which pass by with a lighter effect. That affects the way you breathe, which is another way of saying it clarifies our whole approach to rhythm in Baroque music. Pasa: As the harpsichordist, you get your shining moment in the Fifth Brandenburg, which one might say is the fountainhead of all keyboard concertos. Sorrell: Do you want to know something strange? I have never heard the piece live apart from when I’ve played it myself. This is an amazing harpsichord part. It begins as if it’s going to play continuo; then it starts playing some of the principal melodies; then it goes crazy and simply hijacks the concerto. It’s absolutely unique in the Baroque repertoire. Pasa: There are some performance issues in that piece, the most salient being that Bach wrote two alternative versions of the cadenza in the first movement. Which do you choose to play? Sorrell: I play the longer one. It is just so beautiful, so special — and it’s very famous. I think people would be disappointed if I played the shorter one. ◀

details ▼ Apollo’s Fire: The Cleveland Baroque Orchestra plays Bach’s Brandenburg Concertos Nos. 2 to 6, presented by the Los Alamos Concert Association ▼ 4 p.m. Sunday, Oct. 27 ▼ Duane Smith Auditorium, Los Alamos High School, 1300 Diamond Drive, Los Alamos ▼ $35 at the door, $30 in advance; Tickets Santa Fe at the Lensic (www.ticketssantafe.org, 505-988-1234) & www.losalamosconcert.org

PASATIEMPOMAGAZINE.COM

Bill Kohlhaase I The New Mexican

WORLDLY WISE L E N I S T E R N ’S A F R I C A N T R I O

Sandrine Lee

orn and raised in Germany and a resident of New York City since 1981, guitaristvocalist Leni Stern has found another home in Africa. Long fascinated by the varieties of music heard across the globe — she’s spent time in India studying that country’s music — Stern embraced the music of Mali and Senegal as part of a progression that has seen her adopting a host of musical traditions. Her appearance with bassist Mamadou Ba and percussionist Alioune Faye at Gig Performance Space on Monday, Oct. 28, ahead of the release of a new recording, Jelell, will represent the purest expression of the influence that African music has had on her. That expression began with 2004’s When Evening Falls after a visit to Kenya and went fullblown in 2007 with the release of Africa. The disc was recorded at Afro-pop singer-songwriter Salif Keita’s recording studio in Bamako, Mali, with a mostly 24

PASATIEMPO I October 25-31, 2013

American group of musicians including her husband, guitarist Mike Stern; saxophonist Michael Brecker (who died before the album was released); and drummer Will Calhoun. Contrast that African-flavored collection with 2012’s Smoke, No Fire, which includes a full complement of African percussionists and string players along with Mike Stern and the bassist Esperanza Spalding. In addition to guitar, Leni Stern plays n’goni — a lute-like string instrument with a characteristic sound — on the recording. Jelell, Stern said in a phone call from her Manhattan apartment, extends her African recordings into Senegal and its Mbalax tradition popularized by Youssou N’Dour. “It’s putting jazz and rock back to its rhythmic roots in Africa. I’ve always found this kind of music plays itself. It’s such a natural fit with the guitar. There are several hundred different rhythms that come from Senegal, and I’m familiar with a few of them. I’ve incorporated them into some new songs and done arrangements on three songs from the Senegalese tradition.” Stern has been known as a composer since the late 1970s, when she came to America to study film

composition at the Berklee College of Music. “It’s funny that I was always known as the composer and Mike as the player. Now those roles have reversed. Mike is composing more, and I’m out performing.” She admitted that there was some competitive spirit between husband and wife. “You can’t avoid that. It’s a natural thing when you want to excel in what you’re doing, and you’re both doing kind of the same thing. But he’s one of the greatest guitar players alive today. So comparison can be kind of depressing.” By 1981, she’d left film scoring behind to devote her time to the guitar, playing in a number of rock and progressive bands around New York. Her first jazz band featured guitarist Bill Frisell, whom she had met while a student at Berklee, and the drummer Paul Motian. Her first several recordings were all instrumental and mostly in a jazz vein. Stern began employing her voice on the 1995 recording Words and began singing her own reflective, strangely poetic lyrics on 1997’s Black Guitar. “There’s something magical about the voice when it comes to communication. It connects with people. My guitar teachers always said that I should

play like a voice, and I would ask, What do you mean? Until you start singing, you can’t really know. It’s about breath, about spacing. The voice is the most original and touching of instruments.” Stern’s early career as an actress before leaving Germany had afforded her some singing roles. But she wasn’t comfortable doing it with her American bands until she was sure of her proficiency in English, both as a lyricist and a singer. Now, with help, she’s translating traditional African lyrics into her adopted language. Stern was also initially uncomfortable jamming with musicians in Africa. She knew so little about the music, she explained, that she couldn’t make much of a contribution. So she did the only thing she knew to do. “I was just playing the blues. I thought they were playing some American song for me, so I would fit in. But the more they played, the more I realized it was an African song. There’s so much similar in African music to American blues. You see where it came from. They might as well have been playing some John Lee Hooker song — even the stories were like the stories told in American blues. Not only the [melodies] but the rhythms are very similar.” She finds that the n’goni, which she plays regularly now, is a natural for that kind of music. “It really plays the blues all by itself. Really, just two strings, that’s all you need. It’s like the original blues instrument. When you play it, you realize that when you’re playing guitar you’re just imitating the songs that were originally played on the n’goni.” Stern’s experience exploring global music traditions allows her to see differences as well as similarities. It also gives her insight as to how various styles can influence one another, even if their origins are half a world away. “Every music tradition has its own specific colors, its own feel and techniques. The scales and melodic influences of Indian music had an influence on [John] Coltrane. He was very influenced by the emotional and melodic aspects of the raga. The effects that African-based musicians had on rock and jazz are hard to describe, that groove is hard to describe. But we recognize it because it makes you want to dance.” Her own interest in music outside the American and European sphere is the result of the attraction created by difference. “When I was in Germany, all I wanted to play was the blues. I thought that German music, that Bavarian tradition, sounded dumb. I think everybody has a desire for difference. People who have blue eyes want green eyes. People who have curly hair want straight hair. Everybody likes things that are new and fascinating.” She said that part of her drive to explore and travel resulted from her experience with breast cancer some 25 years ago. “I’m a long-term survivor. You know, you get that flash of your own mortality, and it makes you focus on what matters. I appreciate being alive so much more now. And I came to understand the power of music. Music took away the nausea of chemotherapy in a real way. That made me realize how powerful music can be. It’s a healing thing. I wasn’t supposed to survive. I carry the emotional scars of that, and I don’t really like to talk about it. But I do want to be a beacon of hope.” And where does that power in music come from? “It goes directly to the human heart. It highlights what we have in common, human emotions and the way we express them, as much as it highlights our differences.” Living part of the year in Africa allows her to become fully immersed in the culture. Not only does she take the opportunity to perform with some of West Africa’s most popular musicians, she teaches elementary-school-age children part-time at the Ouidah International Center for Arts and Music in Benin. “Kids may not like math, but they’ll play the drums anytime. If they draw and play music, then the arts give them a reason to be in school. We’ve seen studies that show that students’ academics skyrocket when they’re involved in the arts. I even use [music] for geography lessons. We would find these different spots in India on the map, and I would find some ragas and show them this is how they dance and sing. It’s amazing how much music can enhance the curriculum.” ◀

details ▼ Leni Stern African Trio ▼ 7:30 p.m. Monday, Oct. 28

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SOUND WAVES Loren Bienvenu

Catching some ZZs

“We’ve been coming down here four decades now. Same three guys, right here. Same three chords, right here,” Billy Gibbons said during ZZ Top’s Oct. 12 set at Buffalo Thunder Resort & Casino. This wasn’t your standard massive stadium or amphitheater casino show; it took place indoors, in Buffalo Thunder’s Tewa Ballroom — a carpeted, dimly lit room marketed by the casino as a “meeting & conference room facility.” There were no food tents, no beer gardens, and security was limited. To get to the Tewa Ballroom, you could walk through the hotel-reception area and past the arcade, Painted Parrot buffet, and convenience store, or come up from the gaming floor on a narrow escalator that slowly removes you from the ceaseless dinging of slot machines below. The hallway outside the entrance served as a place for people to mill around before showtime, providing a makeshift bar and one modest merchandise booth. But shortly before ZZ Top took the stage (8 p.m. sharp, with no opening band), the crowd was forced to make way for a mariachi band leading a large wedding party into the Pueblo Ballroom next door. Gibbons, who has played some of the biggest venues in the world (including the Louisiana Superdome for the 1997 Super Bowl halftime show) appreciated the humor in the situation. “We made it to the big time,” he joked early into the set. “We’re playing in a casino!” The guitarist is known for being wry and self-aware. Take his confession that the band has played the same chords for 40 years — the traditional blues form is based on a three-chord progression (I-IV-V), which can be heard in ZZ Top songs like “Gimme All Your Lovin’,” “Legs,” and “Sharp Dressed Man.” On one hand, this is one of the most common song forms of all time, encompassing countless blues and rock and pop songs. On the other hand, it illustrates the creativity that can arise out of constriction — only a very few handful of musicians have written songs within this format that remain recognizable to millions of people (and their children).

ZZ Top

PASATIEMPO I October 25-31, 2013

The blues rockers from Houston have sold more than 25 million albums — more than 10 million of these sales come from the 1983 album Eliminator, which contains the three hits already mentioned. In spite of such success, ZZ Top’s members have bucked the trends as far as avoiding the standard, self-destructive rock-star trajectory. They have no well-publicized histories of drug abuse or arrest (contrary to the intimations of their 1976 song “Arrested for Driving While Blind”), and though their stage persona shouts “Hells Angels,” it also whispers “Kris Kringle.”

The prospect of seeing oneself in the mirror clean-shaven is too close to a Vincent Price film - - - a prospect not to be contemplated, no matter the compensation. - - - Billy Gibbons Gibson did make a few mild booze-related jokes during the Buffalo Thunder show. Upon arriving, he said, “[Management] told us, ‘Do whatever you want. There are no rules.’ Dusty reminded me there’s two rules. Rule number one, no drinking during the gospel songs. What’s rule number two? No gospel songs.” Later, sometime around the performance of the ultra-riffy hit “La Grange,” he flipped around his fuschia-colored electric guitar to reveal a secret handwritten message on its back: “beer.” Off stage, the trio is complex. Dusty Hill enjoys playing the bass clarinet as well as the electric bass. Drummer Frank Beard is a highly skilled golfer. And Gibson balances the unrelated passions of African art and Mexican cuisine. Given that he owns his own line of hot sauce, it was no surprise that he spent more mic time discussing green chile than music. He said the first question venue management asked him was whether he got his supply of Hatch upon arriving in town. His response was, “They sell the green chile at the dollar store; it’s already ready. Have you ever had a wet sack of green chile? You gotta take out your knife and peel them,[and] your fingers burn.” This combination of culinary aside and standard touring band nod to current region did not go unappreciated. The trio walked offstage a little more than an hour after downbeat. After sustained encore demands from the audience, they reappeared in embroidered purple jackets, proving that their few minutes absence was necessitated by a costume change, not a reluctance to keep rocking. The new look was only a subtle change from the previous one. In both cases, ZZ Top lived up to the lyrics contained in the classic style-guide that is “Sharp Dressed Man,” showing off “clean shirt[s], new shoes ... black shades,” and of course, in the case of Gibson and Hill, well-groomed beards. “After four decades, we’re still trying to figure this out,” Gibbons said when introducing the band. “The man with no beard: Mr. Frank Beard.” The beards cultivated by Gibbons and Hill, on the other hand, reach mid-chest and are an integral part of their identity; so integral, in fact, that the two refused to lop them off when offered $1 million by Gillette in 1984. As reported by NME in 2012, Gibson remembered his response almost 20 years later: “No dice. The prospect of seeing oneself in the mirror clean-shaven is too close to a Vincent Price film — a prospect not to be contemplated, no matter the compensation.” Fortunately for Gibson, most nights of the year he can approximate a glance in the mirror by looking downstage to Hill. Watching the two of them sashaying in time to the music and wagging their guitars closely together, it was easy to hypothesize that ZZ Top has lasted for so long for the same reason they continue to fill large venues (casino ballrooms and stadiums alike) — these guys probably like one another just as much as their audiences likes them. ◀

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R ethinking new mexico art free symposium november 1 – 2, 2013 Join the New Mexico Museum of Art Staff, Curators, Artists, and Scholars Laura Addison, Tony Chavarria, Andrew Connors, Janet Dees, Constance DeJong, Robin Gavin, Tom Joyce, Mary Kershaw, Dr. Nancy Marie Mithlo, Ryan Rice, Merry Scully, Luis Tapia, Dr. Joseph Traugott, Katherine Ware, Will Wilson, and Ellen Zieselman as they discuss art in broader terms than formal issues and address the development of art in New Mexico across cultural divides. Please rsvp to Ellen Zieselman at ellen.zieselman@state.nm.us

On the Plaza in Santa Fe · (505) 476-5072 · NMArtMuseum.org Presented in conjunction with the exhibition It’s About Time: 14,000 Years of Art in New Mexico. This symposium has been funded by grants from the New Mexico Humanities Council, Newman’s Own Foundation, and the Museum of New Mexico Foundation. above, top to bottom: Maker Unknown, Diné (Navajo) Germantown Double Saddle Blanket (detail), 1880 – 1890, Courtesy Museum of Indian Arts and Culture / Laboratory of Anthropology. Georgia O’Keeffe, Pedernal with Red Hills (Red Hills with the Pedernal), 1936, NMMoA. Diego Romero, Siege of Santa Fe, 2009, NMMoA.

PASATIEMPO I October 25-31, 2013

PASA REVIEWS

Serenata of Santa Fe Scottish Rite Center, Oct. 20

At cross-purposes

erenata of Santa Fe opened its chamber music season at the Scottish Rite Center on Sunday afternoon, Oct. 20, with a concert of four works, each of which spotlighted a different combination of musicians. In remarks to the audience, Pamela Epple, the group’s oboist and artistic director, explained that she assembled the program specifically with its conclusion in mind. That finale was the group’s first performance — indeed, the “Southwest premiere” — of John Harbison’s Crossroads, a three-movement, 18-minute work to poems by Louise Glück, scored for solo singer, oboe, and string quintet. The piece was commissioned by a consortium of 15 entities from throughout the United States, one of which was Serenata. The world premiere took place this past August in La Jolla, San Diego, and each of the co-commissioners will have programmed the work by the end of the coming year. Crossroads received a polished performance from its Santa Fe coprogenitors, the coterie of participating musicians comprising mezzosoprano Krista River, violinists L.P. How and Sarah Tasker, violist Christof Huebner, cellist Sally Guenther, double bassist Patrick Neher, and Epple. The three Glück poems address the theme of leave-taking and the transience of life, but rather than rage against the inevitable, they are infused with contentment about what the writer has gratefully experienced. River boasted a clear, appealing tone and excellent English diction; this, combined with the fact that Serenata thoughtfully printed the poems in the program, ensured that the audience might grasp the flavor of Glück’s writing. Harbison’s setting worked rather at cross-purposes, his characteristic musical style tending toward the dour or depressive. The general denseness of his textures suggested a musical sketch en grisaille that never evoked the alluring colors that inhabit Glück’s opening poem: the seasons changing (“green things followed by golden things”), the sun setting “in a haze of red fire.” The title of the second movement, “Primavera,” possibly accounts for Harbison’s idea to make a brief neo-Renaissance (Botticellian?) allusion, but it seems strange that he should choose a poem that proclaims “the artist intends/a mood of celebration,” which seems at odds with his own creative disposition. The piece was lucidly structured, with an instrumental prelude returning as a postlude to the first and second movements. This set up the expectation that the same music, or a variant of it, would also conclude the third poem, creating a sort of large-scale rondo; but it did not, and the final movement accordingly left listeners hanging a bit at loose ends. The opening work on the program, Olivier Messiaen’s Theme and Variations for Violin and Piano, was impressively rendered by violinist How with pianist Debra Ayers, who chose to explore its compelling forthrightness rather than its potential mystery. The dynamic fourth variation came across with particular passion. Composed in 1932, near the beginning of Messiaen’s career, this work hints at the composer’s distinctive future style but also serves as a reminder of how his language derived from that of Debussy. Less successful were Brahms’ two “viola” songs, in which River seemed vocally uneasy and violist Huebner out of sorts. Thomas Oboe Lee’s “Morango ... Almost a Tango,” for string quartet, was a jazz-inflected morsel that unrolled over a much-repeated ostinato figure in the cello; its success would probably depend on precision and authority in realizing that line. — James M. Keller

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TERRELL’S TUNE-UP Steve Terrell

Shock rock

The holiday season is upon us. It’s the time for trick-or-treating, bobbing for apples with razor blades, communicating with the spirits of the dead — and listening to deliciously tacky rock ’n’ roll like that found on Mondo Zombie Boogaloo. This definitive Halloween collection of the year features the work of three of my favorite bands on North Carolina’s Yep Roc label — The Fleshtones, a New York garage band that’s been around since the ’70s; Southern Culture on the Skids, a North Carolina trio that specializes in a raw Dixie-fried mix of rockabilly, swamp rock, country, and surf music in songs about fried chicken, stock-car races, and cheap liquor; and Los Straitjackets, an instrumental band known for wearing Mexican wrestling masks even when it’s not Halloween. It’s just what the (mad) doctor ordered. The album even has a cover by Stephen Blickenstaff, best known for creating the groovy ghoulie cover for The Cramps’ 1984 album Bad Music for Bad People as well as doing the art for last year’s GaragePunk Hideout Halloween compilation, Garage Monsters. The good news is that the three Mondo Zombie bands are touring together. The bad news is that they aren’t playing anywhere near Santa Fe, so this album will have to suffice for those of us in the rock ’n’ roll hinterlands. I have to say my favorite songs here are by Southern Culture on the Skids. I never knew until a couple of years ago, when the group released a ready-for-Halloween album called Zombified, how fond the band is of monster songs. The five new tracks on Mondo Zombie Boogaloo are swampy, twangy treasures. These include a cover of “Goo Goo Muck,” a song made famous by The Cramps but originally done by Ronnie Cook & the Gaylads. Mary Huff of SCOTS sings it sexy. They also do a Western-flavored tune called “The Loneliest Ghost in Town” as well as “Demon Death,” which starts out with a squall of feedback before settling into a Deadbolt-style doom-swamp groove with Rick Miller speaking nearly all the lyrics. My favorite Southern Culture tune here is “Tingler Blues,” which starts out with an audio clip from The Tingler, a 1959 Vincent Price movie best known

for its promotional gimmick of vibrating devices installed in theater seats, simulating “tingling” in the scary parts of the movie. Miller sings in his lowest register: “I’ve got a monster living inside of me/It’s a killer and it won’t let me be.” The least valuable SCOTS number on this collection is an instrumental called “La Marcha de Los Cabarones.” It’s not bad, but when you’re sharing an album with Los Straitjackets, you probably ought to leave the instrumentals to them. And indeed, the musical luchadores from Memphis have some dandy instrumentals on Mondo Zombie Boogaloo. Most are theme songs from films including Halloween, Young Frankenstein (a beautiful, almost Latin-sounding melody on that one), and yes, Ghostbusters. Unfortunately, The Fleshtones have only four tracks on the album — while the other groups each have five tracks — and one of those, “Ghoulman Confidential” (which sounds like a crazy mash-up of “Short Shorts” and the Batman theme) is on a previous Yep Roc Halloween sampler, Rockin’ Bones. But the contributions of The Fleshtones are essential to the album — especially (“Sock It to Me, Baby) in the House of Shock,” a silly ’60s monster song, and “Haunted Hipster,” a Fleshtones original, which is a back-handed ode to the universally loathed modern-day hipster (“You think you’re cool, but you are dead too”). One of the album’s best songs is Los Straitjackets’ “It’s Monster Surfing Time,” a cover of a song by The Deadly Ones, a surf band from the ’60s led by Joe South. He later found fame as the composer of “The Games People Play” and “(I Never Promised You) A Rose Garden.” The three bands contribute to “Que Monstruos Son,” a Spanish-language version of “The Monster Mash” with The Fleshtones’ Keith Streng providing the Bobby “Boris” Pickett imitation. This isn’t the first “Monster Mash” in Spanish. Search YouTube and you’ll find several videos of Mexican singer Luis “Vivi” Hernandez performing his hit he called “El Monstruo.” Like the vampires and zombies who haunt this album, Halloween spook rock cannot die. Long may it rattle your bones. Check out www.yeproc.com/mondozombieboogaloo-com. Also recommended: ▼ Merles Just Want to Have Fun by Bryan and The Haggards featuring Eugene Chadbourne. I wouldn’t be surprised if a lot of Merle Haggard fans listening to this went away thinking that these guys were making fun of ol’ Hag, considering some of the off-key horns and Bizzaro World solos that color this album. But I don’t think that’s the case. Chadbourne, an avant-garde guitarist, and sax maniac Bryan Murray are indeed having a lot of fun with the material — primarily Haggard songs and a medley of Bob Wills songs that Merle has covered — but they’re not making fun. Even though Hag didn’t do it this a way, this is a true tribute done with love in the heart. Neither Chadbourne nor Murray are country musicians, but both love country music — even though in their hands the music gets mutated into something new. The first time I ever heard Chadbourne on the radio, he was doing a crazy Johnny Paycheck medley. As for Murray, this isn’t his first Merle rodeo. Bryan and The Haggards have a couple of albums filled with his songs. The opening cut, “The Fightin’ Side of Me,” one of Haggard’s most belligerent numbers, is turned into what sounds like a drunken polka (Chadbourne begins the second verse with “I read about some squirrelly guy” and abruptly changes the mood to “That’s me! I don’t believe in fightin’.”) Soon the tune melts down into jazz cacophony. Then there’s “The Old Man From the Mountain,” which Chadbourne and crew do as an insane rocker. Another highlight is “Listening to Wind,” which retains the song’s lovely melody, even with the off-kilter jazz embellishments. The album starts with “Fightin’ Side of Me,” but it ends with “That’s the News,” a relatively recent Haggard song, in which he was beginning to question the endless wars of the 21st century. Find the album at http://tinyurl.com/Merlesfun. ◀

PASATIEMPO I October 25-31, 2013

what’s happening

Tonight connect with art through the

power of dance

Friday, October 25, 5:30 and 6:30 pm. Julie Brette adams has

been entertaining audiences as a performer/choreographer for twenty years. watch her tell the story of the artwork in the museum through movement. two half-hour performances.

Coming up

puBlic symposium: rethinking new mexico art Friday, November 1, 5:30–6:30 pm. keynote address: “why it’s time to rethink new mexico art,” by dr. cody hartley, director of curatorial affairs, georgia o’keeffe museum. free. reception to follow. Saturday, November 2, 9:30 am–5 pm. three sessions discuss art in new mexico. Visit www.nmartmuseum.org for details.

new mexico: the artists’ century Monday, November 4, 10–11:30 am. public lecture: “the university of new mexico and albuquerque.” retired curator dr. Joseph traugott will discuss important moments in new mexico’s art history, such as when “art moved south” from taos and santa fe to albuquerque.

New Mexico MuseuM of Art 107 w. palace ave | on the plaza in santa fe | 505.476.5072 | nmartmuseum.org |

Design Santa Fe Oct 30 - Nov 2 designsantafe.org PASATIEMPOMAGAZINE.COM

PASA TEMPOS

album reviews

CAVE Threace Great Voices Sing John Denver (MPE Music) (Drag City) Cave uses Are you expecting any classicaltraditional rock instrumentation music lovers to come trick-or-treating to create long, psychedelic drone balthis year? The very thought of this new CD lads. The quartet’s jams are at least partially will be sure to fill them with terror. For good improvised but not in a virtuosic or indireason cherubic John Denver (a native of vidualistic fashion. The aim is more to Roswell) was a top star of the 1970s; his set an overall mood by improvising with songs dripped with sincerity and were nicely texture rather than notes. The opening crafted to his clear-voiced, nasal technique track, “Sweating Fingers,” seems an apt with strum-along accompaniment. In 1981, description for what happens when a keyhe joined mega-tenor Plácido Domingo for a duo-rendition of boardist, guitarist, bassist, and drummer all play the same phrase his song “Perhaps Love,” and that is what gave Denver’s longfor about six minutes (and not a particularly complex one at that — time producer, Milt Okun, the idea — OK, he says it was his wife’s it reduces itself over time, from a four-bar vamp to a single-bar ostiidea — to assemble 13 noted opera singers (plus a couple of nonnato). Up next is “Silver Headband,” which continues to use repetition opera singers, like Domingo’s son) for this recital extravaganza with as a means to draw in the listener. As a result, even subtle changes become saccharine orchestral arrangements by Lee Holdridge. Perfectly suited emphatic by virtue of the length of time that passes in between them. though Denver’s songs were to his delivery, they consist of simplistic, “Arrow’s Myth” could have come from Miles Davis’ electric period, but the repetitive melodies, and most of these singers haven’t a clue what final two songs on the album return to more modern realms reministo do with them. An exception is Santa Fe’s Patricia Racette, cent of the instrumental band Tortoise (founded in 1990). The who sings “Leaving on a Jet Plane” with her convincing music on Threace would not succeed without the emphasis cabaret voice and builds the piece into a captivating scene. on instrument tone and player precision — if keyboardist A few other participants are not awful (Danielle de Niese, Rotten Milk relied on overused synth patches or was Are you expecting Nathan Gunn), but a few voices are showing wear sloppy for even an instant, the spell would be broken. (Domingo, Denyce Graves) or are irrevocably wrong Instead, Cave creates a time loop where 45 minutes feels any classical-music for the assignment (Dolora Zajick, Thomas Hampson). like 45 seconds or maybe 45 hours. — Loren Bienvenu Still, where else will you hear bass-baritone Shenyang lovers to come trick-or-treating sing “Shanghai Breezes” in Chinese? — James M. Keller BLITZEN TRAPPER VII (Vagrant Records) The last band this year? The very thought of of note to name an album by release number in Roman MACK AVENUE SUPERBAND Live at the Detroit Jazz numerals was Led Zeppelin. While the Portland, ‘Great Voices Sing John Denver’ Oregon, band Blitzen Trapper doesn’t quite aspire to Festival 2012 (Mack Avenue) This is the debut album by an all-star band that premiered at the Detroit festival 1970s heavy-metal god status, there are many other aural will be sure to fill last year and played again at this year’s event with a few pleasures of that lost decade — Sly and the Family Stone, personnel changes. The disc begins with “Liberty Avenue the Grateful Dead, the Allman Brothers — whose influthem with terror. Stroll” and a big, live-jazz sound, the enthusiastic opener ences lead singer and songwriter Eric Earley are unafraid boasting fine solos by saxophonist Tia Fuller, trumpeter Sean to wear on his sleeve. While this album lacks a standout single like “Wild Mountain Nation” or “Furr,” previous hits that Jones (who wrote this new song), pianist Aaron Diehl, and bassist propelled the band to national acclaim, it remains a nuanced tour Rodney Whitaker. Mack Avenue says the band is “the sort of chemistry experiment whose success is predicated on its combustibility,” and that is through Southern-inflected country-rock songwriting. “Don’t Be a Stranger” an accurate description, especially fueled by drummer Carl Allen, although is a wistful tightrope walk between Dylan-esque folk and Nashville country. The blissful harmonizing of “Ever Loved Once” is a perfect song for the group’s cover of Miles Davis’ “All Blues” has a quieter mien: it’s basically Earley, depicting lovelorn characters whose search for a stable home and a quartet piece alternately led by Gary Burton on vibes and Kevin Eubanks lasting love seems to push them well into middle age. Not all tracks on guitar. For a barely recognizable “Guantanamera,” Alfredo Rodríguez hew to this formula. “Oregon Geography” blends the sound of falltakes over on piano, and it’s a fractured delight, a contrapuntal tour ing rain, distorted banjo and fuzzed-out de force. Next up is “Breakthrough,” a real vocals, while “Earth (Fever Called Love)” burner. Fuller, who premiered the tune on comfortably melds R & B drum programher Healing Space (2007) just tears up the studio, and Diehl adds a sparkling, steaming ming into the band’s country-folk formula. piano part. Also noteworthy are a couple of This wouldn’t be the best album to start change-of-pace songs, Django Reinhardt’s listening to Blitzen Trapper (that honor “Nuages” featuring guitarist Evan Perri and falls to 2008’s Furr), but for longtime “Oh Daddy Blues,” a hearty vocal outing by listeners this is welcome new material Cécile McLorin Salvant. The live set ends that finds the band confident enough with “Honky Tonk,” which comes to experiment yet secure enough to across as a party song for nonet. continue in its familiar vein. — Paul Weideman — Casey Sanchez

PASATIEMPO I October 25-31, 2013

THE FRIENDS OF ARCHAEOLOGY INVITE YOU TO THE

2013 CELEBRATION OF ARCHAEOLOGY AND

HOLIDAY PARTY READINGS & CONVERSATIONS brings to Santa Fe a wide range of writers from the literary world of ﬁction, nonﬁction, and poetry to read from and discuss their work.

This celebration benefits research and education projects for the Office of Archaeological Studies throughout New Mexico. Come find out about ongoing excavations and research at the Water Canyon Paleoindian site, learn about low energy plasma radiocarbon sampling and experience hands-on archaeology at the award winning education exhibit. Highlights of this year’s silent auction include a beautiful hand painted wooden room screen painted by Zuni artist Edward Lewis, an intriguing array of antique items from Tibet, and a framed original 18th century print by the Italian master Piranesi. There will also be original jewelry, framed art work, Nambe ware, pueblo pottery, and travel getaways.

Sunday, Nov. 3, 3-6 PM

Hotel Santa Fe, 1501 Paseo de Peralta $20 person includes a light tasty buffet and a beverage. A cash bar is also available.

MNMF

MUSEUM OF NEW MEXICO FOUNDATION

Reserve tickets by calling the hotline 505-992-2715 ext.8 or purchase them at the door. Special thanks to the Hotel Santa Fe for their generous support.

LUIS ALBERTO URREA with Michael

Silverblatt

WEDNESDAY 20 NOVEMBER AT 7PM LENSIC PERFORMING ARTS CENTER Luis Urrea writes about U.S.–Mexico border culture with a tragic and beautiful intimacy that has no equal. — Boston Sunday Globe

Luis Alberto Urrea’s native Mexico has always served as the author’s muse, inspiring all 13 books that span ﬁve genres. His nonﬁction The Devil’s Highway tells the harrowing story of a group of Mexican immigrants lost in the Arizona desert. Urrea’s novels The Hummingbird’s Daughter and its sequel, Queen of America, chronicle the life of beloved healer Teresita Urrea, deemed “the Mexican Joan of Arc.” Luis Urrea grew up along both sides of the border, forever affected by its dichotomy, brutality and richness, saying, “Borders everywhere are a symbol of what divides us. That’s what interests me.” TICKETS ON SALE NOW

ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID Video and audio recordings of Lannan events are available at:

www.lannan.org PASATIEMPOMAGAZINE.COM

MEDITERRANIA HAS MOVED TO A NEW, MUCH LARGER SHOWROOM ON GALISTEO STREET!

mediterrania 222 Galisteo Street (between Water & Alameda) Customer parking available in the back

989-7948 • www.MediterraniaAntiques.com

LIV san & E M ta fe NI U GH SIC TL IFE

NEW LISTINGS DAILY 34

PASATIEMPO I October 25 - 31, 2013

santafenewmexican.com/calendar

ON STAGE Kiss or treat: Love Gun

When it comes to dressing up in costume, the members of Love Gun don’t always wait for a holiday. Santa Fe’s very own Kiss tribute group regularly goes all out for shows, but the Halloween performance has become enough of a tradition that Love Gun is forced to up the flamboyance ante. Guitarist Mikey Baker promises real fire and fake blood this year, which marks the first time the band performs twice in one night. On Thursday, Oct. 31, Love Gun plays an all-ages show at 7:30 p.m. ($5), followed by a 21-and-over show at 9:30 p.m. ($7), both taking place at El Paseo (208 Galisteo St., 505-992-2848). Whether or not the time in between sets is long enough for them to fix their makeup remains to be seen. — L.B.

Art movement: Julie Brette Adams

Santa Fe-based dancer and choreographer Julie Brette Adams gives new meaning to the term “action painting” when she appears in the galleries at the New Mexico Museum of Art (107 W. Palace Ave., 505-476-5072). In Connect With Art Through the Power of Dance, Adams tells the story of the museum’s artworks through movement. “When you don’t have other bodies onstage, you dance with stuff,” said Adams, who is known for her solo-concert series, One Woman Dancing. Performances are at 5:30 and 6:30 p.m. on Friday, Oct. 25, and are free. — M.A.

Background Luke Batten: Untitled (detail), 2002, courtesy New Mexico Museum of Art; Julie Brette Adams photo Paulo T. Photography

THIS WEEK

Fall migration: Birds of Chicago

How many so-called North American roots groups have songs that refer to trampolines, tapeworms, and “The Moonglow”? Perhaps only Birds of Chicago, which has emerged as a steady purveyor of roots music on the festival circuit, bringing its own brand of upbeat jangle to each tour date. The group operates as a duo with occasional full-band backing, its core comprising JT Nero and Allison Russell. These singer-songwriters have radio-friendly voices, and they describe their music as “not too perfect, not at all saccharine.” It might not be saccharine, but it’s plenty sweet. Birds of Chicago play the Music Room at Garrett’s Desert Inn (311 Old Santa Fe Trail, 505-982-1851) on Monday, Oct. 28, at 7:30 p.m. Tickets are $25 at the door or $22 in advance through www.brownpapertickets.com. — L.B.

Three voices: Molly Sweeney

Molly Sweeney, in the ’90s Brian Friel play by the same name, is a newly married blind woman beginning to contemplate the prospect of vision-restoring surgery. The play unfolds as a series of monologues in two acts, with no interaction between the three actors (besides Molly, the cast includes her husband, Frank, and Mr. Rice, a surgeon). Irish playwright Friel has been hailed as a living master of dramatic arts in his home country and abroad, and the monologue is one of his specialties. The play is touring New Mexico as a Theaterwork production with stops in Peñasco and Corrales. The Santa Fe run takes place at 7 p.m. Friday and Saturday, Oct. 25 and 26, and at 2 p.m. Sunday, Oct. 27, at the Santa Fe Woman’s Club (1616 Old Pecos Trail). Tickets, $15 (discounts available), may be purchased at the door; for reservations call 505-471-1799. — L.B.

PASATIEMPOMAGAZINE.COM

Michael Abatemarco I The New Mexican

The Pric e is right A Halloween celebration of Vincent Price

House of Wax, classic horror flick, rated PG, Jean Cocteau Cinema, 6:30 p.m. Thursday, Oct. 31, only, 4 chiles The 1953 film House of Wax is one of the great entertainments from Hollywood’s golden age, with a psychologically perceptive and disturbing turn by Vincent Price as Prof. Henry Jarrod, a passionate artist who sculpts wax figures for his museum. (He echoes the role played by Lionel Atwill in the 1933 Michael Curtiz-directed Mystery of the Wax Museum, of which House of Wax is a remake.) The Jean Cocteau Cinema brings House of Wax to the big screen for one night only on Thursday, Oct. 31, screened the way it was intended to be seen — in 3-D. For the special Halloween presentation, Victoria Price, daughter of the King of Grand Guignol, introduces the film. “Director André De Toth only had one eye and couldn’t see in 3-D,” Price told Pasatiempo. Aside from some in-your-face 3-D sequences, including one involving a sideshow barker with a ball and paddle, the effects are mainly in service to the story. The film is no less entertaining in 2-D. “I first saw it with my father a couple of years before he died,” said Price, who generally avoids horror movies. “I don’t like violent movies, and I certainly don’t like to see my father being cruel and hurting people, so I avoid them.” The evening’s events include a costume contest and prizes as well as a screening of a short documentary on the making of House of Wax. Proceeds from ticket sales benefit the Santa Fe Film Festival. Price hopes to establish an annual autumn event showcasing her father’s films. Vincent Price’s performance in the movie establishes Jarrod as a man of sensitive nature, in love with beauty. Viewers might not understand the depth of Jarrod’s love for his wax creations, but we believe that he feels that love. When he speaks to them, he seems to hear their replies. “That’s what drew my father to the role,” Price said. “He was always interested and involved in visual art.” Jarrod’s tenderness toward the wax figures makes an early sequence in the film harrowing and heartbreaking: a desperate business partner, unhappy with the museum’s flagging income, burns it down to collect the insurance money. Jarrod barely escapes with his life, but he is physically and emotionally scarred. Price’s genius is in making Jarrod’s madness palpable and understandable, and that makes him all the more chilling. Revenge against his ex-partner is only part of the picture, and for a brief spell he’s a villain we can root for. By the film’s end, however, Jarrod’s sadistic nature is played up with gleeful exuberance. If you’ve never seen Price in a movie and dismiss him as merely a camp horror actor, consider his role as Shelby Carpenter in Laura (1944). He also brought credibility and persuasive acting to the horror roles that made him a household name. “House of Wax wasn’t his first villain role,” Price said, “but it was certainly his first horror movie.” There are elements of camp in House of Wax, but it falls short of mustache-twirling melodrama thanks to Price, whose performance shines above all others in the film, including that of the lovely Phyllis Kirk as damsel in distress Sue Allen. Jarrod, bound to a wheelchair after the fire, has reopened his museum. No longer content to focus his talents on creating beauty alone, he intends to give the public what it wants: sensationalism in the form of blood and gore. Allen begins to suspect that something’s amiss when she notices that the museum’s Joan of Arc display bears an uncanny resemblance to her recently deceased friend Cathy (a squeaky-voiced Carolyn Jones), whose body has disappeared from the morgue. It isn’t long before others notice that Jarrod’s wax figures look like other recent murder victims whose bodies have also vanished, including Jarrod’s former partner, whose suicide was staged by Jarrod. He explains to investigators

Let them eat wax: Vincent Price

Under the domes: Phyllis Kirk continued on Page 38

PASATIEMPO I October 25-31, 2013

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Vincent Price and Paul Picerni

that he models his creations on cases that have made recent headlines, and the dolts buy it — but Allen doesn’t. Jarrod plays to Allen’s vanity. He needs a model to recreate his lost masterpiece, Marie Antoinette, and persuades Allen to meet him at the museum to discuss it. Allen has an ally at the museum: Paul Picerni in the role of Scott Andrews, a sculptor Jarrod takes on as his protégé. Jarrod has lost the use of his hands after the fire and relies on assistants to sculpt under his direction. One assistant, the hulking, muscular Igor, is played by Charles Bronson (credited as Charles Buchinsky). The simple-minded Igor has skilled hands and a bad habit of giving all his creations his own face. Igor’s treatment by some characters might seem shocking to today’s audiences. When Jarrod introduces Bronson’s character — “This is my assistant Igor. He’s a deaf mute.” — the line is unintentionally funny. Less amusing is an interrogation scene in which a police inspector slaps Igor around, yelling “Talk! Talk! Talk!” Andrews is a good guy, but he doesn’t believe, as Allen does, that there are dead bodies under the wax. It takes some convincing on Allen’s part for him to come around. One of the film’s best scares comes when Igor attempts to behead him with what was apparently a real guillotine, in a scene that caused Picerni more than a little consternation. House of Wax and Mystery of the Wax Museum, a film that was essentially lost for decades after its initial release, have their die-hard fans, and people tend to like either one or the other, but in terms of major plot developments and tension they’re very much alike. There is what appears to be a wicked homage to the original film when Jarrod, leading a tour through the museum, stops at one exhibit depicting a torture scene. The victim bears a resemblance to Fay Wray, who played opposite Atwill in Mystery of the Wax Museum. The wax figure is dressed like Wray in publicity stills for King Kong. Wray’s character narrowly escapes the hot wax treatment in the original film, but her likeness in House of Wax is not so lucky. Price’s Jarrod is one of the great villains of cinema. He expresses pathos and sadism in equal measure. It is difficult not to see him as a tragic figure until his horrifying description of the pain Allen can expect as his next victim shows the depth of depravity to which he’s fallen. ◀

details ▼ House of Wax screening in 3-D, Halloween party & costume contest with mistress of ceremonies Victoria Price ▼ 6:30 p.m. Thursday, Oct. 31 ▼ Jean Cocteau Cinema, 418 Montezuma Ave. ▼ $30, students $15; 505-466-5528

PASATIEMPO I October 25-31, 2013

visit our new location

Yippie-Yi-Oy-Vey

Fine Tribal Jewelry Art & Artifacts 924 Paseo de Peralta #3 at Canyon Rd. free parking

505-820-6191 www.coyotespaw.com

“Nice Jewish Cowboys and Cowgirls”

Sunday, October 27, 2 pm NMHM Auditorium

Pioneering ranchers, early cowboys and a remarkable photographer. Learn more as the museum joins with the New Mexico Jewish Historical Society and Temple Beth Shalom for this panel presentation, part of Cowboys Real and Imagined. Free with admission (Sundays free to NM residents).

Emily Cheng WholeInOne PA I N T I N G S A N D W O R K S O N PA P E R

October 25 – November 22 OPENING RECEPTION:

Friday, October 25, 5-7 pm Artist will be present

Roger Atkins In Case of Emergency MIXED MEDIA A S S E M B L AG E S

October 25 – November 22 OPENING RECEPTION:

Friday, October 25, 5-7 pm Artist will be present 435 South Guadalupe, Santa Fe, NM 87501 505 982-8111 zanebennettgallery.com Tues–Sat 10–5 or by appointment

PASATIEMPOMAGAZINE.COM

Jennifer Levin I For The New Mexican

the family that folds together a personal story

his is a tale of failure so terrifying that it made a 4-year-old girl cry and a grown man toss a wrinkled paper airplane at the ground while grumbling, “Here, it’s a bat!” I am terrible at origami, the Japanese art of paper folding. Someone got me a kit for my last birthday, and I tried to make a cat face, which is when I found out that I couldn’t understand the instructions for even the most basic folds. So when my editor handed me Horror-Gami, an instructional book of Halloween-themed origami models by New Zealand paper-folding rock star Joost Langeveld, and said, “Do something with this,” I knew it would be a disaster. My friend Corey agreed to let me do origami with her kids. Miles, 9, was unsure about the activity until I told him that it was OK to be terrible at it. Maggie, 4, had spent the morning before my arrival singing the words “Paper monsters!” over and over again. Both kids were excited about Halloween coming up, though Corey said their family isn’t especially dedicated to the holiday. “We don’t go all-out,” she said. “We go to the pumpkin patch and carve a pumpkin, and we put some decals on the windows that Maggie obsessively rearranges for a few weeks. The kids dress up and we go trick-or-treating, 40

PASATIEMPO I October 25-31, 2013

of course. Even though no one really likes trick-ortreating. Someone always cries.” She said there is too much pressure on parents to make every single holiday special. “It’s like an hour a day you’re actually celebrating whatever it is. When you called about origami monsters, I thought maybe it would be fun. My expectations are pretty low.”

“I’m going to make an instructional video about how to fail at origami,” said 9-year-old Miles. Miles decided we should begin by making an ax, which is the first model in the book. The book comes with 100 sheets of “specially designed” paper that correspond to specific origami models. Each of us took a sheet of brown-and-black paper and attempted Step #1: “Valley fold the paper in half horizontally and unfold,” and then “fold the bottom edge to the center crease.” Unsure we’d done that correctly, we nevertheless proceeded to Step #2, which required us to “mountain fold the model in half and then unfold,” and then “turn the model over, making sure that the folded edge is at the top.” We were lost. “This is ridiculously hard,” Miles said.

We struggled some more with the directions, figuring out a step or two and then doubting whether what we’d done looked like the illustration. “I don’t understand this at all,” Miles said. We tried and tried, but it just got more hopeless. At some point Corey and I started laughing and couldn’t stop, and then Maggie ran out of the room crying. Corey went after her and found out she thought we’d been laughing at her for being bad at origami. We explained that we were laughing because we were all bad at origami. We soon realized that we hadn’t followed directions. We were supposed to do something called a base fold to prepare the paper for the real folding, so we started over. The base-fold instructions in the book were immediately confusing, so we went online, but Langeveld’s website was not helpful. We found an unrelated video on the base fold, posted to YouTube by “happypuppytruffles.” We successfully completed that version of the base fold. We rejoiced by giving the kids a muchdeserved time-out. Miles picked up a video game. Maggie put her face on the table. We found a YouTube video of our man Joost making a ghost, which is one of the models in the book, so we decided to try that one. Unfortunately, the video didn’t include step-by-step instructions. Instead, it was a showcase of Langeveld’s impressive creations that was sort of like a short film, in the middle of which a pair of hands and a piece of paper do a graceful dance that turns the paper into a ghost. Langeveld doesn’t

just fold the paper; he molds it. He’s an accomplished origami artist, and we couldn’t keep up no matter how much we paused and replayed. “This is an unmitigated disaster, and I hereby release you kids from this activity,” I said. “I’m going to make an instructional video about how to fail at origami,” Miles said. I was relieved that I hadn’t ruined his day. Corey said there would have been trouble had the origami been Pokémon-themed, but monsters were low stakes. He could deal with this particular failure. Later, I persuaded my husband, William, to try to make something from the book. William is the most patient, methodical person I know, and he loves to read all the instructions before beginning a project. I figured that if anyone could do this, he could. I actually thought he’d make it look easy. He decided to make a bat. I tipped him off about needing to start with the base fold but forgot to tell him to find an instructional video online. The poor guy used the instructions in the book. After quite some time, I called out from the couch to find out how it was going. He was stuck on Step #8 of the base fold: “Valley fold between the intersection of the creases (where the creases meet the edges), then pull point A down, and flatten along existing creases.” An hour later, he’d made very little progress. “I just don’t understand how I can repeat Step #1 after I’ve gotten this far with the paper. That must be a misprint,” he said. I was surprised (and a little heartened, given our lack of success that afternoon) to see my normally unflappable husband genuinely annoyed, making angry faces at the intricately but incompletely folded paper. It was almost 11 p.m., and he decided to start over. But just 20 minutes later, William gave up. “Starting over didn’t work,” he said. “I couldn’t even get as far as I got the first time.” That’s when he threw the crumpled paper airplane on the ground. So it seems that Horror-Gami is definitely not for beginners. It’s an enter-ifyou-dare, fold-at-your-own-peril Halloween activity. The completed models in the book are fully realized sculpture, not a game with rules that are easily followed. If you grew up making those folded fortune tellers that revealed which boy or girl in your class had a crush on you, or even if you made 1,000 paper cranes for a loved one’s passing, you are not in the least prepared for the difficulty of Horror-Gami. This seemingly harmless way to spend a few hours may well have you tearing your hair out and running screaming from the room in sheer frustration — unless you are an experienced origami professional. ◀ “Horror-Gami” by Joost Langeveld is published by Thunder Bay Press.

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PASATIEMPOMAGAZINE.COM

Creep show Museum curators confess that some collectibles make them shudder

Michael Abatemarco I The New Mexican

Feb. 11, 1931, anthropologist John Collier was hanged in effigy on the corner of Lincoln and Palace avenues outside Santa Fe’s Museum of Fine Arts (now the New Mexico Museum of Art). Collier was a reformer concerned with how Bureau of Indian Affairs policies were affecting Native Americans. His research led to a review of Indian policies and to the 1928 Meriam Report, which criticized the Interior Department for its failure to protect Native people and their cultural and natural resources. Collier was critical of politicians who supported the policies that allowed this to happen, including a former New Mexico governor, H.J. Hagerman. The Roswell Daily Record, reporting on the incident outside the museum, noted that “Mr. Hagerman was recently exonerated as special commissioner of Indian affairs by a congressional investigation, and John Collier was his chief accuser.” Carloads of Hagerman’s supporters converged on the Plaza, where the effigy was roped to a tree. The event was immortalized in photographs now in the collection of the Photo Archives of the Palace of the Governors, a division of the New Mexico History Museum. The images are a disturbing and surreal glimpse of a time when the West was more wild than it is now. That the figure of Collier hung in front of the museum doesn’t mean 42

PASATIEMPO I October 25-31, 2013

the museum was involved in the controversy, but it does hint at the darker side of New Mexico’s history, much of which is preserved in the holdings of our state institutions. Several public hangings — real ones — are also documented in the Photo Archives collections, some in photographs a century old. With Halloween fast approaching, Pasatiempo invited employees of area museums to reveal some of the collection items they find creepy, unusual, or just plain scary. The objects they selected are surprising and demonstrate that what’s “scary” is in the eye of the beholder. Mina Thompson, associate conservator for the Museums of New Mexico, once worked in the conservation lab at the New Mexico History Museum on a figure of Doña Sebastiana, also known as the Angel of Death. Doña Sebastiana, a skeletal figure traditionally carved in wood by santeros, or saint makers, is often depicted riding a wooden cart. The example that spooked Thompson is a free-standing bulto, or carving, from the Larry Frank Collection, and it is on view in the exhibit Treasures of Devotion/Tesoros de Devoción at the Palace of the Governors. “She holds an ax, as opposed to what might be more commonly a bow and arrow,” continued on Page 44

Clockwise from left: Doña Sebastiana, circa 1900, wood, pigment, glass beads, and human hair; Larry Frank Collection, Palace of the Governors Octaviano Ambrosio Larrazolo Family Tree (detail), photographs, human hair, and tissue paper; New Mexico History Museum Death Mask of Francisco “Pancho” Villa (1877-1923), bronze; New Mexico History Museum Opposite page, John Collier hanging in effigy, corner of Lincoln and Palace avenues, Santa Fe, 1931; photo by T. Harmon Parkhurst; courtesy Palace of the Governors (NMHM/DCA), Negative No. 118454

PASATIEMPOMAGAZINE.COM

Creep show, continued from Page 42

Right, Ron Rodriguez: Yellow Belly, 1988, carved painted wood and mixed media; Museum of International Folk Art Below left, Destruction of Governor’s Mansion, Santa Fe, 1952; photo by Peter Mygatt; courtesy Palace of the Governors (NMHM/DCA), Negative No. 056414 Below right, Fritz Scholder (1937-2005), Another Skull, 1987, cast silicon bronze; New Mexico Museum of Art

PASATIEMPO I October 25-31, 2013

Thompson said. “Her eyes are black glass buttons, I think, while her teeth are glass beads oriented so that the holes of the beads are visible, and that is one way I find the bulto creepy. “She has a lace collar and a small patch of human hair on the back. The human hair on her back is different than the wig she wears on display and is likely the original hairpiece for her. The textile conservator was treating the wig, and I was treating the body. She looked a little more skeletal that way, without the hair and her clothing. It was right after my dad died, and I was having a hard time with it. Finally I just decided to embrace the whole thing. She’s not meant to be evil or mean or anything like that. In some ways it’s sort of shocking to look at her, but she’s Death. It’s part of life.” The Museum of International Folk Art has its share of Doña Sebastianas. La Muerte, another name for the figure, is one example, a piece by contemporary woodcarver Michael Ortega that is in the permanent collection. “She came into the collection in 1986,” said Nicolasa Chávez, the museum’s curator of Spanish Colonial and Contemporary Hispano/Latino Collections. “She’s a little gnarled and wild. Michael Ortega really followed the natural flow of the wood on this piece. She has an abstract feel to her, which is pretty neat and makes her just a bit more scary. Sebastiana is usually brought out during Holy Week and not around Halloween or Día de los Muertos.” But like Day of the Dead figures, the idea of death embodied by La Muerte is a reminder of mortality and, in the Catholic tradition of Northern New Mexico, a reminder to live a pious life. Human hair and teeth are often included in her representations. Human hair used in jewelry and decorative arts was not uncommon during the Victorian and Edwardian eras. Pennie McBride, assistant collections manager at the New Mexico History Museum, described one such object. The piece, a photographic family tree of Octaviano Ambrosio Larrazolo, fourth governor of New Mexico, contains an image of a young child, his daughter Anna. Museum employees believe her photo is a death portrait. According to documents provided by donor Richard Rowe, Larrazolo’s great-grandson, the governor and his first wife, Rosalia Cobos, had five children. The piece also has images of Rosalia and their other children, Larrazolo’s father, and his second wife, Maria Garcia. Surrounding each photograph is an ornate filigree and floral design made from light and dark hairs. “We have no idea whose hair it was,” McBride said. “This technique is called cut work; it reminds me of straw appliqué work. They glued strands of hair onto tissue paper, cut it out into the shapes, and assembled it. This family came from Mexico. He was born in Chihuahua. He went to St. Michael’s College, and that was his introduction to Santa Fe.” The reason the portrait of Larrazolo’s daughter Anna is believed to be a death portrait is that formal portraits of the late 19th century, when this was taken, were posed studio shots. Anna lies expressionless on a bed, in contrast to the posed subjects of the other photographs. “It really does look like a death photo,” McBride said, “but the creepiest thing I’ve seen is Julia Staab’s cape. She’s the ghost that haunts La Posada.” Staab’s ghost is alleged to haunt Staab House, once her home and now a restaurant and bar at La Posada de Santa Fe Resort and Spa. The location is included on regional ghost tours. Staab’s cape, which would have been worn over a dress, is fragile and lacy, covered with deteriorating plastic beads. It looks like something you might expect a ghost to wear. Neither the Larrazolo family tree nor the cape, however, is quite as unsettling as the Death Mask of Francisco “Pancho” Villa. The bronze, one of several cast from the original mask, shows an indentation, possibly a

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Rosario Cemetery, Santa Fe, 1965; photo by Karl Kernberger; courtesy Palace of the Governors (NMHM/DCA), Negative No. 051211

Saturday, November 2 7:30 P.M. at the LeNSic

Image by Cretia Prout

bullet wound, in Villa’s head. It is on view in the History Museum’s show Telling New Mexico: Stories From Then and Now, on long-term exhibit. The New Mexico Museum of Art’s bronze collection by Fritz Scholder is more mystical than frightening, but it shows a side of Scholder many haven’t seen. Known primarily as a painter, he was interested in Egyptian art and mythology. The museum’s obelisk by Scholder, a large bronze in the sculpture garden, is covered with hieroglyphics. The obelisk and another work of his from the museum’s collection, a bronze of a human skull — called Another Skull, presumably because it was not his first — was included in the Scholder retrospective Indian/Not Indian at the National Museum of the American Indian in Washington, D.C., in 2008. “It’s pretty creepy,” said NMMA curator of special projects Merry Scully. “This Egyptian mysticism and magical religious power, which was a big theme for him, is in all of these bronzes in a condensed way,” she said. “I think they’re quite beautiful, actually. I like the way they’re rendered. They’re impeccably cast.” Contemporary folk artist Ron Archuleta Rodriguez carves animal forms. Some are represented in the MOIFA collection, including a strange little beast called Yellow Belly. “I would say it’s definitely scary,” said sculptor Andrew John Cecil, a guest curator at the museum who’s working on an exhibition of New Mexico woodcarving that is scheduled to open in March 2014. “Ron Rodriguez is the grandson of Felipe Archuleta, an internationally known woodcarver from New Mexico. Ron is following in the footsteps of his grandfather. Yellow Belly is very much a fantastical, imaginary creature, like a dragon. It will be one of the featured pieces in the show.” Also in the folk-art museum’s collection is a freakish face jug by Georgiabased ceramist Lanier Meaders, who died in 1998. Meaders helped uphold Southern pottery traditions, including that of the face jug, and his work is represented in collections all over the country. The visages on face jugs range from humorous to frightening. The museum’s face jug — with its devilish, leering grin — speaks for itself. ◀

Pythagoras Eratosthenes Symmetry Fractals Harmonics

Tickets $22 – $76

505-983-1414

or visit The Lensic Box Office www.santafesymphony.org Underwritten by

The Andrew & Sydney dAviS FoundATion The 2013-2014 season is funded in part by the Santa Fe Arts Commission, and the 1% Lodgers’ Tax, New Mexico Arts, a division of the Office of Cultural Affairs, and the National Endowment for the Arts.

PASATIEMPOMAGAZINE.COM

PASATIEMPO I ????????? ??-??, 2013

Our future can be shaped for

Paul Weideman I The New Mexican

the better when we are mindful of our history and serve as active participants in its preservation. — Melissa Salazar, director of State Records Center and Archives and Historical Services Division

New Mexico Archives Month dventures in Kit Carson Land, a 36-minute gem of a film from nearly a century ago, is a travelogue featuring “five travelers and a spotted dog in an open touring car who make a trip from Santa Fe to Taos and the surrounding countryside,” according to an Anne Hillerman review in the Oct. 13, 1977, Santa Fe New Mexican. Along the way, they stop to witness San Geronimo Feast Day events and grainthreshing activities at Taos Pueblo, and they visit Eagle Nest Lake and Pecos. The film is one of four silent films preserved with a 2012 grant from the National Film Preservation Foundation. It plays on Saturday, Oct. 26, at The Screen as part of New Mexico Archives Month, a celebration of the historical treasures in the state’s repositories that aims to encourage teachers, students, genealogy researchers, and others to learn more about the materials available for study. The original Kit Carson Land was longer. The El Toro Film Company shot 12,000 feet of 35 mm film for the State Land Office’s New Mexico Publicity Bureau. Production ceased after an investigation into charges that federal funds were illegally used to make the film, and the bureau was abolished in 1917. Thirty-four years later, following a Land Office relocation, a state employee named Lindsay Root rescued 7,000 feet of the film from a trash bin. Who knows what scenes and individuals were depicted on the 5,000 feet of lost film? What’s left shows the filmmaker’s understandable bias toward New Mexico’s natural beauty, but plenty of people appear as well. It begins in Santa Fe, with Gov. Washington Lindsey speaking outside the old, domed Capitol building (which was remodeled in the 1950s into what is today the Bataan Memorial Building). The camera captures artists Victor Higgins, Bert Phillips, and Irving Couse from Taos and Kenneth Chapman, Carlos Vierra, and Sheldon Parsons from Santa Fe. There’s also a poor-taste segment featuring men from the Taos Society of Artists dressed like Native Americans and performing mock Indian dances. A second film, Adventures in Kit Carson Land (Dawson Reel) focuses on coal-mining operations at the Phelps Dodge mines in the northeast New Mexico town of Dawson. The town, once home to as many as 7,000

people, was dismantled by the company in 1950. Originally part of the main Kit Carson Land film, this 12-minute reel was isolated as a separate segment several decades ago. Another jewel is the 20-minute silent A Day in Santa Fe. Shot by James L. Hughes in 1931 and based on a script by poet Lynn Riggs, it invites viewers to follow a cute burro laden with firewood as he makes his way down from the hills in eastern Santa Fe. He knows where he’s going, and he’s not in a particular hurry. While he stops to munch some grass here and there, the camera shifts to blooming hollyhocks, houses and architectural details, the Acequia Madre, an artist painting, and a man buying jewelry from a Native American before the donkey delivers his load to a happy woman. Last Run of the Chili Line was also shot by Hughes, in 1941. The 12-minute film takes us aboard the narrowgauge Denver & Río Grande Western Railroad steam train that ran from Santa Fe to Embudo. We have plenty of glimpses of the passengers and of Engine 476 filling up at the water tank, as well as scenes of a Río Grande bridge and of the Santa Fe and Española depots. The State Records Center and Archives (SRCA) on Camino Carlos Rey has other films going back to the 19th century. Included are the ones that Sallie Wagner took of her life running a trading post on the Navajo reservation with her husband from 1938 to 1950 using a Bell & Howell 16 mm camera. Those movies were screened during Archives Month activities in 2005. All about agriculture In recognition of this year’s New Mexico Archives Month, the SRCA, the New Mexico Historical Records Advisory Board, and the Northern Río Grande National Heritage Area are leading a statewide celebration of agriculture, titled Growing As We Go. It culminates this weekend with a series of free educational sessions at the SRCA in Santa Fe and with the screenings of historical films. “Our vault is full of things related to agriculture, from land grants to water rights to rights of citizens under Spanish colonial rule,” said Arnold Vigil, a senior archivist with the SRCA. “The state archives preserves and maintains millions of historical records, so there is no shortage of subjects continued on Page 48

Left, woman washes grain in the Chamita area north of Española, courtesy New Mexico Magazine; above left, carrot harvest, Río Grande Produce Company, courtesy New Mexico State Records Center and Archives; opposite page, a Spanish New Mexico tool list from 1712, courtesy New Mexico State Records Center and Archives

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New Mexico Archives Month, continued from Page 47

that one can research and become lost in,” added Melissa Salazar, director of the SRCA’s Archives and Historical Services Division. She calls it “a wonderland of sorts, where the documents speak to their readers, and the living past informs the present. Our future can be shaped for the better when we are mindful of our history and serve as active participants in its preservation. Archives Month is an opportunity for us to highlight these documentary treasures that belong to all of us.” John Hyrum Martinez, state records administrator, said it’s the state’s official repository. “All public records that are considered permanent and that have longlasting historical value — by law — has to come here. This agency was created in 1959. The oldest document we have is from 1512 Spain. We also have the state constitution. The records that come here are those that have historical value but are not currently being used. For example, the state engineer has some very old records, but they still use them, so we don’t have those here.” The climate-controlled vaults contain millions of documents and are restricted. People make requests to see them, although some documents are not available for perusal. Included in the vaults are boundvolumes of mining claim records and of Roswell City Council minutes from the 1920s. SRCA preserves District Court records and governors’ records from territorial times up through the years when Bill Richardson was governor. There are livestock-brand books, colonialperiod maps, and tool-distribution lists from 1704 and 1712. “What’s interesting about that is that a great many tools went to women,” Salazar noted. Actual surviving tools would be at the Museum of New Mexico; the SRCA preserves records, not items — with some exceptions. “We do have an old District Court case involving sheep rustling, and there are sheep ears that were used as evidence in the case box,” she said. Growing As We Go highlights the history of farming and husbandry as well as what’s in the SRCA collections. Nearly every aspect of life was influenced by agriculture, especially because of the limited availability of water and arable land. It was surely a challenge for people surviving in isolated places, such as the community of Truchas, which had 200 families in 1935 and all depended on what they raised for their food supply, according to the federal Tewa Basin Study conducted in that year. The Great Depression was not so much an issue there as it was in America’s urban areas, but an ongoing drought made life in the villages more difficult. The main crop in Truchas was wheat, and the study’s authors found that the 1934 harvest had been insufficient to provide enough seed to plant the 1935 crop. The extent of the people’s self-reliance shows in their livestock: in 1935, they had 200 cattle, 200 horses, 1,100 goats, 100 hogs, and 50 sheep, plus every family kept about 20 hens. 48

PASATIEMPO I October 25-31, 2013

Talks and tools New Mexico Archives Month activities include a free slate of speakers on Friday, Oct. 25. Tim Maxwell, emeritus director of the Museum of New Mexico’s Office of Archaeological Studies, lectures on “Prehistoric Farming in the Semi-Arid Southwest.” Estevan Arellano’s topic is “The Roots of Ancient and Sustainable Agriculture: Gabriel Alonso de Herrera’s [1513] Obra de Agricultura.” Sarah Montgomery talks about “Starting and Growing a Seed Project.” Montgomery, executive director of the Albuquerque-based organization The Garden’s Edge, discusses the organization’s successful seed project in Guatemala, seed workshops conducted in New Mexico, and the contamination threat that genetically modified seeds present to native seeds. William Mee, president of the Agua Fría Village Association, talks about “Agriculture in the Traditional Village of Agua Fría.” Authors Donna Blake Birchell (New Mexico Wine: An Enchanting History) and William W. Dunmire (New Mexico’s Spanish Livestock Heritage) are signing copies of their books during the lunch hour. A close-by example of related events staged around the state during Archives Month is the exhibition Farm Tools and Implements from the Española Valley, 1850-1950, hanging through Nov. 1 at the Bond House Museum (505-685-9463) at 706 Bond St. in Española. ◀

details ▼ New Mexico Archives Month ▼ Activities 9:30 a.m.-4:45 p.m. Friday, Oct. 25 State Records Center and Archives, 1209 Camino Carlos Rey No charge ▼ Historical film screening Noon Saturday, Oct. 26 The Screen, Santa Fe University of Art and Design, 1600 St. Michael’s Drive No charge; 505-476-7951 For a full schedule of events, see www.nmcpr.state.nm.us/ archives/archivesweek_hm.htm; call 505-476-7951

Left, from top, Chamita family hanging chile ristras, 1939, photo by Wyatt Davis, courtesy New Mexico State Records Center and Archives; woman roasting chile in an horno, 1940, photo by Wyatt Davis, courtesy New Mexico State Records Center and Archives; woman hanging red chile to dry, circa 1941, photo by Barbara Wright, courtesy New Mexico Magazine

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You turn to us.

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PASATIEMPO I ????????? ??-??, 2013

Loren Bienvenu I For The New Mexican

Pasatiempo: Judging from your tour schedule, Alloy plays quite a variety of films from night to night. How do you keep track of them all? Ken Winokur: We have about a dozen films we’re capable of playing at any time. Sometimes it’s a problem that we are asked to play too many films in a short period. Typically every year we write a new one, and that will be 50 or 75 percent of our shows. Then we have a few permanent pieces like Metropolis. Pasa: How permanent is your version of Metropolis, given the number of updates that film has undergone over the last few decades because of newly found footage and so forth? Winokur: We’ve done four different versions of Metropolis. We started our career in 1991 doing Metropolis — the hour-and-a-half version. A local film program asked us if we could do a quick score for it. We had about two weeks, and we composed a few things, practiced a few times, and did a highly improvisational score. People loved it. They kept asking us back for more shows. At some point a newer version got made available. It was shorter and tighter in its editing. The story was a little more coherent, but they really played up the religious symbolism. It was an interesting change. Then they came out with another new one, and we did one performance with it, kind of improvised, and rejected it. Mostly we didn’t want to do another score for it. Finally, they come out with the newest of the new, the so-called complete version.

Rovogin.com

lloy Orchestra’s director, clarinetist, and “junk percussionist” Ken Winokur believes that silent film has entered a new golden age. Thanks to the live accompaniment and new scoring done by groups like his, these films haven’t been less silent since the 1920s. Formed in 1991, Alloy Orchestra has written scores for more than 20 movies — both classic and obscure — playing them in theaters across the nation. The musicians perform the group’s most indemand score — for Fritz Lang’s 1927 sci-fi classic Metropolis — at the Lensic Performing Arts Center on Tuesday, Oct. 29. Roger Ebert proclaimed Alloy to be “The best in the world at accompanying silent films.” Winokur would agree that “accompanying” is the key word. In a conversation with Pasatiempo, he emphasized that when composing and performing, he takes his cues from the screen.

And we looked at each other, thinking, Oh my god, we’ve got to write this over again? But when we saw the new version we were completely thrilled. It’s amazing in its continuity and how it engages the audience. Pasa: Did you have to change the music around much? Winokur: There was a huge amount of new writing. Every scene came in a different order and was a different

alloy orchestra

length. There are still six minutes missing, but we’re hoping they’re never found. Pasa: How attuned are you to the technical sides of silent film and restoration? Winokur: It became obvious when we started doing this in 1991 that it would be very useful for us to be knowledgeable about film restoration and silent films. Also, who has what film, what kind of copyright does it have, how fast is it? There are a lot of technical things you need to learn to do it right. These days, it’s all about the “new” silent films — films that haven’t been seen as much as something like Metropolis, or in that case, a new restoration. That was literally the biggest silent film event of the decade — the biggest news story in the world of silent film of the decade. Pasa: What year was that? Winokur: 2010. The German copyright holder, the heir of [Nosferatu director] F.W. Murnau, did this restoration in Germany. I think it was the most expensive restoration to date. Interestingly, they found what they call the original score. Gottfried Huppertz wrote a score that accompanied the premiere performance in Berlin. Pasa: How is the original score? Winokur: I happen to find the music, well — they call it a neo-Romantic score, and it kind of harks back to the sound of Tchaikovsky or other Romantic composers. To me, playing up the schmaltzy romance is going in the wrong direction. Our score really plays up the conflict and action and excitement of the film. Two of us are percussionists; the third is a keyboard player. The band was built to do the score for Metropolis. It’s a very percussive movie — things blowing up and pipes banging against each other. Pasa: When you compose for other genres, like comedy in the case of The General or horror in the case of Nosferatu, how closely do you try to match the feel of the music to what’s happening on-screen? Winokur: We like to say the film is our director. We are literally taking our ideas from the movie. We are pretty strict with it. We don’t do whatever we like; we do whatever is on the screen. If it’s a love scene, we’re going to play romantic music; if it’s a chase scene, it’s going to have some movement. Nosferatu was a horror movie, and it’s horrific. Pasa: Do you prefer any particular style? Winokur: The great thing is that we have continued on Page 52

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Photo illustration

Alloy Orchestra, continued from Page 51 to change styles all the time. It’s hard to get bored with this job. You’re required to continually reinvent, and that’s the fun part. We’ve done every style you can imagine. Pasa: When you compose, is it an individual or collaborative process? Winokur: That’s actually one of the things I’m most proud about with this project. We are completely collaborative. We sit together, put it on the screen, and improvise — taking it one bit at a time. When we like it, we record it and move on to the next scene. It comes about in a very organic and collaborative fashion. And we have different musical backgrounds. I’ve studied African drumming. Terry [Donahue, junk percussion, accordion, musical saw, and vocals] has a rock background. Roger [Miller, keyboards] has been to just about every music conservatory in the country. Pasa: So, when you perform are you following the score exactly, note by note? Winokur: We actually improvise, too. Given the vagaries of everything, the different versions, we have to be able to make adjustments. Take the chase scene in Metropolis — it’s an unusually long scene, probably six minutes, and Terry and I go into a fastpaced drum duet. Roger adds in percussive background sound. So that’s a piece that’s sort of built to allow us to improvise. But we know that we’ll always end it the exact same way. Pasa: If you could score any film, even one that’s lost or incomplete, what would it be? Winokur: The Son of the Sheik is at the top of our list for the next film. I actually own the copyright to it. It’s full of horse chases and romance. Blood and guts one moment and beautiful dancing the next. It would be a natural. Pasa: Have you, or would you ever, score contemporary films? Winokur: People think of us as silent-film composers, and we’re also quirky. But I always thought we’d get more offers for contemporary scores. Action movies seem like a natural. I always joked that we’d do Terminator 2. Then I had to say Terminator 3. Next it’s gonna have to be, what, 5? They still haven’t found us. ◀

details ▼ ▼ ▼ ▼

PASATIEMPO I October 25-31, 2013

Screening of Metropolis accompanied by the Alloy Orchestra 7 p.m. Tuesday, Oct. 29 Lensic Performing Arts Center, 211 W. San Francisco St. $10-$20, discounts available; 505-988-1234, www.ticketssantafe.org

Hallowed & Sacred Soothsayer’s Artisan Market

Railyard Artisan’s Market at the Farmers Market Pavilion Sunday, October 27th | 10am-4pm

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DIRTY WARS

6:00p Thursday, Oct 31 with Jeremy Scahill IN PERSON! $5 Suggested Donation, presented by Lannan

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Fri-Sun Oct 25-27

Mon Oct 28

Tues-Wed Oct 29-30

2:00p - When Comedy Went to School* 3:00p - Inequality for All 4:00p - The Summit* 5:00p - Inequality for All 6:00p - The Summit* 7:00p - Inequality for All 8:00p - All the Boys Love Mandy Lane*

3:00p - Inequality for All 4:00p - The Summit* 5:00p - Inequality for All 6:00p - The Summit* 7:00p - Science on Screen: Dr. Strangelove 8:00p - The Summit*

3:00p - Inequality for All 4:00p - The Summit* 5:00p - Inequality for All 6:00p - The Summit* 7:00p - Inequality for All 8:00p - The Summit*

Thurs Oct 31 3:00p - The Summit* 3:30p - Inequality for All 5:00p - The Summit* 6:00p - Dirty Wars with Jeremy Scahill 7:00p - The Summit* * indicates shows will be in The Studio at CCA, our new screening room for $8.00, or $6.00 CCA Members!

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Monster mash The New Mexican I Robert Nott Abbott and Costello Meet Frankenstein, monster-movie farce, not rated, Jean Cocteau Cinema, 3 chiles Abbott and Costello weren’t even around when Mary Shelley introduced the world to Frankenstein’s monster. But they met up with her literary creation when Universal Studios paired the former burlesque comics with Frankenstein, Dracula, and the Wolfman in a 1948 film that critics consider one of the best horror comedies of all time. The Jean Cocteau Cinema screens Abbott and Costello Meet Frankenstein (the title card actually reads Bud Abbott and Lou Costello Meet Frankenstein) starting Friday, Oct. 25, to ring in the Halloween season. Author George R.R. Martin, who bought and reopened the Jean Cocteau this summer, said by phone that he first saw this movie on television sometime in the 1950s. “It’s not going to terrify anyone who has watched the Freddy [Krueger of the Nightmare on Elm Street series] or Jason [Voorhees of the Friday the 13th franchise] movies. There’s no gore in it. It’s a perfectly good comedy with a slight scare for the kids.” Most Abbott and Costello historians acknowledge that the film briefly revived the fading career of the comedy team. Yet many biographers tend to dismiss this, their most famous picture, in a paragraph or two. Even Chris Costello, in her affectionate portrait of her father, Lou’s on First, devotes little ink to the movie. 54

PASATIEMPO I October 25-31, 2013

The best account of the production can be found in Bob Furmanek and Ron Palumbo’s book Abbott and Costello in Hollywood, published in 1991. The authors relate how the film’s producer, Robert Arthur, came up with the movie’s basic idea while brainstorming with fellow producer Ed Muhl over what to do next with Abbott and Costello. After all, the team had already been in the Army, the Navy, the Army Air Corps, a haunted house, a tropical island, college, a harem, the racetrack, and way out West. “Suppose they met Frankenstein?” Arthur wondered aloud. After some false starts, screenwriters Robert Lees, Frederic I. Rinaldo, and John Grant fashioned the script. In it, Dracula (Béla Lugosi) wants to revive the Frankenstein monster for his own nefarious purposes, though they are never explained. Dracula realizes he needs to transplant the stupidest brain possible into the monster’s head so Frankenstein will obey all his commands. Enter dopey baggage clerk Wilbur Grey (Costello) — the perfect candidate for the experiment — and his buddy, Chick Young (Abbott). The screenwriters decided to make the Wolfman, aka Lawrence Talbot (Lon Chaney Jr.), an ally for our comic heroes as he tries to foil Dracula’s plans; the reasons for this are not explained, either. But Talbot turns into a wolf whenever the full moon approaches, so he’s frequently turning on the boys. Eventually the three monsters and the two clumsy comics find themselves engaged in a madcap foot chase through Dracula’s castle, battling over who gets Wilbur’s brain. The picture was shot in six weeks at a cost of about $800,000. By all accounts Costello hated the concept and told the studio that his young daughter could write a better script if given the chance. But he and Abbott soon got into the spirit of the project and even staged pie fights, seltzer-bottle duels, and other antics on the set to keep everyone happy. According to Furmanek and Palumbo, Arthur asked the studio’s head of production, Bill Goetz, to read the script and offer advice. Goetz reportedly replied, “These guys are not funny to me. I never willingly went to one of their pictures. So any suggestion that I make would only hurt you. So I leave it in your hands. God bless you and God help you.” The film was released in August 1948 and earned about $3.2 million worldwide, making it one of the duo’s biggest hits. Critics were divided, but movie exhibitors loved the movie, though one complained, “While we did excellent business, the broken seats, crying kids and screams from the women hardly made this one worth it.” A Dayton Journal film critic wrote, “All the monsters aren’t on the screen. Pint-sized ones surrounded us at yesterday’s matinee, and their blood-curdling screams, their maniacal guffaws, their shouted instructions and their frenzied, weird bodily contortions as the hapless heroes stumbled from horror to horror will haunt us long after the final film fades from our nightmares.” Martin is hoping that today’s kids get a similar kick out of the film. “I do think Abbott and Costello hold up very well. Once you meet them, it’s hard not to like them.” But Martin never did like the Wolfman, a character he encountered in many a 1940s horror film. “The Wolfman scared the hell out of me,” he recalled. “And near where I lived [as a child], there was a lawyer ... whose name was Talbot, the name of the Wolfman character. So whenever I passed his office, I got a little tingle — my God, it’s Talbot! I wonder if he’s going to turn into a wolf when the moon turns full!” Which is, of course, what the Talbot of Abbott and Costello Meets Frankenstein does. Early in the film, Talbot tries to explain his lycanthropic illness to Wilbur and Chick: “In a half an hour, the moon will rise, and I will turn into a wolf.” To which the clueless Wilbur responds, “You and 20 million other guys.” ◀

Bite me: Bud Abbott, Béla Lugosi, and Lou Costello

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movIng Images film reviews

Freeze frame Bill Kohlhaase I The New Mexican The Summit, documentary, rated R, Center for Contemporary Arts, 3 chiles Mountain climbing in the so-called “death zone” above 8,000 meters (about 26,000 feet) brings moral as well as physical challenges. Attempts by other climbers to rescue injured or incapacitated climbers often result in the death of the rescuers. It’s an unwritten rule, says one of the climbers interviewed in The Summit, if someone is having trouble, you let him lie so as not to risk your own life. Of the 11 climbers who died in August 2008 on K2, the world’s second-highest mountain, an uncertain number died attempting to help others. Another died in a pointless attempt to bring a body down from below the summit to the highest base camp at 8,000 meters. Some of those who died had chosen to help. Others were chosen. Two Pakistani high-altitude porters were ordered by the leader of a Korean climbing team to aide men who may have already been dead. Those orders proved to be the porters’ death sentence. The central question of director Nick Ryan’s documentary is asked early on by an actor playing one of the men who died: “What would you do?” Indeed, would you be there at all? The Summit, part re-creation, part documentary footage, does a better job of posing questions than answering them. That’s not entirely the filmmakers’ fault. Why 11 of the 25 climbers who started up K2 on the China-Pakistan border that August day didn’t return alive can be answered only generally: a late start, avalanches, a too-slow pace, poor preparation, and bad judgment. The specifics of the deaths are

PASATIEMPO I October 25-31, 2013

shrouded in darkness and a lack of witnesses. Climbers may be seen as selfless heroes or selfish obsessives depending on who is telling the story. Little is agreed upon, and conflicting accounts abound. The first climber to die as a result of a bad choice witnessed by many others was reported to be up and moving after his long descent. Not long after, he was found dead. His fall, seen in the film, is one of the re-creations, as is the fall of one of the men sent to retrieve him. Or are they? The differences between actual footage taken during the expedition and the staged incidents aren’t always obvious. Whose accounting of events has been staged isn’t clearly defined, either. Nor is there any suspense about who will make it to the top. That’s divulged in the first 20 minutes. The climbers face many of the same problems — falling ice, inclement weather, nearly vertical frozen slopes — encountered by climbers who’ve gone nowhere near the death zone. The apparent difference is how the lack of oxygen and decreased air pressure at elevations over 8,000 meters affects the brain. The first climber to die unclipped himself from his rope in a questionable position. The

decision by many of the other climbers to proceed up the mountain even as daylight was running out is attributed to “summit fever” in the news accounts shown here. Indeed, who would want to turn back just a few hundred meters from the top after months of preparation and who knows how much expense? On the other hand, who wants to risk almost certain doom by spending the night in the death zone? Gerard McDonnell, one of the climbers featured most prominently in the film, expresses his belief that the reason to climb is to enjoy the camaraderie of the other climbers. He once aided another climber off the summit of Everest, and both lived to tell the story. Otherwise, the competitive aspects and the backbiting between climbers is obvious. One example is pulled from the past. Walter Bonatti, a non-summiting member of the 1954 expedition that first reached the top of K2, expresses his bitterness that he wasn’t given credit for his contributions (as noted in the film, that’s since changed). The summer of 2008 was marked by bad weather, and climbing teams began to collect at Camp IV — the last stop, at 8,000 meters, before the summit — waiting for a break. When Aug. 1 dawned clear and still (“a day in a million,” one survivor says), five teams decided to go for it. The irony is that the good weather that put so many climbers on the final route to the top also served to slow them down and put them at risk. Apparent here, though it might not sway those of us adverse to risking our lives, is why the climbers came. The film is full of beautiful shots of rugged rock and snow pitched at impossible angles. As the climbers near the top, the view beneath them is a sea of circling peaks stretching in all directions to the horizon. And above them is still one looming face — “a mountain on a mountain,” as one of the Norwegian climbers calls it. The most haunting scene comes from the top of the mountain. Amid the still-lit peaks below it, K2 casts a large and lengthening shadow, one that seems to swallow the world. It’s from here, with darkness approaching, that the most dangerous part of the climb — the descent — begins. ◀

HAVANA... A TOURIST’S PLAYGROUND... FAR FROM PARADISE.

Una noche ShowtimeS: Friday throUgh thUrSday at 5:30 ARETHA FRANKLIN • ALICIA KEYS • MICK JAGGER • BONO STEVE WINWOOD • GREGG ALLMAN • KEITH RICHARDS CLARENCE CARTER • JIMMY CLIFF • PERCY SLEDGE • WILSON PICKETT “GET

READY TO SING ALONG, AND GOOD LUCK STAYING IN YOUR SEAT.”

– Steven Whitty, NEWARK STAR-LEDGER

ONE OF THE YEAR’S MOST ENTERTAINING AND ENRICHING NONFICTION FILMS.

“

Moving and joyful, ‘Muscle Shoals’ is must-see stuff for anyone who loves the music.”

– Marshall Fine, THE HUFFINGTON POST

“A winning tribute to the coastal Alabama studio, musicians, and engineers who laid down some of the greatest pop tracks of the late ‘60s and early ‘70s.”

– Alan Scherstuhl, THE VILLAGE VOICE

“MUSIC LOVERS WILL GET

PLENTY OF THRILLS

hearing first-hand accounts of how such classic tracks as Aretha’s ‘Respect’ and the Stones’ ‘Brown Sugar’ were created.”

– Dennis Harvey, VARIETY

HHHH”

“

– Jim Farber, NY DAILY NEWS

GRADE A-.”

“

– Leah Greenblatt, ENTERTAINMENT WEEKLY

mUScle ShoalS ShowtimeS: Friday throUgh thUrSday 3:00 and 7:40

New Mexico State Archives Film Preservation Showcase

Saturday: 12:00 Free AdmiSSion

Turandot Royal Opera House, London SUNDAY 11:00AM 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

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 $7.50 PASATIEMPOMAGAZINE.COM

MOVING IMAGES pasa pics

— compiled by Robert Ker

asks the question: Is it good for a country if only a tiny percentage of the people have almost all the money? Rated PG. 85 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) JACKASS PRESENTS: BAD GRANDPA Johnny Knoxville dons a old-man costume to go out into public and act like a jerk — once a jackass, always a jackass — in order to provoke shocked and awed reactions from unsuspecting “victims.” Rated R. 92 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

And that’s why there will be no “Ocean’s 14”: Brad Pitt and Michael Fassbender in The Counselor, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week ABBOTT & COSTELLO MEET FRANKENSTEIN This 1948 horrorcomedy puts the bumbling heroes up against a veritable army of monsters, with the final chase scene in Dracula’s castle still tense and humorous. The picture revived Abbott and Costello’s career and didn’t hurt Dracula’s either, though it’s unclear how it will play to a contemporary audience of 8-yearolds. Not rated. 82 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Nott) See Screen Gems, Page 54. THE COUNSELOR Author Cormac McCarthy delivers his first original screenplay in the form of this noirish caper film helmed by Ridley Scott and starring Michael Fassbender, Brad Pitt, Javier Bardem, and Cameron Diaz. Fassbender plays a lawyer who decides to enter the drug trade — but just for one big score. We all know how that one goes. Rated R. 111 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) DIRTY WARS At great personal risk, reporter Jeremy Scahill scours the backwaters of Afghanistan and Yemen to uncover the shadowy world of the U.S. Joint Special Operations Command. Scahill argues that JSOC, an 58

PASATIEMPO I October 25-31, 2013

elite unit whose officers tracked and killed Osama Bin Laden, is an “assassination machine” whose covert global operations draw the U.S. into further conflict with a wide array of countries in Africa and the Middle East. Scahill writes for The Nation and is the author of Blackwater: The Rise of the World’s Most Powerful Mercenary Army. The footage is often as beautiful as it is gripping, and the author’s voice-over is forceful and convincing. 6 p.m. Thursday, Oct. 31, only, with Scahill and producer Anthony Arnove in person. Not rated. 90 minutes. Center for Contemporary Arts, Santa Fe. (Casey Sanchez) See story, Page 20. HOUSE OF WAX Vincent Price’s first major role in a horror film is by turns sadistic and full of pathos. Price plays Prof. Henry Jarrod, the proprietor of a wax museum, whose passion for creating lifelike replicas takes a chilling turn after his hands are horribly scarred in a fire. Only Sue Allen (Phyllis Kirk), whose visage resembles that of his lost masterpiece, Marie Antoinette, knows the truth — but she may not be able to convince authorities before becoming Jarrod’s next victim. It’s one of Price’s most memorable performances. Shows in 3-D at 6:30 p.m. Thursday, Oct. 31, only. Rated PG. 90 minutes. Jean Cocteau Cinema, Santa Fe. (Michael Abatemarco) See story, Page 36. INEQUALITY FOR ALL Jacob Kornbluth’s documentary looks at wealth inequality in America, as explained by former secretary of labor Robert Reich. The film

THE MAN WHO FELL TO EARTH David Bowie’s 1976 film is probably more iconic than great, but there are few things in pop culture more iconic than the Thin White Duke in all his ’70s-era splendor, even when he’s playing a soft-spoken alien stuck on Earth. Director Nicolas Roeg’s films are hit and miss, and this is one of the hits, if barely; it’s too directionless for many people, but it’s also artful and bizarre enough to delight Bowie fans who know their Low from their Lodger. In short, it’s the very definition of a cult classic. 7 p.m. Thursday, Oct. 31, only. Rated R. 139 minutes. Lensic Performing Arts Center, Santa Fe. (Robert Ker) THE MET LIVE IN HD: THE NOSE Paulo Szot stars in director William Kentridge’s production of Shostakovich’s opera, which is based on Gogol’s comic story. Broadcast live from the Met. 11 a.m. Saturday, Oct. 26, with a 6 p.m. encore. Lensic Performing Arts Center, Santa Fe. (Not reviewed) METROPOLIS Fritz Lang’s 1927 classic presents a chilling vision of a future in which mankind has created flying cars and soaring buildings, but society has fractured into castes consisting of the workers who labor underneath the city and the leisure class that presides over it. The plot is sometimes treacly, presenting a saccharine world in which the disparity between tycoons and downtrodden workers can be tidily resolved by a comely messiah who looks fantastic in flapper dresses. But the film’s visual opera has inspired countless filmmakers and other artists. Screens with live accompaniment by the Alloy Orchestra at 7 p.m. Tuesday, Oct. 29, only. Not rated. 147 minutes. Silent movie with English intertitles. Lensic Performing Arts Center, Santa Fe. (Casey Sanchez) See story, Page 50. NEW MEXICO STATE FILM PRESERVATION SHOWCASE Revisit the 47th state’s past with a selection of rare films. Adventures in Kit Carson Land (1917, 36 minutes) stars six travelers (including one with four paws and a wagging tail) as they explore Northern New Mexico by car. A related 12-minute reel from the same year visits the mining town of Dawson in the state’s northeastern corner. A Day in

Santa Fe (1931, 20 minutes) follows a hardworking donkey from the eastern foothills into the capital city. Finally, Last Run of the Chili Line (1941, 12 minutes) captures a steam-train voyage from Santa Fe to Lamy. There is no charge for the program, on Saturday, Oct. 26, only. Not rated. The Screen, Santa Fe. See story, Page 46. PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with a showing of Puccini’s Turandot from London’s Royal Opera House. Lise Lindstrom and Alasdair Elliott star. 11 a.m. Sunday, Oct. 27, only. Not rated. 185 minutes, plus two intermissions. The Screen, Santa Fe. (Not reviewed) THE SUMMIT Filmmaker Nick Ryan’s account of the 2008 tragedy on K2, the world’s second-highest mountain, is part documentary footage, part interviews, and part recreation. Bad choices in the “death zone” over 8,000 meters, coupled with ice falls and the consequences of having too many climbers on the precarious route, resulted in the deaths of 11 of the 25 climbers who set off on the morning of Aug. 1. Conflicting accounts leave the specifics of those deaths unclear. Human nature can’t be suppressed, even when the decision to aid a fellow climber almost certainly means death. The film’s most memorable scenes are of the terrain: stark, snow-covered, and steep. Rated R. 95 minutes. Center for Contemporary Arts, Santa Fe. (Bill Kohlhaase) See review, Page 56. UNA NOCHE Three Havana teenagers attempt to paddle the 90 miles across the ocean to America in this colorful and keenly observant film from first-time feature director Lucy Mulloy. The script feels overstuffed at times — particularly in the first hour, as the youths scramble through the city in preparation for their voyage — but that’s mitigated by lively editing and beautiful moments of voice-over narration against meditative photography. Not rated. 90 minutes. In Spanish with subtitles. The Screen, Santa Fe. (Robert Ker) WHIP IT Drew Barrymore’s feature directorial debut stars Ellen Page as small-town high-schooler Bliss Cavendar. Among other things that make Bliss’ life totally lame, her mother (Marcia Gay Harden) wants her to be a beauty queen. One afternoon, though, she encounters some rambunctious roller-derby players; when she sneaks out to catch a match, she discovers her new favorite pastime. This movie is completely by the playbook, but the performances are top-notch, and it delivers breezy fun. 11 p.m. Friday and Saturday, Oct. 25 and 26. Rated PG-13. 111 minutes. Jean Cocteau Cinema, Santa Fe. (Laurel Gladden)

THE WHISPERER IN DARKNESS The filmmakers who brought us 2005’s homage to 1930s-era horror, The Call of Cthulhu, return to grapple with another of genre master H.P. Lovecraft’s short stories. In this one, a professor (Matt Foyer) travels to rural Vermont to hunt down some aliens and discovers unthinkable terror. Not rated. 103 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed)

now in theaters BLUE JASMINE Woody Allen’s latest mixes comedy and tragedy in an inspired symphony of social criticism. Cate Blanchett is Jasmine, a Park Avenue socialite who lost everything when her husband (Alec Baldwin) went to jail for financial fraud. She goes to San Francisco and moves in with her blue-collar sister Ginger (a perfect Sally Hawkins). The cast, which also includes Bobby Cannavale, Andrew Dice Clay, and Peter Sarsgaard, is flawless. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) THE BUTLER At times overblown and unwieldy, an occupational hazard for a movie that covers 80 years of the civil rights movement in America, this is still a major accomplishment. We see it through the eyes of Cecil Gaines (Forest Whitaker), a man who rises from the cotton fields of Georgia to a tenure as White House butler that extends from Eisenhower through Obama’s election. The fine cast includes Oprah Winfrey as his wife and star cameos as the presidents. Rated PG-13. 132 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) CAPTAIN PHILLIPS Director Paul Greengrass knows how to turn newspaper headlines into white-knuckle thrillers, having earned accolades with 2006’s United 93. This time he tells the story of Captain Richard Phillips (Tom Hanks), whose freighter was hijacked by Somali pirates in 2009. Rated PG-13. 133 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) CARRIE It’s 2013, but life isn’t any easier for high school girls than it was in 1976. Brian De Palma’s horror film about the worst prom experience ever gets a modern facelift courtesy of director Kimberly Peirce (Boys Don’t Cry) and stars Chloë Grace Moretz (Kick-Ass) and Julianne Moore. Stephen King’s novel remains the source material. Rated R. 99 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

CLOUDY WITH A CHANCE OF MEATBALLS 2 Who would have thought that Judi and Ronald Barrett’s children’s book would yield not one feature film but two? This sequel pits Flint (voiced by Bill Hader) against food-animal hybrids (tacodiles, etc.). The jokes are extremely lame — expect corny puns and puns about corn — but the movie is colorful and imaginative, and it even sneaks in some satire about our technologyobsessed culture. Kids will dig it, which is fortunate, because there aren’t many other family films due before the holidays. Rated PG. 95 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; 2-D only at DreamCatcher, Española. (Robert Ker) DON JON Actor Joseph Gordon-Levitt makes his feature-length debut as writer and director with this romantic comedy. He stars as Don, a guy who loves bringing home a different woman each night or staying home with pornography. Then he meets a woman (Scarlett Johansson) so perfect that he attempts to give up both habits. Rated R. 89 minutes. Regal DeVargas, Santa Fe. (Not reviewed) ENOUGH SAID Fans of Woody Allen’s rom-coms for adult audiences should embrace this charmer about two divorced empty-nesters (Julia Louis-Dreyfus and, in his final performance, James Gandolfini) who fall for each other and then find that middle-age relationships come fraught with baggage and defense mechanisms. Louis-Dreyfus shows more depth and Gandolfini more softness than either one’s iconic TV roles would suggest; the two head a terrific cast that includes Catherine Keener and Toni Collette. Nicole Holofcener directs them all with a generous spirit. The results are moving, honest, and often very funny. Rated PG-13. 93 minutes. Regal DeVargas, Santa Fe. (Robert Ker) ESCAPE FROM TOMORROW The creation of this film makes it the most subversive movie to come out in some time: director Randy Moore secretly shot this psychological horror pic in Disney’s theme parks without permission from the litigious Walt Disney Company. This angle alone may make it worth a look. Perhaps inevitably, the film’s actual story isn’t as good as its back story. Roy Abramsohn plays a father who has a breakdown while bringing his family on vacation. Not rated. 104 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) ESCAPE PLAN Sylvester Stallone went to prison in 1989’s Lock Up, and now he’s going back. Here, he plays a security expert who’s hired to attempt to break out of a new high-tech prison. When he realizes he’s been set up and is now stuck in the slammer, he continued on Page 60

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teams up with a fellow inmate (Stallone’s ’80s actionfilm contemporary Arnold Schwarzenegger) to break out for real. Rated R. 116 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE FAMILY Robert De Niro and Michelle Pfeiffer play the parents of a family that ends up in the witness protection program in Normandy after daddy rats out his mafia family across the Atlantic. This is a lighthearted satire of mob dramas, so if you think there aren’t going to be comedic examples of culture clash, then fuggedaboutit! Rated R. 111 minutes. Regal DeVargas, Santa Fe. (Not reviewed) THE FIFTH ESTATE The story of WikiLeaks is an important one, but director Bill Condon spins it like a clothes dryer, with an excess of tumbling action and not a lot of clarity. It’s the story of the meteoric rise of the truth-telling website and its controversial founder, Julian Assange (Benedict Cumberbatch), and when it’s over you won’t have a much better idea of what it was all about. WikiLeaks started creating headlines in 2007, but it was its release of a huge trove of classified U.S. government documents in 2010 that made it a household word. The picture starts at the climax, backtracks to the early days, and ends with a Guardian editor intoning, “A good story always starts at the beginning.” And then it ends — and ends some more. Rated R. 128 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) GRAVITY You’ve never seen a movie like this before. Tense and gripping but also tranquil and meditative, this thriller from director Alfonso Cuarón centers on two astronauts (George Clooney and Sandra Bullock) whose shuttle is destroyed while they are on a space walk. The resulting struggle to survive — like the special effects of the film itself — showcases humankind’s vast resourcefulness and potential. Cuarón’s story also celebrates how small, yet still important, we all are. To see one character’s globelike teardrops in zero gravity, as her possible fate and her profound loneliness weigh down on her, is to be deeply moved. Rated PG-13. 91 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker)

spicy

medium

bland

heartburn

mild

Read Pasa Pics online at www.pasatiempomagazine.com

PASATIEMPO I October 25-31, 2013

INSIDIOUS: CHAPTER 2 Director James Wan brings us his second horror film this year, after the summer hit The Conjuring. This story follows the family of the first Insidious film as they take advantage of the rebounding housing market to buy a new home, only to once more encounter ghosts that were not mentioned in the listing. Rated PG-13. 105 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) MACHETE KILLS The 2010 “Mexploitation” film Machete — starring Danny Trejo as a bad hombre who kicks butt and lands the ladies — apparently earned enough of a cult following that a sequel was in order. Robert Rodriguez returns to the director’s chair for another cartoonishly violent tale. Rated R. 108 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) MUSCLE SHOALS Greg Camalier’s history of the famed Alabama recording mecca proposes several reasons why the town on the Tennessee River became a hotbed of hits. Not all are believable. FAME Recording Studios producer Jim Hall and the funky locally based musicians who backed such greats as Wilson Pickett, Aretha Franklin, and Percy Sledge are the big story. Hall’s history is interesting, scenes of the surrounding countryside are beautiful, and some big names sing the place’s praises. But the real star here is the music. Rated PG. 111 minutes. The Screen, Santa Fe. (Bill Kohlhaase) PRISONERS This taut kidnapping thriller is set in the kind of grim, lightdeprived world where, as candidate Obama famously observed in ’08, people cling to their guns and religion. A terrific cast features Hugh Jackman as a small-time Pennsylvania contractor who goes a bit berserk when his little daughter and her friend disappear one Thanksgiving afternoon. His suspicions fix on a mentally disabled young man (Paul Dano). Jake Gyllenhaal is the detective who doggedly investigates, and Melissa Leo is the suspect’s aunt. Canadian director Denis Villeneuve (Incendies) keeps the tension agonizing as he prods at the places where people do terrible things they know they shouldn’t do, and writer Aaron Guzikowski keeps upending our expectations. Rated R. 153 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards) PULLING STRINGS Alejandro (Jaime Camil) is a mariachi musician who needs a visa to come to the United States. When the woman who rejects him (Laura Ramsey) gets drunk and passes out on a street in Mexico, he helps her — and maybe, just maybe, romance blossoms. In English and Spanish with subtitles. Rated PG. 118 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

RUSH Ron Howard’s latest follows the epic 1976 duel for the World Drivers’ Championship between dashing Brit James Hunt (Chris Hemsworth) and wonky, obsessive Austrian Niki Lauda (Daniel Brühl). There is plenty of excitement, mostly on the Grand Prix tracks. But the good stuff is stitched together painstakingly with an excess of exposition, explanation, and hand-holding of the viewer as Howard and screenwriter Peter Morgan lead us through the races, the personalities, the romances, and the season. Rated R. 123 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards) WHEN COMEDY WENT TO SCHOOL It would be stretching the case to say that this documentary about Borscht Belt humor is a good movie. But there’s something irresistible about it — or parts of it, anyway — and that something is the wonderful archival footage of a treasure trove of Jewish comics from the late ’40s and ’50s, cracking wise onstage at Catskills resorts and in clips from movies and early television. To the extent that the movie becomes a love letter to the Catskills resorts, it becomes a cloying shuffle down memory lane. Not rated. 83 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) THE WICKER MAN Writer Anthony Shaffer’s 1973 cult classic — seen here in a newly restored version that the director considers definitive — is about an island of pagans who put a police sergeant from the mainland through a macabre goose chase. Neil Howie arrives in Summerisle after receiving an anonymous letter about the disappearance of a 12-year-old girl. But no one, not even the girl’s own mother, seems to know her, arousing Howie’s suspicions. A trail of temptation, drinking songs, phallic symbols, and fertility rituals leads the devout Howie to a frightening realization: it’s his goose being cooked. Not rated. 94 minutes. Jean Cocteau Cinema, Santa Fe. (Bill Kohlhaase)

other screenings Center for Contemporary Arts: 8 p.m. Friday-Sunday, Oct. 25-27: All the Boys Love Mandy Lane. 7 p.m. Monday, Oct. 28: Dr. Strangelove. Shows as part of Santa Fe Institute’s Science on Screen series. Jean Cocteau Cinema 11 p.m. Thursday, Oct. 31: The Rocky Horror Picture Show. Regal Stadium 14 8 & 10 p.m. Thursday, Oct. 31: Ender’s Game. 2 p.m. Sunday, 2 & 7 p.m. Wednesday: The Shining. ◀

HHHH

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Claudia Puig,

What’s shoWing C

Call theaters or check websites to confirm screening times. CENTER FOR CONTEMPORARY ARTS

1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org All the Boys Love Mandy Lane (R) Fri. to Sun. 8 p.m. Dirty Wars (NR) Thurs. 6 p.m. Dr. Strangelove, or How I Learned to Stop Worrying and Love the Bomb (PG) Mon. 7 p.m. Inequality for All (PG) Fri. to Sun. 3 p.m., 5 p.m.,

7 p.m. Mon. 3 p.m., 5 p.m. Tue. and Wed. 3 p.m., 5 p.m., 7 p.m. Thurs. 3:30 p.m. The Summit (R) Fri. to Sun. 4 p.m., 6 p.m. Mon. to Wed. 4 p.m., 6 p.m., 8 p.m. Thurs. 3 p.m., 5 p.m., 7 p.m. When Comedy Went to School (NR) Fri. to Sun. 2 p.m. JEAN COCTEAu CiNEMA

418 Montezuma, 505-466-5528 www.jeancocteaucinema.com Abbott and Costello Meet Frankenstein (PG) Sat.

12 p.m. Sun. 2 p.m. Tue. 8:30 p.m. Thurs. 2 p.m. Escape FromTomorrow (NR) Fri. 4:15 p.m. Sat. 8:30 p.m. Sun. 4:15 p.m. Mon. 8:30 p.m. Wed. and Thurs. 4:15 p.m. House of Wax (PG) Thurs. 6:30 p.m. The Rocky Horror Picture Show (R) Thurs. 11 p.m. Whip It (PG-13) Fri. and Sat. 11 p.m. The Whisperer in Darkness (NR) Fri. and Sat. 2 p.m., 6:20 p.m. Sun. to Wed. 6:20 p.m. The Wicker Man: Final Cut (NR) Fri. 8:30 p.m. Sat. 4:15 p.m. Sun. 8:30 p.m. Wed. 2 p.m., 8:30 p.m. REgAl DEVARgAS

562 N. Guadalupe St., 505-988-2775, www.fandango.com Blue Jasmine (PG-13) 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. The Butler (PG-13) Fri. and Sat. 1:05 p.m., 3:50 p.m., 6:50 p.m., 9:35 p.m. Sun. to Thurs. 1:05 p.m., 3:50 p.m., 6:50 p.m. Don Jon (R) Fri. and Sat. 1:50 p.m., 4:40 p.m., 7:40 p.m., 10 p.m. Sun. to Thurs. 1:50 p.m., 4:40 p.m., 7:40 p.m. Enough Said (PG-13) Fri. and Sat. 1:30 p.m., 4:20 p.m., 7:20 p.m., 9:40 p.m. Sun. to Thurs. 1:30 p.m., 4:20 p.m., 7:20 p.m. The Family (R) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:45 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:10 p.m. The Fifth Estate (R) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:50 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. REgAl STADiuM 14

3474 Zafarano Drive, 505-424-6296, www.fandango.com Call theater or see website for times not shown Captain Phillips (PG-13) Fri. to Tue. 12:35 p.m.,

4:10 p.m., 7:15 p.m., 10:15 p.m. Carrie (R) Fri. to Tue. 12 p.m., 2:30 p.m., 5 p.m., 7:45 p.m., 10:15 p.m. Cloudy With a Chance of Meatballs 2 3D (PG) Fri. to Tue. 10 p.m. Cloudy With a Chance of Meatballs 2 (PG) Fri. to Tue. 12:10 p.m., 2:35 p.m., 5:10 p.m., 7:35 p.m. The Counselor (R) Fri. and Sat. 1 p.m., 3:40 p.m., 4 p.m., 7 p.m., 7:20 p.m., 9:45 p.m., 10:05 p.m. Sun. 1 p.m., 4 p.m., 7:20 p.m., 8 p.m., 10:05 p.m. Mon. and Tue. 1 p.m., 3:40 p.m., 4 p.m., 7 p.m., 7:20 p.m., 9:45 p.m., 10:05 p.m.

ITIC

’S

LOS ANGELES TIMES

PI C K

Ender’s Game (PG-13) Thurs. 8 p.m., 10 p.m. Escape Plan (R) Fri. to Tue. 1:10 p.m., 4:30 p.m.,

7:25 p.m., 10:15 p.m. Gravity 3D (PG-13) Fri. to Tue. 12 p.m., 12:20 p.m., 2:50 p.m., 5 p.m., 5:20 p.m., 7:15 p.m., 7:40 p.m., 10:10 p.m. Gravity (PG-13) Fri. to Tue. 2:30 p.m., 9:50 p.m. Insidious: Chapter 2 (PG-13) Fri. to Tue. 12:05 p.m., 2:40 p.m., 5:15 p.m., 7:50 p.m., 10:20 p.m. Jackass Presents: Bad Grandpa (R) Fri. to Tue. 12:10 p.m., 12:30 p.m., 2:40 p.m., 3 p.m., 5:05 p.m., 5:25 p.m., 7:30 p.m., 7:50 p.m., 9:55 p.m., 10:15 p.m. Machete Kills (R) Fri. and Sat. 12:40 p.m. Sun. 5:05 p.m. Mon. and Tue. 12:40 p.m. Prisoners (R) Fri. to Tue. 12:55 p.m., 4:35 p.m., 8 p.m. Pulling Strings (PG) Fri. to Tue. 1:15 p.m., 4:10 p.m., 7:05 p.m., 9:55 p.m. Rush (R) Fri. to Tue. 12:45 p.m., 3:50 p.m., 7:20 p.m., 10:20 p.m. The Shining (R) Sun. 2 p.m. Wed. 2 p.m., 7 p.m.

EXCLUSIVE ENGAGEMENT

NOW PLAYING

Santa Fe UA De Vargas Mall 6 (800) FANDANGO #608

A Must-see Movie!

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”

– RogeR Hickey,

From Robert Reich, former US Secretary of Labor, comes a humorous and enlightening exposé on America’s widening income gap.

ThE SCREEN

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Muscle Shoals (PG) Fri. to Thurs. 3 p.m., 7:40 p.m. New Mexico State Film Preservation Showcase (NR) Sat. noon Una Noche (NR) Fri. to Thurs. 5:30 p.m. Turandot from the Royal Opera House (PG)

Fe The Center EXCLUSIVE ENGAGEMENT Santa For Contemporary Arts

STARTS TodAy!

(505) 982-1338

CHECK DIRECTORIES FOR SHOWTIMES • NO PASSES ACCEPTED

Sun. 11 a.m.

MiTChEll DREAMCATChER CiNEMA (ESPAñOlA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com Captain Phillips (PG-13) Fri. 4:30 p.m., 7:15 p.m. Sat. and Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m. Carrie (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. Cloudy With a Chance of Meatballs 2 (PG) Fri. 4:35 p.m., 7:05 p.m., 9:30 p.m. Sat. 2:15 p.m., 4:35 p.m., 7:05 p.m., 9:30 p.m. Sun. 2:15 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. The Counselor (R) Fri. 4:30 p.m., 7 p.m., 9:40 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:40 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Escape Plan (R) Fri. 4:45 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:05 p.m., 4:45 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:05 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. Gravity 3D (PG-13) Fri. 4:40 p.m., 7:10 p.m., 9:45 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:10 p.m., 9:45 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:10 p.m. Mon. to Thurs. 4:40 p.m., 7:10 p.m. Gravity (PG-13) Fri. 4:40 p.m., 7:10 p.m., 9:45 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:10 p.m., 9:45 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:10 p.m. Mon. to Thurs. 4:40 p.m., 7:10 p.m. Jackass Presents: Bad Grandpa (R) 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. Pulling Strings (PG) Fri. 4:25 p.m., 6:55 p.m., 9:35 p.m. Sat. 1:55 p.m., 4:25 p.m., 6:55 p.m., 9:35 p.m. Sun. 1:55 p.m., 4:25 p.m., 6:55 p.m. Mon. to Thurs. 4:25 p.m., 6:55 p.m.

Join us Wednesday October 30, 2013 at 2:00 pm at the New Mexico History Museum

For a screening of the ﬁlm “La Festividad de los Muertos” by Metamorfosis Documentation Project

The ﬁlmmakers talk about Indigenous Catholicism and Day of the Dead celebrations in Latin America, followed by the ﬁlm “La Festividad de los Muertos / Lanii Xtee Tugul,” an inside look at Day of the Dead rituals in Teotitlán del Valle in Oaxaca, Mexico.

Free with museum admission New Mexico seniors with I.D. free on Wednesdays. Youth 16 and under and MNMF members always free. Funded by the International Folk Art Foundation.

On Museum Hill in Santa Fe 505 476-1200 InternationalFolkArt.org

PASATIEMPOMAGAZINE.COM

RESTAURANT REVIEW Laurel Gladden I For The New Mexican

Bite club

Steaksmith 104 Old Las Vegas Highway, 505-988-3333 4-9:30 p.m. daily Takeout available Vegetarian options Handicapped-accessible Noise level: quiet to moderate Full bar Credit cards, local checks

•

The Short Order The ambience and décor are relatively relaxed at Steaksmith — which adjoins the El Gancho Fitness, Swim, and Racquet Club on Old Las Vegas Highway — while the menu ranges from casual everyday dishes (burgers, wings, enchiladas, and barbecue) to “special occasion” plates — shrimp, Alaskan king crab, and various cuts of beef (sirloins, a petit filet, and prime rib). You can meet friends to watch football over a burger and a beer in the bar, but the main dining room is the kind of place where people go to splurge — though not everything here is worth celebrating. Recommended: Cobb salad, prime-rib burrito, and pepper-crusted sirloin.

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.

PASATIEMPO I October 25-31, 2013

Given that it adjoins the El Gancho Fitness, Swim, and Racquet Club, visiting Steaksmith always gives me a strange Proustian flashback to weekly childhood dinners my family used to have at the local swimming and tennis club. The ambience and décor are relatively relaxed — cozy booths, wooden tables with cuplike captain’s chairs, well-worn wood beams and details, quirky art on the wall, maybe a fire in one of the fireplaces — while the menu ranges from casual everyday dishes (burgers, wings, enchiladas, and barbecue) to high-end “special occasion” plates (shrimp, Alaskan king crab, and various cuts of beef including sirloins, a petit filet, and prime rib). You’ll also spy some vintage items here, like sautéed mushroom caps, shrimp cocktail, and teriyaki of beef, chicken, or shrimp. You can meet friends to watch football over a burger and a beer in the bar, but the main dining room at Steaksmith is the kind of place where people go to splurge and celebrate. The kitchen complicates the eternal “red or green” question by adding a signature sauce to the mix: piñon red chile, something akin to romesco or pesto. We had trouble deciding which was the best complement to the generous prime-rib burrito, without question the best dish on any of our visits. A soft tortilla envelopes juicy, thinly sliced meat with a heady beef flavor and is smothered with chile and cheese. The green is soupy and spicy; the standard red, sweet and mildly hot; and the piñon red, rich, buttery, nutty, and intense. It was a tough but tasty decision-making process. The chile-cheese balls appetizer feels like something from a 1970s cocktail party. The components are balled up, rolled in breadcrumbs, and deep-fried. Though they promised that salty-spicy-fatty combination that’ll whet your appetite, ours were nearly black, either from being cooked too long or from the use of old fryer oil. Dunking them in the rich piñon red chile seems like overkill — especially if, through one of the restaurant’s tall windows, you spy someone heading into El Gancho all suited up for a long run on the treadmill. Another special house appetizer, “Jeanne’s shrimp” is a dish of three plump crustaceans stuffed with pesto, wrapped in thick salty prosciutto, and bursting with flavor. The sauce slathered on ours had unfortunately broken. Perhaps this is where the Asiago cheese mentioned on the menu comes into play — disconcerting oily-chunky texture aside, the sauce has a rich, salty, mildly nutty flavor. Some of our overcooked wings hadn’t been thoroughly tossed in the spicy but otherwise run-of-the-mill Buffalo sauce. Blue cheese dressing comes on the side for dunking — at least I hope it was blue cheese, since we found buttery chunks and black specks in it. We wondered if our server had accidentally grabbed a ramekin of Ranch by mistake. Service is friendly. Some staff members seem distracted and a little slow, while others are prompt and eager, but they work the cheesy performance-style service a little too hard. Food arrives quickly, and the timing of courses is

adequate, though you might have to wait a while for your drinks or a refill of your water glass. On our server’s recommendation, we tried the sirloinlobster combination. We opted for the peppered sirloin, a brawny cut thickly crusted in ground pepper with a perfectly pink medium-rare interior that had a deep earthy-mineral taste. The overcooked lobster tail could have bounced across the plate, though. Accompanying both were clarified butter and a mysteriously thick and emulsified Dijon-cream “demi-glace.” Don’t bother — the strong pepper and sturdy beefiness don’t need any assistance. Not everything here is so meat-centric. The Cobb salad, for example, is a veritable rainbow, a giant heaping of greens and other elements in an array of colors and textures: purple onion, garbanzos, cherry tomatoes, corn niblets, hardcooked egg, blue cheese, bits of crunchy bacon, buttery avocado, sweet roasted red pepper, and crunchy jicama. Add a little lean protein with some grilled wild-caught salmon — ours was sunset-hued, expertly cooked, and moist. All dinners include soup or salad as well as the starch of your choice — rice, a baked potato, fries — or the day’s vegetable (on one visit, a generous plate of hefty asparagus stalks). Our loaded baked potato was, beneath a heavy blanket of sour cream, slightly underdone and crunchy. Better was the molded scoop of chipotle mashed potatoes, which were a bit dry but offered a pleasant smoky heat. Those mashers helped spice up the skewered grilled shrimp. The seafood was lackluster and underseasoned, but it still touched on something in my memory. Part of me felt 10 years old again, tired from a long day of swimming, and happy to have some comfort food in front of me. ◀

Check, please

Dinner for two at Steaksmith: Tanqueray martini .............................................. $11.00 Glass, Josh pinot noir ......................................... $11.50 Chile-cheese balls ............................................... $ 5.95 Lobster-sirloin combo ........................................ $31.95 Cobb salad with salmon ..................................... $14.95 TOTAL ................................................................ $75.35 (before tax and tip) Dinner for two in the bar, another visit: Chicken wings .................................................... $ 6.95 Jeanne’s shrimp ................................................... $ 8.50 Prime-rib burrito ................................................ $12.95 Grilled shrimp .................................................... $ 9.50 TOTAL ................................................................ $37.90 (before tax and tip)

HUGE STOREWIDE PIANO

CLEARANCE At PianoWerkes Albuquerque

OPEN TO THE PUBLIC

Fri & Sat, Oct 25-26 10am-5pm

ur winter inventory is arriving and we have run out of showroom space.To solve this problem we are conducting a huge Clearance Sale where all overstocks, trade-ins and duplicate models of our world famous pianos are being sold at unusually large discounts.

• Grands, baby grands & uprights • Clavinova Digitals • Disklavier Player Pianos

• Avant Grands & Silent Pianos • Overstocks & Duplicates • New, Used & Discontinued Models

New Yamaha, BÖseNdorfer, schimmel, estoNia, hailuN UsEd stEiNwAy, BostoN, sAMick, BAldwiN, yAMAhA 4640 Menaul Blvd. NE, Albuquerque www.pianowerkes.com 505.884.5605 Bill Schenck, Blazing Cowgirls III (detail), 2013. Oil on canvas.

A MODERN APPROACH TO WESTERN TRADITIONS. Discover contemporary art of the American West and let it expand your perception of western art. The West Select begins with a sale and continues with an exhibition of artwork from today’s leading artists.

Sale Friday, November 8 Exhibition Sunday, November 10 — Tuesday, December 31 Exhibition sponsored by Freeport-McMoRan Copper & Gold.

Phoenix Art Museum For tickets and information visit TheWestSelect.com Organized by Phoenix Art Museum Presented by the Men’s Arts Council

1625 North Central Avenue Phoenix, AZ 85004 phxart.org | @phxart

PASATIEMPOMAGAZINE.COM

2014

pet

CALENDAR

MEET THE

WINNERS Get your 2014 Pet Calendar Saturday, October 26 inside The Santa Fe New Mexican.

PASATIEMPO I October 25 - 31, 2013

pasa week Friday, Oct. 25

THEATER/DANCE

Connect With Art Through the Power of Dance Dancer Julie Brette Adams’ onewoman performance based on works in the New Mexico Museum of Art, 5:30 and 6:30 p.m., 107 W. Palace Ave., 505-476-5072, no charge. Molly Sweeney Theaterwork presents Irish playwright Brian Friel’s drama, 7 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, $15 in advance and at the door, students $10, 505-471-1799, continues through Sunday. Rite of Way New Mexico School for the Arts dance andv isual arts students present a site-specific performance, 7 p.m., Santa Fe Railyard Plaza, 1607 Paseo de Peralta, no charge, Saturday encore.

GALLERY/MUSEUM OPENINGS

Adobe Gallery 221 Canyon Rd., 505-995-0550. Hopi and Zuni pueblos early- and mid-20thcentury kachina dolls, reception 4-6 p.m., through October. Ahalenia Studios 2889 Trades West Rd., Unit E., 505-699-5882. Inner Demons V, group show of visual and performance art, reception 6-9 p.m., through Nov. 1. Argos Studio Gallery & Santa Fe Etching Club 1211 Luisa St., 505-988-1814. Work on Paper, group show of gallery artists, reception 5-7:30 p.m., through Nov. 22. Axle Contemporary Mobile van, 505-670-7612 or 505-670-5854. Emblems of Hidden Durations, drawings by Jerry Wellman, look for the mobile gallery’s van in front of Zane Bennett Contemporary Art, 435 S. Guadalupe St., reception 5-7 p.m., through Nov. 9. Casweck Galleries 203 W. Water St., 505-988-2966. Paintings and bronze sculpture by Brant Kingman, reception and artist talk 5:30-7:30 p.m. Eggman and Walrus 130 W. Palace Ave., second floor, 505-660-0048. Untethered, writings and hand-crafted word art by Vivian Gordon, reception 5-7 p.m., through Sunday. Matthews Gallery 669 Canyon Rd., 505-992-2882. Art on Paper: Fine Art Prints, historic lithographs, woodblock prints, and etchings by Picasso, Renoir, and Gauguin, reception and gallery talks with Jordan Eddy and Lawrence Matthews 5-7 p.m., through Sunday. Pippin Contemporary 200 Canyon Rd., 505-795-7476. Meditative Expressions, new work by Cody Hooper, artist talk and reception 5-7 p.m., through Nov. 6. Robert Nichols Gallery 419 Canyon Rd., 505-982-2145. Innovative Native American Pottery, works by Diego Romero, Alan E. Lasiloo, and Glen Nipshank, reception 5-7 p.m., through Nov. 8. Santa Fe Arts Commission Community Gallery Santa Fe Community Convention Center. 201 W. Marcy St., 505-955-6705. Common Ground, works by local artists, reception 5-7 p.m., through Nov. 8. A Sea Gallery 407 S. Guadalupe St., 505-988-9140. Back From Europe, paintings by Monika Steinhoff, reception 5-7 p.m. Turner Carroll Gallery 725 Canyon Rd., 505-986-9800. New paintings by Igor Melnikov, reception 5-7 p.m., through November. Ventana Fine Art 400 Canyon Rd., 505-983-8815. New works by Albert Handell, reception 5-7 p.m., through November.

compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com

BOOKS/TALKS

Finding the Higgs Particle: Sweet Dream or Nightmare? A St. John’s College community lecture by Melissa Franklin, 3:15 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, 505-984-6070, no charge. Greg Valerio The author and jeweler discusses his book Making Trouble: Fighting for Fair Trade Jewelry, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

EVENTS

Eldorado Arts and Crafts Fall Show More than 40 artists show their work, 3-7 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, no charge. New Mexico Archives Month Daylong activities beginning at 9:30 a.m., State Records Center and Archives, 1209 Camino Carlos Rey, 505-476-7951 (see story, Page 46).

NIGHTLIFE

Double-bassist Curtis Lundy and his quintet on stage at The Den Friday, Oct. 25

Zane Bennett Contemporary Art 435 S. Guadalupe St., 505-982-8111. WholeInOne, drawings by Emily Cheng; In Case of Emergency, wood assemblages by Roger Atkins, reception 5-7 p.m., through Nov. 22.

CLASSICAL MUSIC

TGIF recital Pianists Christy French and Mims Harris perform works of Handel, Dvoˇrák, and Rocherolle, 5:30 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations welcome, 505-982-8544, Ext. 16.

IN CONCERT

Christianne Miranda The Music Café Series presents the jazz vocalist with Bert Dalton on piano, Andy Zadrozny on bass, and John Trentacosta on drums, 7 p.m., 710 Camino Lejo, Museum Hill, $25, 505-983-6820. Santa Fe Jazz Club Festival New York City-based Curtis Lundy Quintet, 6 and 8 p.m. sets, The Den, 132 W. Water St., $75-$250, 505-670-6482.

(See Page 69 for addresses) Café Café Los Primos Trio, traditional Latin rhythms, 7 p.m., no cover. Cowgirl BBQ Wayne Long and Arthetta Faye, Americana, 5-7:30 p.m.; local folk rockers The Bus Tapes, 8:30 p.m.-close, no cover. Hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7 p.m., no cover. La Posada de Santa Fe Resort and Spa Nacha Mendez, Latin music, 6:30 p.m., no cover. Pranzo Italian Grill Pianist David Geist with Julie Trujillo, 6-9 p.m., call for cover. Second Street Brewery Boris and The Saltlicks, alt country, 6 p.m., no cover. Second Street Brewery at the Railyard Country and western/swing band The Tumbleweeds, 7 p.m., no cover. Tiny’s Rolling Stones cover band Little Leroy and His Pack of Lies, 8:30 p.m., no cover.

pasa week Exhibitionism...................... 66 At the Galleries.................... 67 Libraries............................ 67 Museums & Art Spaces........ 67 In the Wings....................... 68

Pasa’s Little Black Book......... 69 Elsewhere............................ 71 People Who Need People..... 71 Pasa Kids............................ 71

continued on Page 69

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. PASATIEMPOMAGAZINE.COM

exhibitionism

A peek at what’s showing around town

ngalpingka simms: Wayul, 2010, synthetic polymer paint on canvas. Chiaroscuro Contemporary Art (702½ Canyon Road) presents its annual Fall Group Show, featuring work by Karl Pilato, Australian artists Kay Baker and Ngalpingka Simms, and others. The show opens Thursday, Oct. 31, and runs through Nov. 23. There is no reception. Call 505-992-0711.

marci esterbrook: Shoe, 2004, accordion artist book. From the Inside, Part II is the second in a two-part series featuring artwork by more than 30 members of the arts faculty of Santa Fe Community College, including Doug Fairfield, Ro Calhoun, and Noel Aranov. The show is at the Visual Arts Gallery on the SFCC campus (6401 S. Richards Ave.) and runs through Jan. 15, 2014. Call 505-428-1501.

Jerry Wellman: Reciprocating, 2013, pen and ink. Axle Contemporary presents a selection of drawings and paintings from Jerry Wellman’s book Emblems of Hidden Durations. In the work, he explores themes of death and deathlessness. There is an opening reception on Friday, Oct. 25, at 5 p.m. at Axle’s mobile gallery in front of Zane Bennett Contemporary Art (435 S. Guadalupe St.). Visit www.axleart.com for the gallery’s other locations through Nov. 9. Hidden Durations, a Tree Operetta by Molly Sturges, inspired by Wellman’s book, takes place at the Center for Contemporary Arts (1050 Old Pecos Trail) on Saturday, Nov. 2, with performances at 6:30, 7:30, and 8:30 p.m. Reservations are required; email info@axleart.com. Wellman reads from his book at Collected Works Bookstore (202 Galisteo St., 505-988-4226) at 6 p.m. Tuesday, Nov. 5. The events are free.

PASATIEMPO I October 25-31, 2013

Diego Romero: Manscape, 2013, ceramic. Two exhibitions open at Robert Nichols Gallery (419 Canyon Road) this week. Innovative Native American Pottery opens with a 5 p.m. reception on Friday, Oct. 25, and features work by Diego Romero, Alan E. Lasiloo, and Glen Nipshank. Native Vision, a show of photos by Cara Romero, opens on Saturday, Oct. 26, with a reception at 2 p.m. Cara Romero is a program director at Bioneers, a nonprofit organization for social, cultural, and environmental change. Her photography deals with Native American and other themes. Call 505-982-2145.

igor melnikov: Companion (Encounter), 2013, acrylic on panel. Russian artist Igor Melnikov’s new work is presented in a show at Turner Carroll Gallery (725 Canyon Road). Melnikov paints somber, haunting portraits of children and moody landscapes. There is a reception on Friday, Oct. 25, at 5 p.m. Call 505-986-9800.

At the GAlleries Bindle Stick Studio 616½-B Canyon Rd., 917-679-8080. Robert Buchan: Street Photographs; Jeffrey Schweitzer: The Drifter, new works on paper, through Thursday, Oct. 31. Canyon Road Art Brokerage 618 Canyon Rd., 505-995-1111. Ten Paintings and Some Clay; work by Stan Berning, through Monday, Oct. 27. Governor’s Gallery State Capitol, fourth floor, Old Santa Fe Trail and Paseo de Peralta, 505-476-5058. Works by recipients of the 2013 Governor’s Awards for Excellence in the Arts. Jay Etkin Gallery 703 Camino de la Familia, Suite 3103, 505-983-8511. Golden, paintings and mixed media by Sheldon Krevit, through Wednesday, Oct. 30. LewAllen Galleries at the Railyard 1613 Paseo de Peralta, 505-988-3250. Beyond Earth’s Rhythms, paintings by Michael Roque Collins, through Nov. 24. Offroad Productions 2891-B Trades West Rd., 505-670-9276. Blue, group show, through Saturday, Oct. 26. Photo-eye Gallery 376-A Garcia St., 505-988-5116. Across the Ravaged Land, Nick Brandt’s photographic study of East Africa, through November. Selby Fleetwood Gallery 600 Canyon Rd., 505-992-8877. Margi Lucena: With Clear Eyes, landscapes, through Tuesday, Oct. 29. Verve Gallery of Photography 219 E. Marcy St., 505-982-5009. Nevada Wier: Invisible Light: The World of Infrared; Alan Perlman: Santa Fe Faces; Janet Russek: The Tenuous Stem; through Nov. 2.

librAries Beaumont and Nancy Newhall Library Marion Center for Photographic Arts, 1600 St. Michael’s Dr., 505-474-5052. Open by appointment only. Catherine McElvain Library School for Advanced Research, 660 Garcia St., 505-954-7205. Open Monday-Friday, call for hours. Chase Art History Library 1600 St. Michael’s Dr., 505-473-6569. Open Monday-Friday, call for hours. Faith and John Meem Library 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 120 Washington Ave., 505-476-5090. Open 1-5 p.m. Tuesday-Friday. Laboratory of Anthropology Library Museum of Indian Arts & Culture, 107 W. Palace Ave., 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 3960 San Felipe Rd., 505-467-6825. Rare books and collections of metaphysical materials. Open Monday-Friday, call for hours. Santa Fe Community College Library 6401 Richards Ave., 505-428-1352. Open Monday-Friday, call for hours.

Santa Fe Institute 1399 Hyde Park Rd., 505-984-8800. Open 1-5 p.m. Monday-Friday to current students (call for details). Online catalog available at santafe.edu/library. Santa Fe Public Library, Main Branch 145 Washington Ave., 505-955-6780. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.-6 p.m. Friday-Saturday, 1-5 p.m. Sunday. Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 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

refer to the daily calendar listings for special events. hours subject to change on holidays and during special events. Center for Contemporary Arts 1050 Old Pecos Trail. 982-1338. Atomic Surplus, multidisciplinary group exhibit surveying the global nuclear legacy • Tony Price and the Black Hole, exhibit of ephemera from the Los Alamos Black Hole salvage yard and works from the estate of artist Tony Price, through Jan. 5. Gallery hours available online at ccasantafe.org or by phone. 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. SaturdayThursday, 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 Contemporary Native Arts 108 Cathedral Pl., 505-983-1666. Changing Hands: Art Without Reservations 3/Contemporary Native North American Art From the Northeast and Southwest, group show • Steven J. Yazzie: The Mountain • Jacob Meders: Divided Lines • Cannupa Hanska Luger: Stereotype: Misconceptions of the Native American; exhibits continue through December. Open 10 a.m.-5 p.m.; noon-5 p.m. Sunday; closed Tuesday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays. Museum of Indian Arts & Culture 107 W. Palace Ave., 505-476-5072. What’s New in New: Recent Acquisitions, through December • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays. Museum of International Folk Art 706 Camino Lejo, 505-476-1200. Let’s Talk About This: Folk Artists Respond to HIV/AIDS,

Water Over Mountain, in channing huser’s photographic installation at the New Mexico history Museum

collaborative community exhibit, through Jan. 5 • Tako Kichi: Kite Crazy in Japan, exhibit 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. Open 10 a.m.-5 p.m. Tuesday-Sunday. $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. Beltrán-Krapp Peruvian Art Collection, exhibit of gift items, including a permanent gift of 60 art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso, Peru’s ambassador to the U.S. (1944-45), through May 27 • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late colonial period re-creation. 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. 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; free admission 5-8 p.m. Fridays. New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. Collecting Is Curiosity/Inquiry • A Life in Pictures: Four Photography Collections, through Jan. 19 • 50 Works for 50 States, through April 13 • Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, through Jan. 12 • 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; no charge for NM residents over 60 on Wednesdays; NM residents free on Sundays. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Pl., 505-988-8900. Open 10 a.m.-5 p.m. TuesdaySunday. $10 admission. Poeh Museum Poeh Center Complex, Pueblo of Pojoque, 78 Cities of Gold Rd., 505-455-3334. Fashion designs by Patricia Michaels, through November. 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, 505-9891199. Open 10 a.m.-5 p.m. Tuesday, Thursday, and Saturday; 10 a.m.-7 p.m. Friday; closed Wednesday; $10; seniors and students $5; 10 a.m.-noon Saturday, no charge; Friday no charge. Wheelwright Museum of the American Indian 704 Camino Lejo, 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.

PASATIEMPOMAGAZINE.COM

In the wings MUSIC

Alejandro Escovedo and the Sensitive Boys Rock band, with Amy Cook, 7:30 p.m. Friday, Nov. 1, $25 in advance, 505-988-1234, ticketssantafe.org, $30 at the door, Santa Fe Sol Stage & Grill, 37 Fire Pl. High Mayhem Fall Concert Series 2013 The local arts collective presents acts including Solo Dino (Nov. 2), Johnny Bell (Nov. 9), and Ink on Paper (Nov. 16), visit highmayhem.org for full schedule through Nov. 23, High Mayhem Emerging Arts, 2811 Siler Ln. Majesty of Music and Mathematics: Voyages of Discovery IV The Santa Fe Symphony performs works illustrating mathematical concepts; remarks by Santa Fe Institute’s Cris Moore and an overhead multimedia presentation, 7:30 p.m., Saturday, Nov. 2, the Lensic, $22-$76, 505-983-1414 or ticketssantafe.org. Reckless Kelly Americana band, 7:30 p.m. Saturday, Nov. 2, Santa Fe Sol Stage & Grill, 37 Fire Pl., $17 in advance, 505-988-1234, ticketssantafe.org, $20 at the door. Black Lillies Knoxville-based Americana band, 7:30 p.m. Tuesday, Nov. 5, Santa Fe Sol Stage & Grill, 37 Fire Pl., $12 in advance, 505-988-1234, ticketssantafe.org, $15 at the door. Peter Buffett: Life Is What You Make It Concert and conversation with the pianist and with cellist Michael Kott, 7 p.m. Thursday, Nov. 7, the Lensic, $15, reserved seat and signed book $50, 505-988-1234, ticketssantafe.org. Victor & Penny Antique-pop ukulele and guitar duo, 6 p.m. Wednesday, Nov. 8, Cowgirl BBQ, 505-982-2565. Arlen Asher Woodwind artist, with Jim Ahrend on piano, Colin Deuble on bass, and John Trentacosta on drums, 7 p.m. Friday, Nov. 8, Museum Hill Café, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.org. Iva Bittová Czech avant-garde vocalist and violinist, 7:30 p.m. Friday, Nov. 8, $20 at the door, gigsantafe.com, Gig Performance Space, 1808-H Second St. The Met Live in HD The season continues with Verdi’s opera Falstaff, 11 a.m. and 6 p.m. Saturday, Nov. 14, the Lensic, $22-$28, 505-988-1234, ticketssantafe.org. Cantu Spiritus Chamber Choir In Love and War, poetry readings by actors Michael and Jennifer Graves, accompanied by the choir, 3 p.m. Sunday, Nov. 17, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20, students no charge, visit cantuspirituschoir.com for details. Charles Lloyd & Friends Jazz reedist/composer, with bassist Reuben Rogers, percussionist Eric Harland, and guitarist Bill Frisell, 7 p.m. Tuesday, Nov. 19, the Lensic, $20-$45, ticketssantafe.org, 505-988-1234. Serenata of Santa Fe Windstream, music of Beethoven, Thuille, and Poulenc, 3 p.m., Sunday Nov. 24, $25; discounts available, 505-989-7988, Scottish Rite Center, 463 Paseo de Peralta. Santa Fe Symphony Orchestra & Chorus Handel’s Messiah, 4 p.m. Sunday, Nov. 24, pre-concert lecture 3 p.m., the Lensic, $20-$70, 505-988-1234, ticketssantafe.org.

PASATIEMPO I October 25-31, 2013

Sangre de Cristo Chorale The 45-member ensemble presents Deo Gracias, 3 p.m. Sunday, Dec. 8, $20 in advance and at the door, First Presbyterian Church of Santa Fe, 208 Grant Ave., sdcchorale.org. Ian Moore Blues/rock guitarist, 7:30 p.m., Thursday, Dec. 12, María Benítez Theater, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25 in advance at brownpapertickets.com, $29 at the door. Pink Martini Latin, jazz, and classic pop orchestra, 7:30 p.m. Monday, Jan 20, the Lensic, $54-$84, 505-988-1234, ticketssantafe.org.

THEATER/DANCE

Salt and Pepper A comedy by Los Alamos playwright Robert Benjamin, Nov. 1-10, Teatro Paraguas, 3205 Calle Marie, $18, discounts available, 505-424-1601. National Theatre Live in HD Macbeth, 7 p.m. Tuesday, Nov. 5; 50th anniversary event showcase, 7 p.m. Tuesday, Nov. 12; the Lensic, $22, discounts available, ticketssantafe.org, 505-988-1234. Celebrating Survival: Exploration of Courage, Strength, Laughter, and Love Santa Fe Playhouse presents staged readings by local playwrights including Shebana Coehlo, Aaron Leventman, and Erin O’Shaughnessy, 7:30 p.m. Friday and Saturday, 4 p.m. Sunday, Nov. 8-10; event includes a silent art auction; Santa Fe Playhouse, 142 E. De Vargas St., $15, 505-986-1801, proceeds benefit the Cancer Foundation for New Mexico. WTF! Where’s My Community? Community Learning Collaborative’s social issues theater production, Santa Fe Community

Upcoming events Foundation performances 7:30 p.m. Friday and Saturday, Nov. 8-9; Teatro Paraguas studio performances, 7:30 p.m. Saturday and Sunday, Nov. 16-17, $12, discounts available, 505-986-0541. Balé Folclórico da Bahia Brazilian folk dance, 7 p.m. Wednesday, Nov.13, $25-$45, ticketssantafe.org, 505-988-1234. Our Lady of 121st Street Stephen Adly Guirgis’ comedy about a missing corpse, 7 p.m. Friday-Sunday, Nov. 15-24, Greer Garson Theatre, 1600 St. Michael’s Dr., $12-$15, discounts available, 505-988-1234, ticketssantafe.org. The Mountaintop Fusion Theater presents Katori Hall’s drama reimagining events the night prior to the assassination of Martin Luther King Jr., 8 p.m. Friday and 2 and 8 p.m. Saturday, Nov. 15-16, the Lensic, $20-$40, student discounts available, ticketssantafe.org, 505-988-1234. The Secret War Monologist Mike Daisey’s new work exploring national security, privacy, and freedom, 7 p.m., Thursday and Saturday, Nov. 21 and 23, the Lensic, $10, ticketssantafe.org, 505-988-1234. Under One Umbrella Festival The public is encouraged to share five- to ten-minute community creativity-themed performances held at Capitol High School Friday and Saturday, Nov. 22-23; for details visit teatroparaguas.org or call 505-424-1601. Winter Dance SFUA&D’s Garson Dance Company presents new works, 7 p.m. Wednesday, Dec. 11, Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org. Annie Presented by Musical Theatre Works Santa Fe, 7 p.m. Friday and Saturday, 2 p.m. Sunday, Dec. 20-29, Greer Garson Theatre, 1600 St. Michael’s Dr., $15 in advance at musicaltheatreworks.net, student discounts available, $20 at the door, 505-946-0488.

HAPPENINGS

Design Lab: Next Nest SITE Santa Fe and Design Santa Fe present an exhibit of new domestic forms and design concepts, Saturday-Friday, Nov. 2-29, opening reception 5-7 p.m., Saturday, Nov. 2, SITE Santa Fe, 1606 Paseo de Peralta.

Avant-garde vocalist and violinist iva Bittová performs nov. 8 at gig performance space

Santa Fe Stories of the AIDS Memorial Quilt The public is invited to share stories of artists, advocates, visionaries, and families whose lives are stitched into the quilt; 1-4 p.m. Sunday, Nov. 3; presented in conjunction with the Museum of International Folk Art exhibit Let’s Talk About This: Folk Artists Respond to HIV/AIDS, 706 Camino Lejo, 505-476-1200. FUZE-SW Food + Folklore Festival Food conference with national and local chefs and authors, speakers include James Campbell Caruso and Cordelia Thomas Snow. FridaySunday Nov. 8-10, $250, 505-476-1146, Museum of International Folk Art, 706 Camino Lejo, visit fuzesw.museumofnewmexico.org for updates. Second Annual Lunafest Traveling film festival spotlighting women filmmakers; 5-8 p.m. Saturday, Nov. 9, reception featuring a silent auction, wine, and hors d’oeuvres $35, short film screenings $25, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., proceeds benefit Girls Inc. and the Breast Cancer Fund. Recycle Santa Fe Art Festival Recycled art market, juried exhibit, and trash fashion contest, Friday-Sunday, Nov. 15-17, Santa Fe Community Convention Center, recyclesantafe.org. Brasil and Arte Popular Exhibit of works from the collection, opening reception 1-4 p.m. Sunday, Nov. 17, Museum of International Folk Art, 706 Camino Lejo, by museum admission. An Evening With the Harvey Girls Premiere screening of The Harvey Girls: Opportunity Bound, followed by a reception with the filmmaker, 4-7 p.m. Sunday, Nov. 17, $80-$100, tickets available at the museum shop or by calling 505-982-9543, New Mexico History Museum Auditorium, 113 Lincoln Ave. Lannan Foundation events A Lannan Literary Series event with Luís Alberto Urrea and Michael Silverblatt, 7 p.m., Wednesday, Nov. 20; Nothing Personal: The Dark Room Collective Reunion Tour with Natasha Trethewey, Major Jackson, Thomas Sayers Ellis, John Keene, Tisa Bryant, and Sharan Strange, 7 p.m., Thursday, Dec. 12, the Lensic, $6, students $3, ticketssantafe.org, 505-988-1234. Twenty-fifth AID & Comfort Gala Presented by Southwest CARE Center; featuring theatrical singer Prince Poppycock, a VIP reception, and a silent auction, 6 p.m. Saturday, Nov. 23, Eldorado Hotel & Spa, 309 W. San Francisco St. Eighth Annual SWAIA Winter Indian Market Thanksgiving weekend, Nov. 30-Dec. 1; more than 200 participants; artist demonstrations; fashion show; and silent art auction; $10 per day, $15 weekend pass, tickets available at the door only, presented by Southwestern Association for Indian Arts, swaia.org,. Santa Fe Community Convention Center, 201 W. Marcy St. Santa Fe Women’s Ensemble benefit Caroling party and silent auction, 5:30 p.m. Saturday, Dec. 7, Manitou Galleries, 225 Canyon Rd., $50, 505-988-1234, ticketssantafe.org. Tribute to Sallie Bingham Dinner honoring the author/feminist, cocktails 6 p.m. Friday, Dec. 13, meal 7 p.m.; La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., $100, 505-988-1234, ticketssantafe.org, proceeds benefit the New Mexico Committee of National Museum of Women in the Arts scholarship fund.

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continued from Page 65

26 Saturday GALLERY/MUSEUM OPENINGS

Robert Nichols Gallery 419 Canyon Rd., 505-982-2145. Native Vision, photography by Cara Romero, reception 2-4:30 p.m., through Nov. 8. Twenty-four-hour drawing collaboration Drawing Studio Room 236, Tishman Hall, Santa Fe University of Art & Design, 1600 St. Michael’s Dr. Large-scale drawings by SFUA&D students, faculty, and staff, opening reception 6-8 p.m.

OPERA IN HD

The Met Live in HD The season continues with Shostakovich’s opera The Nose, 11 a.m. and 6 p.m., the Lensic, $22-$28, 505-988-1234, ticketssantafe.org.

IN CONCERT

Storming the Beaches With Logos in Hand Fundraising concert for Luke Carr’s new rock opera, 8 p.m., Betterday Coffee, by donation.

THEATER/DANCE

Jewel Box Cabaret Gender illusion, musical comedy, and burlesque. 8:30 p.m., Maria Benitez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $10-$20 at the door. Julesworks Follies Monthly variety show; music, dance, theater, comedy, and spoken word performances; 7 p.m., Teatro Paraguas studio, 3205 Calle Marie, $7 suggested donation at the door.

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 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. te Café The Den at Coyo 5-983-1615 50 , St. r 132 W. Wate 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 100 Sa

Molly Sweeney Theaterwork presents Irish playwright Brian Friel’s drama, 7 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, $15 in advance and at the door, students $10, 505-471-1799. Rite of Way New Mexico School for the Arts dance and visual arts students present a site-specific performance, 7 p.m., Santa Fe Railyard Plaza, 1607 Paseo de Peralta, no charge.

BOOKS/TALKS

The Age of Warriors: Art of the Samurai A talk on Japanese paintings and artwork by Barry Ellsworth as part of Art Matters Santa Fe, 1 p.m., Ellsworth Gallery, 215 E. Palace Ave. Art, Celebrity, and Appropriation A panel discussion with curator Craig Anderson, attorney David Dirks, editor Ric Lum, and critic Iris McLister, an Art Matters Santa Fe event, 4 p.m., Evoke Contemporary, 130-F Lincoln Ave. Donna Blake-Birchell and William W. Dunmire Blake-Birchell discusses her book New Mexico Wine: An Enchanting History, and Dunmire discusses his books New Mexico’s Spanish Livestock Heritage and New Mexico’s Living Landscapes, 11:30 a.m.-1 p.m. State Library and State Records Center and Archives, 1209 Camino Carlos Rey. Gallery talks Roger Atkins discusses his exhibit In Case of Emergency, 2:30 p.m.; Emily Cheng discusses her work shown in the exhibit Whole In One, 3 p.m.; an Art Matters Santa Fe event, Zane Bennett Contemporary Art, 435 S. Guadalupe St., 505-982-8111. Geoffrey Gorman The sculptor discusses his work as part of Art Matters Santa Fe, 11 a.m., Tansey Contemporary, 652 Canyon Rd., 505-995-8513.

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 Ikonik 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 and Spa 330 E. Palac 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

Life Support: Art & Design Sustenance Panel discussion with artists and designers Derek Porter, Ted Larsen, Thomas Lehn, Max Almy, and Teri Yarbrow, 2 p.m., David Richard Gallery, 544 S. Guadalupe St. Max Evans The author discusses his book Animal Stories: A Lifetime Collection, along with journalist Lorene Mills, 2 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. Opera Breakfast Lecture Bill Derbyshire speaks on Shostakovich’s The Nose, in conjunction with The Met Live in HD at the Lensic series, 9:30 a.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226, $5 suggested donation at the door. Vivian Gordon The author reads from her works in the exhibit Untethered, noon-5 p.m., Eggman and Walrus, 130 W. Palace Ave., second floor, 505-660-0048.

EVENTS

Eldorado Arts and Crafts Fall Show More than 40 artists show their work, 9 a.m.-5 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, no charge. Esperanza Shelter for Battered Families Masquerade Ball Silent auction, music by theatrical jazz quartet Le Chat Lunatique, and dinner, 6 p.m., Santa Fe Community Convention Center, 201 W. Marcy St. $125, table discounts available, esperanzaball.com, 505-474-5536. LutherFest Traditional German luncheon; ethnic dances; games; and pumpkin smashing contest; 10 a.m.-2 p.m., meals $7, no charge for admission, Christ Lutheran Church, 1701 Arroyo Chamiso.

Low ’n Slow Lowrider Bar at Hotel Chimayó de Santa Fe 125 Washington Ave., 505-988-4900 The Matador 116 W. San Francisco St., 505-984-5050 The Mine Shaft Tavern 2846 NM 14, Madrid, 505-473-0743 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 Omira Bar & Grill 1005 S. St. Francis St., 505-780-5483. The 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 Second Street Brewer y 1814 Second St., 505-982-3030

Talking Heads

Opera Breakfast Lecture series Bill Derbyshire speaks on Shostakovich’s opera The Nose at 9:30 a.m. Saturday, Oct. 26, in conjunction with the Lensic’s Met Live in HD broadcast series. Hosted by Collected Works Bookstore, 202 Galisteo St., 988-4226. Visit the bookstore’s website for a full schedule of opera lectures. Pictured, a scene from a Metropolitan Opera rehearsal of The Nose, March 2, 2010; photo by Ken Howard. Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., pueblooftesuquefleamarket.com, Friday-Sunday through the year. Pueblo of Tesuque Flea Market, 15 Flea Market Rd. ▶▶▶▶▶▶▶▶

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., Suite 117, 505-988-7102 Thunderbird Bar & Grill 50 Lincoln Ave., 505-490-6550 Tiny’s 1005 St. Francis Dr., Suite 117, 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

PASATIEMPOMAGAZINE.COM

Santa Fe Artists Market 8 a.m.-1 p.m. Saturdays at Railyard Park across from the Farmers Market, through November, 505-310-1555. Santa Fe Farmers Market 8 a.m.-1 p.m. Santa Fe Railyard Plaza, 1607 Paseo de Peralta.

BOOKS/tAlKS

NIghtlIFe

(See Page 69 for addresses) ¡Chispa! at el Mesón Argentine Tango Milonga, 7:30-close weekly, call for cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. Cowgirl BBQ Indie folk/pop band Buster Blue, 8 p.m., no cover. Vanessie Kathy Morrow, piano and vocals, 7 p.m., no cover.

(See Page 69 for addresses) Café Café Guitarist Michael Tait Tafoya, 6 p.m., no cover. Cowgirl BBQ Santa Fe Chiles, Dixieland jazz, 2-5 p.m.; Appalachian-inspired string band Hot Honey, 8:30 p.m.-close; call for cover. evangelo’s Led Zeppelin tribute band Moby Dick, 9 p.m., call for cover. hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7 p.m., no cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio with vocalist Whitney Carroll Malone, bassist Asher Barreras, and Malone on acoustic guitar, 6-9 p.m., call for cover. Mine Shaft tavern Halloween dance party and costume contest; music by Felix y Los Gatos Zydeco, 8 p.m., call for cover. Pranzo Italian grill Jazz pianist John Rangel, 6-9 p.m., call for cover. Second Street Brewery Railyard Reunion, bluegrass, 6 p.m., no cover. Second Street Brewery at the Railyard MVIII Jazz Project, modern original jazz, 7 p.m., no cover. the Palace Restaurant & Saloon Vanilla Pop, dance band, 10 p.m., call for cover. tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m., no cover. Vanessie Kathy Morrow, piano and vocals, 7 p.m., call for cover.

Art gómez and Robert l. Spude The authors discuss their book New Mexico: A History, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226 (see Subtexts, Page 16).

NIghtlIFe

30 Wednesday IN CONCeRt

laura Marling Nu-folk singer/songwriter, 7:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $22 in advance, $25 at the door, solofsantafe.com.

BOOKS/tAlKS

Nice Jewish Cowboys and Cowgirls Noel Pugach leads a panel discussion of New Mexico’s early Jewish families, 2 p.m., New Mexico History Museum Auditorium, 113 Lincoln Ave., no charge.

eVeNtS

Santa Fe Men’s Camerata Feel the Spirit, fall choral concert, 3 p.m., Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20 at the door, under 18 no charge, call 505-571-6352 for information.

theAteR/DANCe

NIghtlIFe

ClASSICAl MUSIC

Molly Sweeney Theaterwork presents Irish playwright Brian Friel’s drama, 2 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail. $15 in advance and at the door, students $10, 505-471-1799.

BOOKS/tAlKS

Jay Coghlan The executive director of Nuclear Watch New Mexico talks about nuclear waste at LANL, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. Muse times two Poetry Series Will Schutt reads from his collection Westerly, and Leslie Ullman reads works from Progress on the Subject of Immensity, 4 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

PASATIEMPO I October 25-31, 2013

NIghtlIFe

Ghost Ranch, by Martha Mans, Karan Ruhlen Gallery, 225 Canyon Rd.

Pueblo of tesuque Flea Market 9 a.m.-4 p.m., pueblooftesuquefleamarket.com, Friday-Sunday through the year. Pueblo of Tesuque Flea Market, 15 Flea Market Rd. Railyard Artisan Market and Sacred Soothsayer Fair Work by more than 30 artists; tarot readers, astrologers, psychics, and healers; music by Michael Combs and Beth Valdez; 10 a.m.-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, no charge. Santa Fe living treasures Fall Ceremony Public event honoring Barbara Ann Goede, Owen Kunkle, and Sarah W. Taylor, 2-4 p.m., call 505-982-3462 for details, Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd.

27 Sunday

Brian Jay Jones The author discusses his book Jim Henson: The Biography, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. hopi Culture: then and Now A Southwest Seminars lecture by Leigh J. Kuwanwisiwma. 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door. Rifles, gold, and Mother earth: the Distinctive Arts of Colonial Peru A Spanish Colonial Arts Society lecture by Ray Hernandez-Duran, 2 p.m. Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, $10, 505-982-2226.

lannan in Pursuit of Cultural Freedom Series Jeremy Scahill discusses his new book Dirty Wars: The World Is a Battlefield, 7 p.m., followed by a conversation with Tom Engelhardt, the Lensic, $6, discounts available, 505-988-1234, ticketssantafe.org (see story, Page 20). School for Advanced Research lecture Place, Proximity, and the Transmission of Civil War Through Time: Reflections on the Course of Two Balkan Wars, 1946-1949 and 1992-1995, with Laurie Kain Hart, noon, 660 Garcia St., no charge. Serigraphs as Reproductions and Originals: Reviving a time-honored Process A lecture by printmaker Jason Rodriguez of Serigrafix Studio, 6 p.m., Q & A follows, La Tienda Performance Space, 7 Caliente Rd., Eldorado, no charge, call 585-295-3658 or 928-856-9065 for details. the three Marks of existence: Impermanence, Suffering, No-Self Dharma talk by Shinzan Palma. Upaya Zen Center, 1404 Cerro Gordo Rd., donations welcome. World War II in New Mexico The weekly docent talk series continues, 12:15 p.m., New Mexico Museum of Art, 107 W. Palace Ave., by museum admission.

(See Page 69 for addresses) Café Café Guitarist Michael Tait Tafoya, 6 p.m., no cover. Cowgirl BBQ Boris McCutcheon in a Townes Van Zandt tribute, noon-3 p.m.;The Jake Jones Band, rockin’ blues, 8 p.m.; no cover. la Posada de Santa Fe Resort and Spa Cowboy singer and guitarist Wiley Jim, 7 p.m., no cover.

28 Monday IN CONCeRt

Birds of Chicago Roots band, 7:30 p.m., Music Room, Garrett’s Desert Inn, 311 Old Santa Fe Trail, $22 in advance at brownpapertickets.com, $25 at the door, 505-982-1851.

leni Stern African trio Jazz guitarist with Senegalese musicians Mamadou Ba and Alioune Faye, 7:30 p.m., Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com (see story, Page 24).

BOOKS/tAlKS

(See Page 69 for addresses) ¡Chispa! at el Mesón Andy Kingston Trio, 7:30-10:30 p.m., no cover. Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m. weekly, no cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.

29 Tuesday IN CONCeRt

Alloy Orchestra The instrumental trio performs live accompaniment for the 1927 silent film Metropolis, 7 p.m., the Lensic, $10-$20, ticketssantafe.org, 505-988-1234 (see story, Page 50).

(See Page 69 for addresses) ¡Chispa! at el Mesón Americana/blues guitarist Jim Almand, 7:30-9:30 p.m., no cover. Cowgirl BBQ Folk-rockers Ian McFeron and Alisa Milner, 8-11 p.m., no cover. la Posada de Santa Fe Resort and Spa Omar Villanueva, Latin fusion, 7 p.m., no cover. the Pantry Restaurant Acoustic guitar and vocals with Gary Vigil, 6 p.m., no cover. tiny’s 505 Electric Jam with Nick Wimett and M.C. Clymer, 9 p.m., no cover. Vanessie Kathy Morrow, piano and vocals, 7 p.m., call for cover.

31 Halloween

Convention Center; for more information contact Sarah Pierpont, 505-603-0558, skpierpont@yahoo.com. santa fe society of artists Fall jury for new members held Saturday, Oct. 26; applications and details available online at santafesocietyofartists.com/becomea-member, or call 505-455-3496 for information.

gallery/museum openings

Chiaroscuro Contemporary art 702½ Canyon Rd., 505-992-0711. Fall group show of works by Australian artists and gallery artists, through Nov. 23.

eVenTs

filmmakers/performers/Writers

House of Wax Screening of the 1953 film starring Vincent Price with a costume contest with the actor’s daughter Victoria Price, 6:30 p.m., Jean Cocteau Cinema, 418 Montezuma Ave., $30 in advance at jeancocteaucinema.com, students $15, proceeds benefit the Santa Fe Film Festival (see story, Page 36).

reel new mexico independent film series New Mexico filmmakers may submit shorts, narrative and documentary features, student films, and works-in-progress through 2013; contact reelnewmexico@gmail.com. santa fe Bandstand Applications to perform at the 2014 Santa Fe Bandstand are being accepted; Nov. 29 deadline for submissions; visit santafebandstand.org.

nigHTlife

(See Page 69 for addresses) ¡Chispa! at el mesón Jazz pianist Bert Dalton with Milo Jaramillo on upright bass, 7:30-9:30 p.m., no cover. Cowgirl BBQ Felix y Los Gatos Halloween party, 8 p.m., call for cover. el paseo Bar & grill Kiss tribute band Love Gun, 7:30 p.m. show (all ages), 9:30 p.m. show (21+), call for cover. la fiesta lounge at la fonda Bill Hearne Trio, classic country, 7:30 p.m. weekly, no cover. la posada de santa fe resort and spa Pat Malone Jazz Trio with Kanoa Kaluhiwa on sax, Asher Barreras on bass, and Malone on arch-top guitar, 6-9 p.m., no cover. mine shaft Tavern Halloween night costume contest and dance party with rockers Anthony Leon and The Chain, 8 p.m., call for cover. The matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m., no cover. The palace restaurant & saloon Limelight karaoke, 9:30 p.m.-close, call for cover. Tiny’s Joe West & The Santa Fe Review, psychedelic country, 8:30 p.m., no cover.

▶ Elsewhere albuquErquE museums/art spaces

albuquerque museum of art & History 2000 Mountain Rd. N.W., 505-243-7255. Landscape Drawings from the Collection, through Sunday, Oct. 27. Open 9 a.m.-5 p.m. Tuesday-Sunday; adults $4 ($1 discount for NM residents); seniors $2; children ages 4-12 $1; 3 and under no charge; the first Wednesday of the month and 9 a.m.-1 p.m. Sundays no charge. maxwell museum of anthropology UNM campus, 505-277-4405. Prehistoric pottery, hands-on activities for children, and exhibits showcasing early Southwestern peoples. Open 10 a.m.-4 p.m. Tuesday-Saturday; closed Sundays and Mondays; no charge. national Hispanic Cultural Center 1701 Fourth St. S.W., 505-724-4771. En la Cocina With San Pascual, works by New Mexico artists. Open 10 a.m.-5 p.m. Tuesday-Sunday. unm art museum Center for the Arts Building, 505-277-4001. The museum celebrates its 50th anniversary with exhibits of works from the permanent collection, through Dec. 21 • From Raymond Jonson to Kiki Smith • Andy Warhol’s Snapshots and Takes • From Rembrandt to Pollock to Atget • Agnes Martin: The Early Years 1947-1957 • Life’s a Beach, work by Martin Parr, through Dec. 14. Open 10 a.m.-4 p.m. TuesdaySaturday; $5 suggested donation.

Volunteers

Stan Natchez Studio shows paintings by Natchez, 201 E. Palace Ave.

events/performances

Chatter sunday Vespus Marimba Band with Heidi Swedberg, 10:30 a.m. Sunday, Oct. 27, reading by author Richard Rohr follows, The Kosmos, 1715 Fifth St. N.W., $15 at the door only, discounts available, chatterchamber.org. Dos patrias: la poesía de Cuba Teatro Paraguas presents poetry, music, dance, and visual images, 7 p.m. Friday and Saturday, 2:30 p.m. Sunday, National Hispanic Cultural Center, 1701 Fourth St., S.W., call 505-424-1601 or visit teatroparaguas.org for tickets. paul gonzales Quintet The jazz trumpeter’s ensemble featuring saxophonist Doug Lawrence, 7:30 p.m. Thursday, Oct. 31, Outpost Performance Space, 210 Yale Blvd. S.W., call 505-268-0044 for tickets.

Española

Bond House museum 706 Bond St., 505-747-8535. Visions of the Heart, Images From the Road: Three Views From El Rito, works by Susan Guevara, Nicholas Herrera, and David Michael Kennedy, opening reception 5-7 p.m. Friday, Oct. 25, through Dec. 20. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Open noon-3:30 p.m. MondayWednesday, noon-4 p.m. Thursday and Friday, no charge.

los alamos museums/art spaces

los alamos Concert association The season continues with Apollo’s Fire: the Cleveland Baroque Orchestra, performing Bach’s Brandenburg Concertos, 4 p.m. Sunday, Oct. 27, Duane Smith Auditorium, Los Alamos High School, 1300 Diamond Dr., $30 in advance, losalamosconcert.org, $35 at the door (see story, Page 22). authors speaks series Anne Hillerman reads from and discusses Spider Woman’s Daughter, a continuation of Tony Hillerman’s Leaphorn and Chee detective series, 7 p.m. Wednesday, Oct. 30, Mesa Public Library, 2400 Central Ave., 505-662-8247.

Taos museums/art spaces

Harwood museum of art 238 Ledoux St., 575-758-9826. The Harwoods: Burt Harwood • Historic Photographs • Highlights From the Taos Municipal Schools Historic Art Collection. Open 10 a.m.-5 p.m. Tuesday-Saturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday. Kit Carson Home & museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 10 a.m.-5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge.

mesa public library art gallery 2400 Central Ave., 505-662-8253. Expressions in Book Art, work by members of the Santa Fe Book Arts Group, through Thursday, Oct. 31

▶ people who need people

events/performances

artists

High-Tech Halloween Cryogenics and robotics demonstrations and interactive activities, 4-6:30 p.m. Friday, Oct. 25, Bradbury Science Museum, 1350 Central Ave., 505-667-4444, no charge.

recycle santa fe art festival 2013 Visit recyclesantafe.org for application and details on participating in the 15th annual show held Nov. 15-17 at the Santa Fe Community

fight illiteracy Literacy Volunteers of Santa Fe will train individuals willing to help adults learn to read, write, and speak English; details available online at lvsf.org, or call 505-428-1353. many mothers Assist new mothers and families, raise funds, plan events, become a board member, and more; requirements and details available online at manymothers.org; call 505-466-3715 for more information or to schedule an interview. railyard stewards yardmasters Develop new project ideas; lead educational training sessions; raise funds; help out in the office; free training and workshops on keeping Railyard Park vibrant; contact Alanna for schedules, 505-316-3596, alanna@railyardpark.org. st. elizabeth shelter Help with meal preparation at residential facilities and emergency shelters; other duties also available; contact Rosario, 505-982-6611, Ext. 108, volunteer@steshelter.org. santa fe Humane society and animal shelter Dogs desperately need individuals to take them on daily walks; all shifts available, call Katherine at 505-983-4309, Ext. 128. santa fe Women’s ensemble Always in need of ushers for concerts; email info@sfwe.org or call 505-954-4922. spanish Colonial arts society Office and grounds workers positions; docents needed all year long at the Museum of Spanish Colonial Art; contact Linda Muzio, 505-982-2226, Ext. 121, education@spanishcolonial.org.

▶ pasa Kids santa fe Jazz Club Kids festival New York City-based Curtis Lundy Quintet, 4:15 p.m. Friday, Oct. 25, Wade Wilson Art, 217 W. Water St., no charge, 670-6482. Halloween Carnival Games, candy, a haunted house, and a costume contest, noon-5 p.m. Saturday, Oct. 26, Carlos Gilbert Elementary, 300 Griffin St., no charge. Halloween in the garden 9 a.m.-5 p.m. Saturday, Oct. 26, Santa Fe Botanical Garden at Museum Hill, call 505-471-9103. Halloween festival Trick-or-treating and haunted house, 3-6 p.m. Thursday, Oct. 31, Santa Fe Community College, 6401 Richards Ave., $1 haunted house admission. second annual Weird science Carnival Santa Fe Children’s Museum hosts a Halloween celebration geared toward small children, 4-7 p.m. Thursday, Oct. 31, 1050 Old Pecos Trail, $1 for event tickets, 505-989-8359. ◀ PASATIEMPOMAGAZINE.COM

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